Category Archives: Sports

Double Feature: Requiem for a Heavyweight (1956) and (1962)

Posted on by
Reply

Rooney, Gleason, and Quinn in the film version

Requiem for a Heavyweight was an early live television production that was so popular it garnered a feature-length adaptation a few years later.

It’s relatively easy to see the merits in both because although they enlisted the same director and screenwriter, the actors and the medium do quite a lot to make them feel textured and different. I couldn’t necessarily pick a favorite.

The original is bare-boned but intimate, and there’s a darker more caustic theatricality to the film version. It really comes down to preference. Here are my thoughts on the two versions:

Palance and Hunter on Playhouse 90

Requiem for a Heavyweight (1956)

This early showcase of the Playhouse 90 live TV format introduced the fragile and most sensitive version of Jack Palance. He’s a hoarse and husky-voiced journeyman boxer named Mountain McClintock.

One of his greatest claims to fame was that he was almost heavyweight champion of the world. But he’s most proud of his integrity. In 111 fights, he never took a dive. That includes his most recent bout. He got pulverized and still managed to make it seven rounds.

Between Rod Serling’s script — the writer called upon his own memories as a one-time boxer — and Palance’s endearing performance, you have the emotional heart of the tale. Because Mountain is proud and principled in his own way. He didn’t get into fighting to murder people or make a ton of money. It’s just the only thing he’s ever known — the only thing he was good at — and he took solace in it.

Now he’s on the way out. The Doc says he’d better quit before he earns more permanent damage. Somehow he’s impressionable like Lenny in Of Mice and Men. Despite his physical presence, he needs protectors and others to look after him. There are certain people in his corner he deeply trusts just as all his words and pearls of wisdom come from the mouths of others.

The real-life familial bond of Keenan and Ed Wynn is equally key because they play the two most important people in Mountain’s life. There’s Maish, his manager, who’s currently in a bit of a bind. Then, Army, his cutman, who’s more resigned to the inevitably around him. He’s seen a lot.

Keenan can exhibit a kind of gruff intensity role to role, but since I know Ed Wynn as such a jovial figure, I almost didn’t recognize him. Both of them exhibit an earnestness in their respective parts. Maish has compromised his integrity and now feels bitter toward Mountain, a has-been fighter he sunk so much time and money into. How is he supposed to get any recompense?

Mountain looks a bit pitiful walking into a job agency with no work experience and a kisser as roughed up as his. However, the attendant behind the desk (Kim Hunter) sees his goodness and drops her business spiel for something more personal.

She responds with heart, tracking him down to his favorite watering hole and vowing to try and help him resurrect his life. The bar serves as the graveyard and burial ground for all the hard-up fighters who wither away inside their own heads. Mountain might easily be headed toward this end and worst yet, he might lose his dignity in service of Maish’s debts…

We must remember what the medium of television accorded the makers. Visually, they were working in fuzzy black and white with tiny boxes of composition but also a more familial viewership. This ultimately impacts the creative choices and the film takes on a hopeful final note.

It’s fascinating to watch the production since it was being taped live and throughout I only noticed one flubbed line rushed over by a mother on the train. Otherwise, around all the orchestrating and simple sets, there’s very little taking us out of the story and disrupting the primary performances. Given the restraints, it’s quite a startling achievement.

3.5/5 Stars

Quinn and Gleason

Requiem for a Heavyweight (1962)

Ralph Nelson was the same director who filmed the original TV version. Instantly the big screen is more cinematic thanks to the subjective point of view in the ring. We see a solemn Jackie Gleason, the yelling Mickey Rooney, both standing just outside the ropes.

Then, the announcer calls out the name Cassius Clay, and there he is in all his youthful glory beating back the camera! It does feel like a bit of a gimmick, but then we finally see the face of Anthony Quinn battered and bruised and we have our movie.

I assumed the older Gleason was Army and having just recently been introduced to what Mickey Rooney was capable of in The Comedians, it seemed only too reasonable that he would play the more mercurial Maise. How wrong I was.

Quinn seems especially old for his part, but it’s intriguing to see how his character mythology was altered to fit his own Hollywood legacy. Mountain Rivera came out of New Mexico, he ditched school in the 6th grade (instead of 9th), and he’s been fighting longer than Palance’s counterpart. Still, like Palance, Quinn’s larynx sounds like it’s been beaten out of him positively eviscerated by his years of punishment in the ring.

The movie’s milieu is not too far away from The Hustler (also featuring Gleason) or the sensibilities of a TV-to-film scribe like Paddy Chayefsky. The jump to film also means it owns a sharper even more melancholic edge than its small-screen counterpart.

Maish (Gleason) is tailed and tracked out into the ring reminiscent of The Set-Up, and he’s threatened into paying up on his recently accrued debts. He needs the cash fast. Later, he willfully gets his dwindling prize fighter drunk. It’s all part of a ploy to keep him from getting a real job so he can earn money as a sideshow attraction in some trumped up wrestling showcase.

This time it is Julie Harris, who is tasked with helping Mountain turn a new leaf in his life. Her character never shared consequential time with Maish in the original version, but here they share dialogue on a stairwell adding an alternate dynamic to the picture. He says, “The rich get richer and the poor get drunk.” Mountain’s finished, and he’s skeptical of any do-gooder looking to peddle their charity. The edge of cynicism is deeply entrenched.

Also, in the previous rendition, there’s this happy denouement as we recognize Mountain entering into his post-boxing career. It’s possible for him to make something of himself and gain fulfillment beyond the ring by imparting his knowledge to younger generations.

Here it almost feels like the movie has been shifted and the focal point is Maish. Because he is the person who must come to terms with what he has done by totally denigrating Mountain for his own desperate gain.

When he’s marched out into the ring, totally racialized and trivialized, it sears with a level of pain television would have never dared. And we realize all the self-fulfilling prophesies have come true. Mountain really has become the geek, a kind of carnival show attraction, but it’s not out of his own desperation. He’s doing it for someone else. Mountain willfully subjects himself to the ignominy, but Maish is the one who must live with his conscience. I’m not sure what’s worse.

3.5/5 Stars

The Harder They Fall (1956): Bogey’s Last Film

Posted on by
Reply

As the saying goes, the bigger they are, the harder they fall and Toro is a big man. He’s a sculptable Argentinian bumpkin who will quickly be fashioned into a killer in the boxing ring. Rod Steiger plays Nick Benko, a shifty promoter looking to groom his latest talent and set him up for success. It has nothing to do with actual training.

