Jagd nach Millionen

One especially noteworthy aspect of this movie is the character of Ben Chaplin, played by the criminally underappreciated African American actor Canada Lee. A trademark of Lee's few but memorable screen roles is how his characters transcend the racial stereotypes of the day (see also his role in "Lifeboat"). Where Chaplin is black, his race is never mentioned, and is never even made an issue. There's no assumption of deferrence to the white characters. He is treated as an equal, which, especially for 1947, is an amazing breakthrough.

The other strengths of the movie, particularly Garfield's performance and James Wong Howe's cinematography, have been duly mentioned in other posts.

In many ways, 'Body and Soul' is a very typical Hollywood story. It has the 'local boy makes it big', the 'vamp and the virgin', the 'corrupt businessmen' and of course the final moral fight. However, James Wong Howe's brilliant cinematography and John Garfield's solid acting lift this movie above the norm. Every emotion is heart-felt, and the tension at the end is perfectly presented. One of the best boxing movies.

This boxing picture deals with the seedier side of the business; (is there any other?). It helps that it was written by Abraham Polonsky whose script is suitably cynical and hard-boiled. John Garfield is the pugnacious fighter easily swayed by the prospects of easy money and not adverse to taking a dive. It's a fine, hard-nosed performance. Garfield was always at his best in roles that required him to battle with his conscience.

The whole movie is well cast. The under-rated Lilli Palmer is fine as the 'nice' girl who loves him as is Hazel Brooks as the 'bad' girl who seduces him while the villains are ably taken care of by Lloyd Gough and William Conrad. Best of all there is Anne Revere as Garfield's mother. (Did Revere play everybody's mother movies?). It's another of her no-nonsense roles. Revere was one tough cookie who kept her heart of gold well-hidden. The climatic fight scene is very well staged and Robert Parrish and Frances Lyon's editing won the Oscar while James Wong Howe's cinematography adds considerably to the realism.

I always thought that John Garfield was one of the most under-rated of actors; he made some great films - and this is one of them. He is the down at heel, amateur boxer "Charley" who lives with his decent and upstanding mother "Anna" (Anne Revere) pretty much hand to mouth. When he wins an amateur bout, promoter "Quinn" (William Conrad) picks him up and starts him earning a little from his fights. Accompanied by his friend "Shorty" (Joseph Pevney) and his gal "Peg" (Lilli Palmer) he starts to attract attention, and when the big time looms he agrees a deal with "Roberts" (Lloyd Goff) and suddenly finds that his standards of morality and decency start to become compromised. His new found mentor is ruthless and his friends are gradually marginalised or ignored. Can a tragedy very close those to home open his eyes? This is a great story of grit and determination, of love, loyalty and manipulation and Robert Rossen keeps the pace moving really well. The cast is small, and the story tightly woven around some strong characters and a moral many can easily understand - money being the root of all evil, however well intentioned the earning of it. It's well scored and the production is photographed cleverly, at times intimately, making for a superior tale well worth watching.

I looked at this as simply a good story, a solid drama that happened to have the sport of boxing figure into it. "Boxing movies." if people insist on labeling this under that category, were particularly popular around the time of this film. Many of them had similar stories about a good guy being told to take a dive or else. Yes, that was in here, too, but it wasn't anywhere near the central part of the story. This film was more of an earlier "Raging Bull"-type tale in that it concentrated on the friends, family, freeloaders, criminals and women surrounding the main male character.

This was more of a story about a decent man who gets carried away with success and with the power and money that goes with it. As good as the lead actor, John Garfield, was in here - and he was good - I was more intrigued with the supporting characters.

Lilly Palmer looked and sounded the part of a refined sweet, pretty French girl (whatever that means) and was a good contrast to the uneducated and quick tempered brute (Garfield). As in so many stories, she wasn't fully appreciated by her man until the end. Anne Revere, as Garfield's mom (she seemed to always play the lead character's mother in 1940s films) was fascinating as she always was and kudos to Joseph Peveny as "Shorty" and Lloyd Gough a "Roberts." Both added a lot to the film. Wlliam Conrad and Hazel Brooks added some great film noir-- type dialog, berating each other once in a while.

These actors, and the photography of James Wong Howe, make this a cut above most if not all the so-called "boxing films."