Charlie Davis, a boxer from New York's East Side, has fought his way out of the slums to become a world title holder, but has sold his soul along the way. Under the ownership of a corrupt promoter he is about to defend is crown and must face the biggest decision of his life if he is to redeem himself. Read more
| Starring | John Garfield, Lilli Palmer, Hazel Brooks, Anne Revere |
|---|---|
| Director | Robert Rossen |
| Genres | Drama |
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The principal interest today of this apparently lost First World War flying-and-spying drama is the brief appearance of Humphrey Bogart. He plays an American flyer in France who dies trying to shoot down a German observation balloon. After Bogey's demise, principal star Charles Farrell falls for his dead pal's widow Elissa Landi, who comes under suspicion of being a spy. The arrival of Myrna Loy, also claiming to have been Bogart's dame, complicates matters. The script is by Jules Furthman, who is notable for his work with directors Josef von Sternberg and Howard Hawks, but this film was directed by the lesser known Alfred Santell.
Melodramatic but absorbing study of prizefighting's seamy side. (Is there any other?) Inventively studio-bound and almost impressionist in treatment.
Somewhere or other I read that this was a great boxing movie. I was a little wary (if it is so good how is it I've never heard of it?), but it is a fine film. The plot is melodramatic, but John Garfield is terrific as the boxer and Lilli Palmer is so sexy! William Conrad breathes life and complexity into the small-time manager. Shot in crisp, contrasty black and white each scene smokes with tension and testosterone. The big fight finale is superb: gripping and utterly believable.
Of course, Body and Soul is of its time and. by today's standards, elements seem a little stilted and hammy. If it's not quite Raging Bull - it's a good film: and it's probable that without this film to show the way there would have been no Raging Bull.
Having avoided any films 'about boxing' I was recommended this by an older friend who saw it when it wsa first released. A fine film - beautifully shot, well acted, more to say about society at the time than the sport - perhaps I should give Raging Bull a chance!
Another great performance from John Garfield in this powerful pugilistic drama which uses boxing to denounce capitalism and the falsehood of the American Dream. Garfield becomes a boxing champ to help his impoverished mother but with success comes cheap broads, crooked promotors and late night temptations. The fight scenes, filmed on roller skates using a hand held camera and so admired by Martin Scorcese when making Raging Bull, adds a realism which strengthen the film's standing as a classic.
Another great performance from John Garfield in this powerful pugilistic drama which uses boxing to denounce capitalism and the falsehood of the American Dream. Garfield becomes a boxing champ to help his impoverished mother but with success comes cheap broads, crooked promotors and late night temptations. The fight scenes, filmed on roller skates using a hand held camera and so admired by Martin Scorcese when making Raging Bull, adds a realism which strengthen the film's standing as a classic.
A boxer is waiting before an important bout which his manager/promotor has told him to lose and looks back upon the path that lead him there. A tale of how corruption can infect the simplest of activities like trying to knock someone out as painfully as possible. It shows the ups and downs, the hard working parents, the close friend, the girl next door type girl and the good time girl. Its fair bit of hokum but stands up well to films like Rocky and well above the sequels and the fight scenes are a lot maore authentic. Good for boxing and drama fans.
Somewhere or other I read that this was a great boxing movie. I was a little wary (if it is so good how is it I've never heard of it?), but it is a fine film. The plot is melodramatic, but John Garfield is terrific as the boxer and Lilli Palmer is so sexy! William Conrad breathes life and complexity into the small-time manager. Shot in crisp, contrasty black and white each scene smokes with tension and testosterone. The big fight finale is superb: gripping and utterly believable.
Of course, Body and Soul is of its time and. by today's standards, elements seem a little stilted and hammy. If it's not quite Raging Bull - it's a good film: and it's probable that without this film to show the way there would have been no Raging Bull.
Having avoided any films 'about boxing' I was recommended this by an older friend who saw it when it wsa first released. A fine film - beautifully shot, well acted, more to say about society at the time than the sport - perhaps I should give Raging Bull a chance!
Another great performance from John Garfield in this powerful pugilistic drama which uses boxing to denounce capitalism and the falsehood of the American Dream. Garfield becomes a boxing champ to help his impoverished mother but with success comes cheap broads, crooked promotors and late night temptations. The fight scenes, filmed on roller skates using a hand held camera and so admired by Martin Scorcese when making Raging Bull, adds a realism which strengthen the film's standing as a classic.
A boxer is waiting before an important bout which his manager/promotor has told him to lose and looks back upon the path that lead him there. A tale of how corruption can infect the simplest of activities like trying to knock someone out as painfully as possible. It shows the ups and downs, the hard working parents, the close friend, the girl next door type girl and the good time girl. Its fair bit of hokum but stands up well to films like Rocky and well above the sequels and the fight scenes are a lot maore authentic. Good for boxing and drama fans.
Another great performance from Garfield!
The principal interest today of this apparently lost First World War flying-and-spying drama is the brief appearance of Humphrey Bogart. He plays an American flyer in France who dies trying to shoot down a German observation balloon. After Bogey's demise, principal star Charles Farrell falls for his dead pal's widow Elissa Landi, who comes under suspicion of being a spy. The arrival of Myrna Loy, also claiming to have been Bogart's dame, complicates matters. The script is by Jules Furthman, who is notable for his work with directors Josef von Sternberg and Howard Hawks, but this film was directed by the lesser known Alfred Santell.
Melodramatic but absorbing study of prizefighting's seamy side. (Is there any other?) Inventively studio-bound and almost impressionist in treatment.