First, he calls in a veteran sportswriter to stir up some good publicity. Things have changed. No one wants to fight anymore when they could go to college. It’s more like playacting than an actual sport. You’ve got to give the audience a show and that means publicity (and staging the results). Eddie Willis (Humphrey Bogart) has long been concerned with holding onto his self-respect in the journalistic profession. Now he’s finally caved to Benko’s racket because he wants to get ahead for once in his life. His coffers aren’t as full as they could be.

It becomes increasingly apparent, in spite of all of Nick’s high words and cajoling, he’s obviously no good. Eddie knows what it all means as he watches a dirty fight and the ensuing repercussions of each subsequent business agreement. Nick’s operation is taken care of by an army of hoodlums. All these faces pop up here and there, making appearances and showing up ringside or in hotel rooms. Bogart joins the king of the creeps by pocketing 10% for himself if he can keep them out of jams.

While Bogart carries the picture, I couldn’t help thinking about some of the intriguing sparring partners he has — not the big names but the likes of Harold Stone and Edward Andrews. Because the movie feels like an analysis of the entire ecosystem and why people do the things they do. An added tinge of realism is given by real-life fighters like Jersey Joe Walcott and Max Baer.

Jan Sterling appears in a role reversal playing the principled wife watching her husband slowly slip away from her as he’s swallowed up by his all-consuming job. At first, I was intrigued until she slowly evaporates in a part that does not avail her the opportunity to do anything substantial.

It’s necessary to take a brief moment to mention screenwriter Budd Schulberg too. Like A Face in the Crowd, it’s a story documenting the perils of television and media in general. Toro is no Lonesome Rhodes; he’s a bit of a stooge, but the men behind him are able to orchestrate everything to easily manipulate a response out of their target audience, and it’s all for monetary gain.

I’ve always heard mention of the collaboration between Schulberg and Spike Lee focusing on the bouts between Joe Louis and Max Schmelling. Although the younger director vowed to get the production made after his friend’s passing, it’s still reassuring to know Schulberg already had a portrait of the boxing world put to the screen. Not surprisingly, The Harder They Fall is unsentimental, and yet it still manages to humanize many of the fighters as victims of a system.

What strikes me about the film is what it decides to spotlight and what it leaves to our imaginations. We know the reason for all these back parlor deals — it’s to prop up the gambling — but the movie rarely pays this much heed. It’s simply understood. And also the movie focuses on the families and the business outside the ring. It’s as if everything between the ropes is already a foregone conclusion, and it is, so we hardly need to focus there.

Instead, it’s the drama beforehand: Chief (Abel Fernandez) won’t take a dive because his family is in the audience. Then, there’s Dundee (Pat Comiskey) an old journeyman dealing with head trauma from his last fight. He’s barely ready to face off against the new challenger, and it doesn’t bode well. Still, each fight paves the way for Toro’s chance at the champion (Max Baer) and some real promising money. This is what Nick has been striving for from the beginning.

There’s an abrasive whininess to Steiger’s whole performance that keeps everyone on edge. I can understand any complaints of the actor being too intense, but he’s also one of the primary attractions because his unscrupulous fixer personifies everything crooked about the racket. It’s always gangsters or businessmen in suits with all the power, but Steiger effectively makes these skeevy mugs into slimy parasites. He feels like a new, different brand of antagonist, and frankly, he makes Bogey and the audience sick. The movie wouldn’t work without him.

It comes off as one of the most bloodthirsty and unsentimental boxing pictures of the era because they let this boy get absolutely butchered in the ring — building him up — only for him to get annihilated. And it’s all for money.

By the end, it’s almost ludicrous. Like A Face in the Crowd or even Network. Toro gets his brains beat out; he’s fully commoditized and then sold like chattel, and he comes out on the other side with nothing and no one to look after his interests. He’s been cast to the pavement as disposable goods.

Eddie holds the only grain of decency left and with his moral character eroding, he must make the decision to finally stand up for something greater. It’s a nervy performance from Bogart because it never resorts to bravado or any grand showing. He’s an older, wearier man now, and it shows.

Cancer would take his life far too soon, but by relinquishing the gangster roles, he offers up a different side of himself that we could not have expected without an earlier movie like In a Lonely Place. He really is a great one. I realized part of the reason I was reluctant to see the picture was that I didn’t want to acknowledge his career actually came to an end. Even if it was well over 70 years ago, I still miss Humphrey Bogart to this day.

4/5 Stars

Million Dollar Legs (1932): Klopstokia and The 1932 Olympics

Posted on by
Reply

Screenshot 2020-07-06 at 8.25.11 PM

“All the women here are named Angela. And all the men are named George.”
“Why?”
“Why not?” – Jack Okey and Susan Fleming

This kind of laissez-faire, anything-goes mentality is one of the obvious strengths of Million Dollar Legs‘ comic tableau. There need not be a given rationale behind what it does and with this brand of laxity, there is an empowerment to do anything it so desires.

Thus, the narrative opens in a far-off Eastern European land called Klopstokia. Their chief exports, imports, and inhabitants are goats and nuts! If it’s not evident already the movie looks like it might be an equally oddball companion piece to Duck Soup.

It’s hard not to see its shared space and that’s mostly on a perfunctory level (and because of the fact Susan Fleming married Harpo Marx). One must also note it came first to precede the L.A. Olympics, though it’s not too hard to believe the Mankiewicz brothers did conceive the movie as a vehicle for the crown princes of anarchy.

Since this is not the case, Million Dollar Legs is ripe for rediscovery propping up some other stars who are sometimes less remembered. They didn’t get them, but Herman and Joseph working with director Edward F. Cline wrangled together an absurdist universe for the likes of Jack Okey. He might be most famous to modern audiences for parodying Mussolini in Chaplin’s The Great Dictator.

Here he’s front and center, an itinerant brush salesman, who happens upon the nation on business only to fall head over heels for the country and its people — one person in particular — her name is, of course, Angela (Susan Marx). They brush each other off rather seductively as her kid brother (Dickie Moore), a begrudging and silent cupid, does his best to keep them apart.

But she also has a connection to the country’s fearless leader. Her father is the President (and also W.C. Fields) with his hat and a dictaphone perfect for bad-mouthing his subordinates on his daily carriage ride to the office. He’s the broadest, most formidable name in the movie.

He makes a daily show of his brawn arm-wrestling his sneezing cabinet including such hoodwinked bumblers as Hugh Herbert and Billy Gilbert. The President is oblivious to their conspiratorial endeavors because frankly, even with their secret cache of spies, they hardly seem likely to hurt a fly. One of their spies out in the field, no less, is a pantomiming, cross-eyed man in black portrayed by Ben Turpin.

