There sure is something about Mary Kom. What a pity you can’t say the same thing about Mary Kom. The biopic, starring Priyanka Chopra as the five-time world champion and Olympic medallist Indian boxer, is among the opening night offerings at the Toronto International Film Festival on Thursday, with the Bollywood star in attendance for the screening, which is also the film’s world premiere.Mary Kom, directed by Omung Kumar and produced by Sanjay Leela Bhansali, traces the story of the Indian boxing heroine from childhood to herfourth world championship title in Ningbo, China. It’s a remarkablestory, almost tailor-made for the big screen, complete with courage,persistence, determination, adversity and a stunning comeback followingmotherhood. Throw in moments of tenderness and frenetic boxing action,and the script should have virtually written itself.Priyanka is left to carry the film almost entirely on her super-fit frame and she obliges with a knockout performance. Instead, Chopra is left to carry the film almost entirely on her super-fit frame, and she obliges with a knockout performance. The lack of physical resemblance between the real Mary Kom and the actress is inconsequential as Chopra gets completely into her role. She transitions effortlessly and convincingly from a schoolgirl in pigtails to a battle-hardened mother of twins, hungry to get back into the ring. And in the ring and in training, she looks like the real thing.Chopra is ably supported by Darshan Kumaar, who plays her footballer husband and supportive anchor Onler. But many others are weighed down by awkwardly scripted situations and weak lines, some of them so corny and old-fashioned that the 1980s are calling to ask for their cliches back. The director seems more capable than a Mary Kom left hook at battering any trace of understatement, subtlety or nuance into submission.advertisementA scene where the boxer narrates to a journalist the challenges she and her fellow athletes face and the lack of support from sports officials, stands out – not in a good way, looking forced.Ditto for an episode where some of Kom’s teammates accuse a boxing federation official of sexual harassment – this is too serious to be just a dramatic device, yet he apparently redeems himself simply by cheering Kom in the final bout of the film.If the film touches your heart despite all its flaws, it’s thanks to Chopra’s acting chops and stunning stunts, and of course, the inspiring real-life triumph of a girl from rural Manipur. The music is catchy and the locations showing Manipur, and later, Manali, where Kom goes for her grueling post-pregnancy training, are eye candy. It’s ironic that the film opens with what seem like dozens of “brand partners” flashing across the screen, and yet apparently few were interested in supporting the real Mary Kom, who is shown struggling to earn money even after winning three world titles.Mary Kom ends with a slide referring to the boxer’s dream of winning gold for India at the 2016 Olympics – more proof that this remarkable woman refuses to settle even for perfection.Nor, going by her winning performance in this film, does Chopra, for much less. Why, then, should the audience?