However, despite their impotence, they agree to call upon the woman who men can’t resist — the ultimate vamp and a caricature of the Dietrich archetype — Mata Macree (Lyda Roberti). What are her plans? To seduce the entire Klopstokia Olympic team in their bid for the 1932 Olympics! It has no import aside from meeting narrative expectations.

So everyone piles onto the ocean liner, including the President, Migg, and his best girl Angela. The movie’s apex might come when W.C. Fields on one side and his cabinet on the other start yanking the wall back and forth as Okey tries to woo his girl with the gibberish national anthem. It’s delightfully absurd both in the immediate visuals and the auditory accompaniment.

The Olympics aren’t much different with the Klopstokian contingent in a shambles before Angela rallies them jumping from the high dive to have it out with the duplicitous mata hari once and for all. Then, her father shows off his feats of strength in the weightlifting competition against his rival cabinet member. All pretense of logic is gone. Just go with it. Take it for what it is.

The final baton is taken up by the speedy Major-Domo who zips past the competition as a last-second entry coming from behind on the urging of Angela on a motorbike.  Truthfully, I’m still trying to figure out who owned the pair of million-dollar legs. For my money, it’s the galloping Major-Domo

What’s not up for contention is Million Dollar Legs as an intriguing vessel of comedy functioning as a kind of cultural time capsule. Not only does it help chart the famed Mankiewicz brothers before the heights of their future successes, it’s also a contemporary commemoration of the L.A. Olympics. Marx Brothers or not, it might just be worth a look as a historical curio.

3.5/ Stars

Fat City (1972): Boxing and The Human Experience

Posted on by
4

Fat_City_DVD_cover.jpgJohn Huston was one of the mavericks of Old Hollywood even surpassing his own father’s acclaim in the industry. Although his successes waxed and waned during the 1970s, he found new prominence as both an actor (Chinatown) and a reinvigorated director. Fat City is no question his hidden gem of the decade, if not his entire oeuvre.

It’s true that it taps into the boxing world so prevalent in the tragic noir tales of old. As a one-time amateur fighter and one of the screenwriters on The Killers (1946) a few decades prior, he seems to have the license to resurrect the tradition.

In fact, the expected archetype here might look a little like a very different film: All About Eve. You have the washed-up vet and then the up-and-coming talent.

Except Fat City settles uneasily into those paths before rebuffing them completely to provide an alternative, still partially devastating but certainly authentic to life. There is a touch of melancholy here. Not to knock Stockton, but the location certainly helps. As does Kris Kristofferson’s morose ballad “Help Me Make It Through The Night.”

The dramatic situation generally moseys along taking its sweet time. As the plot parallels the characters, there is nothing flashy here, no insurance investigator from The Killers to go digging around. We live and exist in the characters’ day-to-day realities at a leisurely pace. If anything, Huston is observational, intent on using the allotted screen time to get at these men, not because of their extraordinariness but due to the complexities available in their inherent ordinariness.

Stacy Keach for one is a washed-up boxer who has ambitions to get himself back in fighting shape. At any rate, getting beaten to a pulp for money is a much better prospect than what he’s doing with his life currently. He wears the life of a loser quite well, so much so, it’s easy enough to believe he’s been taking a beating in all facets of his existence.

The legend goes Marlon Brando was tapped for the part though it never panned out. Despite his admitted brilliance as an acting force, Brando would have automatically elevated the pedigree of the picture. Somehow having Keach, a man who never was a big draw, feels more in line with this story. Because one of the most promising feats of Fat City is there is no big star and so it’s perpetually a movie of inspired character parts.

Jeff Bridges is the other guy — a kid really — who takes up the other man’s advice to join Lido gym and try and get into the fight game. The coach there and an old buddy of Tully’s is rather like a father figure to Ernie. The stocky, throaty-voiced Ruben (Nicholas Colasanto), looks and sounds like he got punched in the gullet once too many but for undertaking such a violent profession, he overflows with geniality.

Perpetually whiny-voiced Linda Tyrrell toes the fine line between totally antagonistic and totally condoling. There is so much dysfunction in her life; she is the instigator of some of it and yet a lot falls outside of her control. Thus, the relationships she has with the men in her life — first, a man named Earl and then Tully, really reflect her own insecurities.

At times, clinging and then in another moment lashing out with indignant rage. In one barb pointed directly at Tully she even proclaims, “White men are the vermin of the earth.”

Meanwhile, Ernie finds a very different sort of girl (Candy Clark), a bit of a warm-hearted simpleton who cares so deeply that they are madly in love and that everything in their romance is perfect. The naivete is her calling card though it never is given roots in the story to the degree of her female costar.

In any given interaction, these people make you laugh for the strange words that come out of their mouth unwittingly. It’s a distraction from what might otherwise be the blaring issue of their sorry existences. They might be struggles with a traveling trunk or continuously slipping in the mud trying to get a car moving in the pouring rain.

The movie takes particular heed of the foibles found in the world of boxing. All the pretense has been washed away — not merely in a gritty, unsentimental manner — it verges on the comical because it’s willing to paint the characters and their idiosyncrasies with a clear definition.

Conrad Hall has quite the impressive pedigree as a director of photography providing texture to some of the most seminal films of a generation including Cool Hand Luke and Butch Cassidy and the Sundance Kid. Whether Stockton serves his cinematography or his cinematography serves our normal perceptions of Stockton, ultimately they become one in the same.

The environment of Fat City seems to cultivate a certain brand of person — at least cinematically speaking — losers and has-beens, maybe a few chipper up-and-comers. It’s the perfect arena for banal everyday drudgery to play out.

It meets the men in the bars where they douse their miseries. Before the crack of dawn where they hang around to work for pennies and in the afternoons when they work the fields with the sun beating down. If this is a boxing story it’s just as much a tale of destitution.

Likewise, I had never given full consideration to how much boxing is built around racial lines (not to mention social ones). Fighters are promoted, railed against, and canonized as heroes based on the communities around them. Based on a shared culture and a similar color of skin. The blacks. The Whites. The  Mexicans. They all have their guys.

Ruben is constantly looking to make his clients more marketable. He knows “whites vs. coloreds” will draw a bigger crowd, and they play up Ernie’s Irish blood though he doesn’t have a drop. It’s all part of the business.

Although it’s capable of making us queasy as an audience, boxing just might be the most compelling sport in movies for how it pertains so intimately to the human experience. There is hardship, chaos, violence, euphoria — all these things playing out blow after blow inside this incubator that is the ring. Except in Fat City, the moments are never monumental. They are incremental peaks and valleys. No heroic death scenes are won nor rapid ascensions to the top of the world.

The anticlimax is this film’s final tragedy. Its irony exists right in the title. These characters get none of the glut or glory when it comes to the good life, in and outside the ring. Theirs is the marrow and the crumbs.

4/5 Stars

Breaking Away (1979): Bloomington Indiana on Wheels

Posted on by
Reply

220px-breaking_away“When you’re 16, they call it sweet 16. When you’re 18, you get to drink, vote, and see dirty movies. What the hell do you get to do when you’re 19?”

Oftentimes sports films are memorable for merely pioneering underdog stories or analogous themes meant to inspire. But then we get a whole slew of imitators coming afterward. You see it with baseball, basketball, football — most of the big ones — each one already boasting a substantial fanbase and accepted canon of classics. However, cycling has never been as popular in the States and thus, watching Breaking Away, even today, feels like it’s own unique experience.

Sure, it’s the age-old, small-town coming-of-age story. There are too many of those to even begin counting the good ones (much less the bad). We’re supposed to care for four dreamy highschoolers going out against the world. There is so much that could feel hackneyed and overdone. But married with cycling, Breaking Away has yet to meet its equal. Off the top of my head, there is no other cycling film that channels this same sense of exuberance or captures a certain time or place like the Bloomington, Indiana featured herein.

Because along with Hoosiers, Breaking Away is in the running for the most Indiana movie of all time. It lives and breathes the tangible air made very apparent in Steve Tesich’s script. He has an intimate understanding of this area, having lived there in college and even having been a member of a cycling team.

So for every forgettable yarn that I’ll graciously refrain from mentioning, we get an American Graffiti or Dazed and Confused. Breaking Away is very much the same. Their skill comes in taking the individual and the deeply personal memories, only to realize them in a way that cannot help but be universal.

It grabs hold of those strains and feelings that we all can relate to, no matter our background or race or creed. In some circles, it has to be the greatest common denominators. Like not knowing what you’re doing with your life. Having a difficult relationship with parents. Even being the underdog forced to prove yourself against Goliath.

In this case, our protagonist is a scrawny kid (Dennis Christopher), nevertheless, obsessed with cycling and therefore, Italian culture. He’s going through a phase that’s just about driving his father up the wall. He’s a man who won’t have any “inis” in his house from Fellini to Zucchini.

 Dave’s a cultural sponge where imitation is and always will be the highest form of flattery, even going so far as to thank the saints on one particularly fortuitous occasion (“Oh Dave, try not to go Catholic on us”). Along with the constant biking comes the Italian language used in the home, opera records, and shaving his legs (like an Italian).

It’s how he’s able to make a unique identity for himself aside from being the former sick kid who doesn’t know what he’s doing with his life. We’ve all been there. At least he’s added a little flair to his existence while he still can.

What ensues is a cringe-worthy romantic introduction as he submerges into his Italian persona just to get acquainted with a girl. It’s almost a defense mechanism because he’s too unsure to be himself; it’s much easier to put on a larger-than-life, sing-song facade. If it gets rejected there’s no harm. Moonlight serenades outside the sorority house window follow and stirring heart-to-hearts.

If Italian culture and a girl become his main extracurriculars, then most of his formative time is spent in the company of his buddies. Mike (Dennis Quaid) is the tough guy with the chip on his shoulder. He’s protective of his turf and always ready to rumble with the more affluent sects of society. He’s not about to back down from anyone.

If there’s a Mike in every crowd, there must also be a lovable airhead like Cyril (Daniel Stern), good for a few laughs so tensions simmer down. The last amigo is the shaggy-haired and affable pipsqueak Moocher, who is no doubt in the most serious relationship of all the boys. In his own way, he might actually be the most mature.

Regardless, they are constantly reminded of the realities of living in a college town. Part of this is the socio-economic aspect. They spend their summers swimming in the local quarries, as opposed to the sleek indoor swimming pools and co-ed decadence of all the out-of-town college kids.

They proudly wear their somewhat derogatory label as “Cutters,” the local blue-collar families who either don’t have enough money to get into the school or perhaps they aren’t bright enough. I’d be willing to believe the former more than the latter.

However, if Dave Stoller thinks he’s found who he is, events cause him to reevaluate his very identity. Not about being a cyclist — he still can ride faster than just about anybody in town — but there’s more to him than that. He’s forced to sort it out.

Because the day he’s been waiting for finally arrives, and he realizes his dream to ride with the team from Italy who have come to Indianapolis. Being in their stead provides him with a rude awakening. When he gets sent careening off the tracks by some foul play, his idols tumble right down with them. He realizes the necessity of being his own man and so he goes out on another limb.

He admits to the girl his whole Italian shtick was an act. He made it all up. Not surprisingly, she lashes out in bitterness over his bout of deception. It sends everything spinning into a tizzy. The untouchable, alluring college girl has a moment of genuine frailty and our hero is ousted for what he was — not simply an insecure adolescent — but a jerk for putting her on.

There is also tangentially the obvious paralyzing fear of stepping off into the great unknown that is the future and out of his father’s life into his own. What Breaking Away does a fine job at is coloring the relationships, not just between peers but a father, son, and mother.

Barbara Barrie is sublime as a steady ever-understanding wife and calming maternal figure. She performs the role seamlessly. Equally important is Paul Dooley as Ray Stoller. He’s full of irritations and hilarious punchlines that give way to real feeling.

He’s born out of a generation that does not know what affection is. They are proud and they work hard and grit it out. He helped excavate the land that became the university, and now he’s a used car dealer. Looking at his son he sees someone who is soft and inexperienced. And yet when he’s really honest and speaks his heart, he wants something better for his boy than what he had.

This is how you know parents care. No matter how much they might grumble and gripe, most everything they do is to set up their children for a better future. It’s no different in Breaking Away. Coincidentally, parents almost always make the greatest cheerleaders because they’re always there.

 If Dave’s tumble off the bike and the renunciation of his girlfriend were subsequent slaps in the face to his ego, then the Little 500 Race is the obvious chance at redemption. Again, the beats are oh-so-familiar but at this point, it doesn’t matter. The wheels are spinning and we’re ready to cheer on the boys as they seemingly take on the world or at least all the hotshot fraternities dismissing their very existence. It’s superfluous to mention the ending.

The euphoric joys of a goosebump-filled finale cannot be totally dismissed. It makes one realize the power of characters that we are able to empathize with. Knowing what will happen doesn’t take away one ounce of the excitement because we feel for them and are urging them to succeed.

We are a part of the Cutters team and every burn, every lap, every push they make against adversity, means something to us too. There is nothing self-important about it and this above all else allows it to be a sheer delight.

Peter Yates career, while somewhat uneven, boasts some quality outings if you consider the likes of Bullitt and Breaking Away. They could not be more different (the settings alone are starkly juxtaposed) and yet they do capture a very specific milieu — in this case, through a free-and-easy coolness — with kinetic energy utilized to its utmost degree.

Both are a reminder that far from taking away from the human experience — vehicles can be an extension of them, in allowing characters to realize greater potential. Bullitt in his charger, bouncing through the streets of San Francisco and then Dave blazing down the highways and byways on his bike in and around Bloomington.

The evocation of a specific place with corresponding feelings is so important. Content doesn’t matter as much as long as it manages to leave a lasting impression on us. Evocative narratives do just that.

4/5 Stars

Somebody Up Their Likes Me (1956): Starring Paul Newman and Pier Angeli

Posted on by
2

somebody up there likes me 3

Here is the first of two purported instances where Paul Newman wound up taking on roles earmarked for the recently deceased James Dean. Dean even had a fairly visible relationship with Pier Angeli who would have been his co-star. At one point, there was even talk of marriage swirling around though Angeli’s mother disapproved of Dean. Because it’s true he was “the rebel,” and she the angelic ingenue. It served them both well on screen, and the saintly image works well opposite Newman here.

While Dean had the angst and a sturdy enough frame to have at Rock Hudson in Giant, there’s no doubt his slight build doesn’t seem like the physique of a boxer. In this physical regard alone Newman might have proved to be a fine choice and in consideration of the performance itself, he showcases a glint of many of the traits that would turn him into a beloved box office attraction.

Watching his big break in the context of his illustrious career is gratifying for just those reasons. Because we know the successes waiting for him. Somebody Up There Likes Me finally gave him a shot to put himself out there so people could take note.

Due to the aura of The Sound of Music and to a lesser extent West Side Story, they are two films that effectively misrepresent the career of director Robert Wise. At the very least, they can be deceptive.

True, West Side Story gives us a glimpse into gangland New York, albeit touched up in vibrant color. But we only need look to Wise’s early noir works, a pedigree including the boxing classic The Set-Up; or even Odds Against Tomorrow, to see what he was capable of in terms of grungy atmospherics. This one occupies a seedy dive world akin to something like On The Waterfront (1954) or even Love with a Proper Stranger (1963).

Coincidentally, Steve McQueen has an early part in this one and Sal Mineo, a Dean compatriot leftover from Rebel Without a Cause, gives a crucial supporting role. Because Rocky incurs a childhood of abuse only to grow up as a hoodlum on the streets terrorizing the neighborhood with his band of cronies. Romolo (Sal Mineo) is the most important because they have the same life experience but wind up in completely different stratospheres.

It does take Rocky a long time though. He lands himself in a reformatory and gets thrown around the social reform structures implemented by society, all to no avail. He gets upgraded to a Penitentiary and still, his brutish intensity is never cowed.

Picking a fight with everyone big or small. It doesn’t matter if they’ve got stripes on their shoulders, suits, college educations, or police badges in their pockets. He’s ready and willing to wail on anyone. To say he has a blatant disregard for rules and authority is a gross understatement.  It’s part of what makes Newman’s turn entertaining in the earliest segments.

We wonder when he’s ever going to hit an upswing as he’s on the lamb, then dishonorably discharged, and awarded a stint at Leavenworth. Could that be a bit of Luke Jackson that we see?

somebody up there likes me 1

Even as he reluctantly agrees to jump in the ring for a promoter (Everett Sloane) to earn some desperately needed cash, he never has a taste for fighting. It seems like for once in his life the newly minted Rocky Graziano (like the wine) is looking to get away from fighting. And yet over time, he is convinced to train and to channel his hate into his right hand, like a charge of dynamite, so it can benefit him in the confines of the ring.

Also, about this time, he is introduced to his sister’s friend Norma, a sweet, reticent girl who is taken with romantic movies, butterfly kisses, and nice words spoken out of a place of kindness. Rocky’s entire upbringing has left him with the impression “love is for the birds.” They shouldn’t be together and yet, for some unexplainable reason, they are.

Soon, with the help of Irving (Sloane), Rocky has made a name for himself as the most popular Italian in the world, aside from Frank Sinatra and Michelangelo. Still, Norma can’t stand his fighting believing it is all, “meanness and blood and ignorance.”

On the surface, it seems true. However, Graziano is a curious force. So brutal and antagonistic and yet in his own gruff way, he’s so capable of love. He loves his mother (Eileen Heckert) dearly even as he tears her apart. He loves his wife, never laying a hand on her. He only has tenderness in his heart for them.

Still, in the ring he is ruthless and outside it, he’s plagued by fixers (Robert Loggia in a slimy debut) and a horde of journalists looking to smear his past all over the tabloids.

The climactic bout versus incumbent champion Tony Zale personifies how chaotically communal boxing is. An assortment of POV shots with punches aimed right at the camera, a flurry of edits, and a boisterous brand of intimacy makes us feel like we’re living right inside the ring. The beauty of it has to be the fact Rocky seems like he’s losing the entire time. Sometimes that doesn’t matter. Grit alone sustains. It’s a delightful finishing point, but the film is not won in the ring.

somebody up there likes me 2

I’m trying to come up with concrete justifications for why I enjoyed this experience so much. A few have been offered up but on the whole, I’m at a loss for words. Certainly Wise is no stranger to this street corner aesthetic, which he develops with such assured conviction, but the beats of the story are nothing new. They come to be expected; what takes you by pleasant surprise in such a context is a performance or a bit of dialogue from Ernest Lehman.

Because the boxing ring is only ever an arena for the life outside the ropes to play out and thankfully a rapport is built with the characters that comes to more than a few fights to prove oneself. In fact, until the final showdown in the ring, most of what we know about Rocky occurs outside of the ring with the gloves off.

Newman invests himself in the part readily showing a young punk evolve into a broken man with hatred in his blood, delinquency, and rage at the core of his being. Yet by some miracle, he’s able to gain a life and a beautiful girl to bless him with an existence worth living. Yes, he wins a big fight in the end, but we get the sense we leave him on a firm foundation. When the inevitable comes and he’s taken down, there’s still something and someone to return home to. Until that day he can relish what he was bred to do. But it’s not his all.

Then, of course, there’s Pier Angeli who is a minor revelation not because of any amount of flamboyance but the exact opposite. She is gifted with a grace and a poise that is positively enthralling. Her voice, quiet even hushed, flows with a peacefulness — an unassuming dignity even — so very unlike the ravishing vivacity of our Italian movie star archetypes. She is a discovery to be sure though her life was unfortunately cut tragically short. This role might be the finest testament to her presence as a performer.

It’s admittedly almost hokey witnessing Rocky riding down a cheering street, staring into the heavens noting exuberantly, “Somebody up there likes me.” Certainly, that’s true, but his wife reminds him, “Someone down here does too.” That’s how he knows The Big Man Upstairs was looking after him, putting such a calming force into the turbulence of his own life.  The scene is so easy to forgive because we’ve witnessed how very true it is.

This boxing biopic would be something of lesser note without Paul Newman’s star-making turn and what is an anti-hero without a companion to salvage their brokenness and turn them into the best person that they can be? Accordingly, comparable praise must be heaped on Angeli too.

4/5 Stars

Gentleman Jim (1942): Biopic by Marquess of Queensberry Rules

Posted on by
7

Gentleman_Jim_-_Poster.jpgBoxing movies and biopics are a mainstay of Hollywood. It’s an established fact so naming names is all but unnecessary. The affable brilliance of Gentleman Jim is its agile footwork allowing it to sidestep a myriad of tropes attached to biopics and the schmaltz that Old Hollywood was always capable of serving up.

Certainly, a great deal of credit must be heaped upon Errol Flynn who seems to relish the very opportunity to portray such a magnetic man as James J. Corbett — always perceptive and driven with a bevy of tricks at his disposal to get ahead. I can’t help but hear Butch Cassidy’s words in my ears, “I got vision, and the rest of the world wears bifocals.“ Corbett could live by that credo too.

Authenticity is to be trodden upon softly and so there is a sense Flynn has taken the “gentleman” moniker of his namesake and fashioned the role around his own roguish charm, good looks, and irrefutable charisma. Thus, it becomes almost second nature for him to play the part because there’s this sense that he’s playing what he knows best, and loving every minute of it.

He’s meant to come from hardy Irish stock with a jovial father (Alan Hale), two boisterous older brothers, an awestruck sister, and the ever maternal mother figure. Around all these types Flynn and Jim feel like outliers. They’re not meant to fit into this family and yet it somehow manages to work — Marty McFly anyone?

The script, co-written by Vincent Lawrence and Horace McCoy, begins by drawing up the story in a most agreeable fashion that takes into account our hero’s life but also considers any number of stray antecedents that led to his rise in the boxing world.

Boxing in its most barbaric forms is being outlawed across the nation. Jim and his hapless buddy Walter (Jack Carson) spy the prominent higher-up from their bank at a fight only to have the police raid the event. Soon they’re all in prison with their prominent friend and Jim sees it as the perfect opportunity to earn some favor. Soon Judge Geary has brought on his young protege as a new brand of fighter: one with class.

Being a fast worker, Jim gets himself into the elitist Olympic Club doing his best to look the part of a  well-to-do gentleman, despite hardly having a dollar to his name. Concurrently he begins annoying the gentleman around him with his constant stream of boys sent around paging him.

It becomes quickly apparent that Gentleman Jim exists in a world, not unlike that of Walsh’s Strawberry Blonde (1941), where America seemed to have acquired a newfound propriety. Nasty pugilism had been replaced with marquess Queensberry Rules and someone like Jim Corbett was able to become something.

He soon is acquainted with Ms. Victoria Ware (Alexis Smith) who along with her family are members of the social elite and patrons of the bank. I must admit that the Canadian actress has all but slunk under my radar aside from her part in Conflict opposite Bogart.

But I have rectified the oversight because she gives a lovely turn opposite Flynn allowing the sparks to fly in the most vehement way possible. High-class respectability can only get you so far. Sometimes you just want to see someone get wailed on for their own good.

She has just about enough of his conceited ways finding him utterly infuriating with his faux polished manners and overblown head. He has the gall to criticize her idol worshipping of such an eminent legend as John L. Sullivan. Corbett being an utter nobody himself. But he’s got ideas and the fancy feet to go someplace.

Upon leaving their little tiff, he dances his way back down the street zigzagging through oncoming passerby. He’s got John L. Sullivan (an impeccably cast Ward Bond) on the mind now. Because there was no bigger national hero, icon, and legend than John L. Sullivan. The film even evokes the famous phrase, “I just shook the hand that shook the hand of John L. Sullivan!” He was that big of a celebrity.

Backed by William Frawley in his corner, Corbett is soon on the rise taking on anyone who will get him some visibility. In the ring, the suave-looking Irishman is a model of agility and impeccable footwork. Though Flynn, to his credit, stood in for most of the scenes his flying feet were spotted by world-class former welterweight Mushy Callahan.

Many of the sequences capture the immersive even suffocating atmosphere of a boxing match through fairly furious cutting, especially for an old film. Inserting shots of the ring, mincing feet, and a flurry of audience reactions throwing together a swirling experience.

The most frenzied is a back and forth river barge slugfest with haymaker after haymaker flying through the air. Corbett and his hulking opponent wind up decking each other flat again and again.  Flynn takes a plunge into the water only to lay out his competitor for good minutes later.

The victor is finally raised as the police arrive on the scene to crash the proceedings and all the spectators jump ship in the most tumultuous and mayhem-filled denouements to a fight you’ve ever witnessed. The beauty is we get an almost birdseye view of the madness from the cheap seats and we see on what a large scale everyone is frantically escaping. Jumping into the drink. Screaming and shouting. It’s the kind of bedlam that’s contagious and a real enjoyment from reel to reel for some inexplicable reason.

Surely the fight to top them all is Jim Corbett against John L. Sullivan. But just as important as the actual bout is the skirmish going on outside the ropes. As the telegraph lines are flooding the country with news round after round, Corbett’s clandestine backer watches expectantly for him to get clobbered.

Meanwhile, Ms. Ware’s father with a glint in his eye eggs her on very tenderly toward the most antagonistic man in her life and subsequently the most important. In the movies at least, the people who detest each other the most wind up making the most passionate romances.

Aside from love, Gentleman Jim is refreshingly light on heart-wrenching drama or needless sentiment for that matter. It slips up in one solitary moment where a gracious Sullivan looks back wistfully at an illustrious career and pays his respects to Gentleman Jim. If anything it shows that Flynn can play genuine just as he can slather on the charm.

For contemporary audiences, it no doubt carried a sardonic edge as the actor was simultaneously embroiled in a scurrilous court trial that all but ruined his reputation for months on end.

Regardless, standing on its own merit, Gentleman Jim might just be one of my new favorite boxing exhibitions and the key is that there’s seemingly no agenda. It ebbs and flows around a life and characters without concerted realism or a need for continual heightened drama. And yet we still find it compelling and jovial with all sorts of moments worth telling the folks at home about.

In fact, that might just be Raoul Walsh’s finest attributes making every scene, action, brawl, what-have-you, totally immersive, effectively involving the audience through his array of shots. While Flynn and Smith are finally in each other’s arms, Jack Carson makes one final call straight to the camera shouting that the Corbett boys are at it again, duking it out in the parlor. Some things never change and the beauty is that we’re in on the joke as much as anyone within the frame. What a delightful biopic. Shamelessly fun to the very last word.

4.5/5 Stars

The Cincinnati Kid (1965)

Posted on by
4

the cincinnati kid 4.png

The opening images of The Cincinnati Kid are nearly inexplicable but that doesn’t mean they can’t be fun. Steve McQueen brushes past a funeral procession of African-Americans complete with a groovin’ brass band. Then there’s a bit of a needless opening gambit where he’s tossing pennies with a precocious shoeshine boy. If the sequence serves a purpose it’s to indicate the world we find ourselves in — New Orleans during the Depression — and it also says something about our protagonist: He’s a winner.

This was Norman Jewison’s first promising picture to follow up a trio of frothy 60s comedies. As far as star power goes, he couldn’t do much better than Steve McQueen as the up-and-coming “Kid” even if the established star might be a bit old for the role. He’s got the prerequisites, confidence and an emotionless poker face, making him a believable big stakes stud. In fact, he’s one of the best around.

We get our first actual taste of the Kid’s talents when he walks off with the pot after challenging a smug nobody in his bluff and flying out a window before sauntering across the nearby railroad tracks after a washroom altercation. Steve McQueen takes it all in cool breezy stride like he does it every day. In truth, he had an action scene written into his contract for every picture and so the film gets the obligation out of the way early.

Afterward, it settles into its happy equilibrium. Edward G. Robinson is stately with beard and silver hair as Mr. Howard, the veteran of the poker-playing world who has seen a great deal and has remained the best of the best even after all these years. It’s all but inevitable The Kid will have to face him. There is no glory, no true ascension to the top of the pantheon of the greats if he cannot topple the old guard.

The Kid has a girl (Tuesday Weld) who he’s intent to keep around even as she goes back to her hometown for some space. He’s not much for talk and that serves McQueen as an actor just fine, but he does show her that she still means something to him.

the cincinnati kid 2.png

Meanwhile, his buddy Shooter (Karl Malden) lines up a date with The Man himself, Lancey Howard. Though I love Malden to death as an actor, he seems slightly miscast as the veteran card sharp. His wife is another story entirely. We meet Melda (Ann-Margret) as she cuts puzzle pieces to size when they don’t fit together. She cheats at everything. Ann-Margret proves as frisky as a calico cat and provocative as ever; the fire blazes between her and Steve McQueen and never stops burning. The camera seems to love them both. But Melda’s overt advances and The Kid’s passive acceptance do have repercussions. It never reaches the notes of melodrama but it’s no question that feelings are hurt and relations are strained.

What the Cincinnati Kid can’t put out as far as substance, it more than makes up for with an abundance of stylized cool instigated by McQueen. It is rendered through a Depression-era palette by way of the 60s, coquettish dames, and a stunning range of impressive personalities, including a boisterous Joan Blondell, who all help fill out the hazy backroom poker joints.

The steely, unblinking eyes of McQueen are made for the poker table. Then again, the same might be said of Robinson, his face never flinching or wavering, with an air of disinterest to match The Kid’s quiet confidence. They’re two sides of the same deck, both winners.

the cincinnati kid.png

The last 40 odd minutes or so are admittedly stagnant though having McQueen and Robinson around a table together actually does have the pretense of drama thanks to the stakes and the characters that have been brought to the fore.

It’s hardly an expositional movie but we know the archetypes. The young buck out to prove he can be the best. The old white wizard who’s looking to prove he’s not quite ready to call it quits as he attempts to go out on his own terms. Likewise, we have cocky card players who get taken to the cleaners and card dealers who’ve been around but that can’t always keep them out of a bind.

The film benefits by downplaying most of its dialogue-heavy scenes for the more cinematic moments, which essentially get carried by the faces of McQueen and Robinson alone with a room full of hushed onlookers. McQueen was by pedigree an action star and he reveled in those environments but there’s no question he has a certain mettle that makes his battle going toe-to-toe with Robinson equally compelling. And of course, the older man still carries his same self-assured confidence even if his days of being a Warner Bros. gangster have long since passed. It makes The Cincinnati Kid a cinch to be a winner no matter the outcome.

It’s true the picture went through substantial personnel changes including Spencer Tracy dropping out due to his failing health and Sam Peckinpah was also fired as director paving the way for Jewison. Tuesday Weld also ended up in the project instead of Sharon Tate. She’s a meeker performer but perhaps it works better in contrast with Margret’s character because even though they are friends, they also serve as obvious foils for the Kid’s affections.

Watching the beats the story goes through, one cannot help but think we already have The Hustler (1961) with Paul Newman playing much the same role facing off against Jackie Gleason in what proves to be a stellar black and white classic. While that doesn’t nullify The Cincinnati Kid, it does feel like a similar framework. Thankfully, it still manages to be delectable entertainment in its own right. The closing credits are sung by none other than Ray Charles and a relatively downbeat ending, ironically, provides a breath of fresh air.

3.5/5 Stars

Review: Horse Feathers (1932)

Posted on by
1

horse feathers 1.png

At Paramount Pictures The Marx Brothers released a row of comedies with seemingly arbitrary names evoking fauna like Animal Crackers, Monkey Business, Horse Feathers, and of course Duck Soup.  The phrase  “Horse Feathers” is essentially a variation on “Nonsense” though it sounds rather archaic by today’s standards. That hardly detracts from any of its charms as a film.

There must be a location — a place for the brothers to be unleashed upon the world where they can belittle and bash heads all at the same time. What better place than a university campus that pantheon of learning dating all the way back to the Greeks? It commences with a perfect opening ceremony that’s quintessential Groucho.

He accepts his new post by badmouthing his eminent predecessor, pulling on the facial hair of all his eminent faculty, besmirching the reputation of his eminent institution and singing a typically cheeky ditty, “I’m Against It.”

His son played by none other than his younger brother Zeppo has been spending his idle hours outside of the classroom and off the football field in the company of a College Widow (Thelma Todd). Much like “Horse Feathers,” this might come as another antiquated term or at the very least euphemistic. It usually denotes a woman who lived near college campuses to romance male students. She was commonly known to be easy pickings. But that’s enough context. Watch the film and you’ll probably have all the context you need because Groucho wants to get in on the action too — not to mention the other brothers.

However, there’s more important business at hand. Namely the fact that Huxley hasn’t had a good football team since 1888. Even in 1932 that was still a very long time ago. As Groucho notes they’re neglecting football for education. At the behest of his son, he personally heads down to the Speakeasy to dig up some talent. It isn’t the least bit ethical so obviously, the school’s new head promptly heads straight there.

Before he can enter, however, he needs to provide the password and you guessed it the gatekeeper is the bootlegger Baravelli (Chico). Getting inside is more convoluted than you ever imagined. Of course, the actual joint is then Harpo’s personal playground and overflowing slot machine. His hat runneth over so to speak. The steady stream of gags keeps on flowing.

I was genuinely cracking up whilst Harpo stokes the fire with books in Wagstaff’s office Groucho remarks that Baravelli has the brain of a four-year-old boy, and “I bet he was glad to get rid of it.” Classic Marx Brothers.

Follow that up with an invasion of a lecture hall with Chico and Harpo taking up seats in the front row after their typical fisticuffs while Groucho stands by making snide remarks over the professor’s shoulder. Another perfect scenario capped off by Groucho taking over and getting caught in a spitball war with his two most unruly students.

horse feathers 2.png

Next, it becomes grand central station in the promiscuous college widow’s pad with slabs of ice getting repeatedly chucked out the window and Groucho repeatedly breaking up the action and the fourth wall by talking to the audience. He even invites them to go out to the lobby during  Chico’s piano playing. To be honest, I was never that big of a fan. Each of the brothers pays the dame a visit as does her other beau backing Darwin while Groucho constantly makes a chore of carrying out his umbrella and rubbers before exiting the busy room.

We have the resulting romantic date on the lake with the dame conspiring to steal Huxley’s signals. Groucho’s serenade of “I Love You” is the kicker. In fact, it’s very true that everyone says I love you — including each of the brothers — each in a very different way. Meanwhile, Todd assaults Groucho with baby talk and he all but tosses her out of their dingy (in case you didn’t realize, they had Life Savers candy back in 1932).

But the finale comes on the football field and there’s no doubt that Chico and Harpo liven things up. The most storied gags are courtesy of Harpo including a football yo-yo and laying down a minefield of banana peels, and of course chariots. They have no respect for the game. What better way to sum it up than marriage Marx Brothers style. They have no respect for that institution either.

Whether or not its second tier to the likes of Duck Soup (1933) or Night at the Opera (1935) is beside the point aside from being purely dismissive. Watching the boys at work here is arguably as wild and deliriously funny as anything they ever put to film. Here is a comedy that wonderfully condenses all that these brothers stood for as far as comic hooliganism was concerned in a gag reel that never has time to run out of steam. A wonderful summation of what college might be like if the Brothers had ever had the good fortune of making it there. Regardless, it’s a joy to the very last hike and the very last frame of chaos.

4/5 Stars

It Happens Every Spring (1949)

Posted on by
2

It_Happens_Every_Spring_VHSDoes this film glorify those who cheat and deceive taking advantage of others through the advances of modern science? Certainly not! Well, maybe a little but this is one of those ludicrous stories that never makes a pretense of being real life or a moral tale for that matter. It’s just a zany story that’s actually quite rewarding to be a part of.

At its core is a middling college researcher. He’s in love with a girl but not rich enough to offer her much of anything. What’s more intimidating is that her father is the dean of the school and Vernon’s tireless amount of research is getting him nowhere fast. Another seemingly trivial detail remains that every spring he gets obsessed with baseball and becomes distracted in his lectures, in his lab, and in life in general.

If you want to think about one of Disneys live-action classics, it’s easy to draw some similarities between this film and The Absent-Minded Professor (1961). In the latter film, flubber is used for an advantage on the basketball court. Here it’s all about baseball.

Vernon Simpson (Ray Milland) discovers the extraordinary characteristics of his new substance methylethylpropylbutyl quite by accident when he rolls a dampened baseball by a block of wood only to have the two repel. His eyes almost pop out of their sockets when it works time after time. The implications are simple. He can harness this discovery to make it in the MLB and S.T. Louis has aspirations for a pennant but needs pitching. This is his chance to realize his dreams.

The film admittedly doesn’t explain much about why Vernon is infatuated with baseball. Perhaps it was enough that most Americans still were taken with it since it was “The National Pastime.” Regardless, he hurriedly gets a leave of absence from work and provides a cryptic message to his girl not to worry about him.

His baseball career as chronicled by the film is a meteoric rise that totally revels in its completely ludicrous nature. He walks into the clubhouse talks with the manager (Ted De Corsia) and the teams head executive (Ed Begley) who doubt this adamant thick-headed nobody who brags he can win 30 games. Boy, does he shut them up and they’re glad he did.

Most everything is textbook as far as a film about a science researcher playing major league baseball and using a miracle substance to win ballgames can be. His girlfriend thinks he’s involved with the mob. He tries to keep his true identity a secret under the pseudonym King Kelly, and he begins to form a bond with his veteran bunkmate and backstop Monk Lanigan (Paul Douglas). I’ve always been a fan of Paul Douglas as an actor because he plays his characters straight with a gruff yet palpable sincerity. It’s little different here. Milland though hardly an American bred on stickball nevertheless is a charmingly scatterbrained lead.

I didn’t realize it until now but I’m rather fond of science fiction baseball comedies. It breaks every rule of baseball. It’s absurd. There’s so much to call into question and yet I don’t want to. But just for the fun of it all, let’s look at a few obvious inaccuracies from It Happens Every Spring.

King Kelly would never get a win if he came into a game that his team was already winning and yet he asks for $1,000 in compensation for such an appearance. Furthermore, it looks like he’s committing a balk about everytime he winds up. And if he’s not then baserunners would be stealing on him all day because he never pitches from the stretch. He’d be an easy target.

Believe it or not, Kelly actually doctoring the baseball, secret formula aside, definitely is not all that ludicrous. Pitches such as the spitball and scuffball were famously used in the games early days. Pitchers like Burleigh Grimes, a personal favorite of mine, made a living off the pitch and though the spitball, in particular, was outlawed in 1920, pitchers like Grimes were grandfathered in. He continued throwing it until 1934.

Still, that didn’t completely deter later pitchers from using it like another Dodger great Preacher Roe and then Gaylord Perry in the modern era. As long as you didn’t get caught there was no recompense and the same can be said of Kelly. Again, we’re not glorifying cheating. Don’t get any ideas.

3.5/5 Stars