Ring frei für Stoker Thompson

This is an awfully hard and brutal movie, produced at the end of the brief, rather high end Dore Schary regime at RKO (1946-48), just prior to Howard Hughes' purchase of the studio, which led to the company's slow, agonizing decline that forced it, or rather its new owners, to close it down ten years later. It's the story of an aging boxer, over the hill but still harboring a measure of optimism, really a sort of pride. In this tragic role Robert Ryan is superb. Tough, compassionate, deeply ethical, realistic, and yet with just enough of the dreamer in him to keep him emotionally afloat, Stoker Thompson represents the best qualities of the so-called common man. In an earlier, more heroic age, he might have been a knight; but alas we do not live in such a time, thus his personal qualities go unnoticed by all but his wife. In this role, Audrey Totter is almost as good as Ryan. Some of her scenes are unforgettable, as when she tears up the ticket to her husband's fight and throws it over the bridge into the steam of an oncoming train; or when she watches a bunch of silly teenagers "play" at boxing with a couple of performing puppets, which at first amuses her, then horrify her when she realizes her own and her husband's fate in this little "play" scene.

The film is a masterpiece of design and composition. Director Robert Wise never made a better picture than this. The movie, like High Noon, plays out in real time, and as a result has an air of urgency to it. Adapted from a poem by Joseph Moncure March, which tells essentially the same story, but with the main character a black man, Wise and scenarist Art Cohn take considerable liberties here that purists' might not care for. In the poem the setting is New York, while in the movie it's a tank town called Paradise City, a far cry from New York even if it's in fact less than a hundred miles away, upstate, or in New Jersey or Pennsylvania. The film never makes this clear. Here and there hints are dropped that the setting might be California. It doesn't matter. The Paradise City boxing arena is a place for young guys on their way up and old guys on their way down. It's a million miles from Madison Square Garden, and that's all that counts.

The film's settings are beautifully realized; and Milton Krasner's photography is no less brilliant. The central street, all blinking lights, and yet shadowy and black in odd places, is a perfect visual metaphor for the action of the film; while seldom have the denizens of a small city looked more menacing. Men in garish ties and fedoras jostle each other on the sidewalk as they pass by. They are a hard, apathetic breed, and hungry for sensation. Inside the arena we see humanity at its least admirable, as there is an undercurrent of sadism in even the most innocuous-seeming fight fans, such as a blind man ("go for his eyes!). We sense that these people come not so much to see a favorite boxer win as a hapless boxer lose.

In the center of all this is Stoker, a man with character surrounded by people who couldn't care less. As his handlers, a porcine, toothpick-chewing Percy Helton, and a thick-witted George Tobias, are superb. In a somewhat smaller role, Edwin Max, in pinstripe suit, with pencil-line mustache's, and what look like three soggy Salada tea bags under each eye, is visually perfect as a small-time something, not even hood, just a guy who runs around and does things for the big guy, played by Alan Baxter, a sort of anti-Stoker, a man without qualities who goes to great lengths to show that he has class and principles, when in fact he has neither. The man is a monster, and he doesn't even have guts. When Stoker punches him in the face he lets his goons do the dirty work.

The interior lives of the two main characters in this film suggest an affinity with the humanistic stoicism Hemingway, while the surface is closer to Weegee and Walker Evans. Overall, though, the movie is pure RKO; its courage-in-the-face-of-adversity theme suggests, almost uncannily, this odd man out among the major studios' history and future, and the best qualities of those who worked there.

Overshadowed by the more heralded The Champion in 1949, I like this movie better. Maybe the grittiness of this one with its unrelentingly seedy environment and no obvious feel good outcome made it less popular at the time. After seeing it for years on cable, a most welcome sight on DVD. Certainly an Oscar caliber performance by Ryan. The direction and cinematograpy also Oscar worthy. The boxing match itself is a classic, convincingly choreographed. The whole cast down to the smallest part is uniformly fine, with many memorable faces. The sense of anxiety we feel for Stoker mixed with hope and fleeting elation makes quite a compelling story. The movie is 71 minutes and is in `real time` ****1/2 out of *****

Bill "Stoker" Thompson is 34, not old perhaps but in the world of boxing that makes him an old man. Despite the protestations of his wife Julie, Stoker still believes that one more punch, one more fight will see him making it into the marquee fights and the big time rather than being on the support bill. As he waits in the dressing room full of similar hopefuls (some his age and tired, others just starting and full of big dreams) his trainer is busy making the fix with the opposition – for Stoker to go down like a $10 ho and not last the distance. However, Stoker isn't told as his manager assumes that Stoker losing is a given and that the "fix" is unnecessary and easy money for them all; however with Stoker feeling this is "the one", it may not be that simple.

Although Rocky is the one that most people will throw at you when you ask them to name a great boxing movie, The Set-Up is much, much more interesting as its aspirations are empty, its sights never getting much beyond the gutter and the men merely small players in a game that never plans for them to win. The narrative is essentially about Stoker entering a fight not aware that he has already been bought to lose but the actual film is much better than this limited plot suggests. For much of the first third we are treated to an intimate look at the small time boxers – whether it be the punch-drunk old timers or the youngster who believe that they will only be doing this level for one or two fights before hitting it big. This is the reality – as much as we love to see the Rocky tale of the underdog getting his day in reality the underdogs of life generally remain just that – underdogs. In this section of the film this is very well painted and, although the characters are not deep enough to be people they are definitely well enough written to be interesting and engaging.

The other two thirds of the film are concerned with the fight and the aftermath, with the fight taking up the majority of the second half of the film. The fight is realistic and tense throughout, I was genuinely unsure how it would go. The aftermath is short and punchy (sorry!) and is effectively dark and gritty for it. The end result is a film that is dark, low key and gripping throughout; it exists in the gutter, in the small time where all our characters seem destined to remain regardless of heart or talent. The cast deliver well, particularly the lead role from former college boxer Ryan. He is really in touch with his character and delivers convincingly in his dialogue, his boxing and his mannerisms; while in the dressing room his facial responses to other boxers show thoughts within his head and conflicting emotions that his experience and age allow him. He is the dominant figure of the film and his is a great performance. Totter is a little less refined but her emotional delivery works well in both of her main scenes with Ryan – although her wandering the streets could perhaps have been trimmed a little bit. The support cast are less well written but do still play their parts well enough but it is Ryan's film and worth seeing for him alone.

Luckily he is not the only reason to see it as the film is engaging, well written, dark, gritty, tense and very enjoyable. The lower number of votes (and potentially therefore, younger viewers) is a tragic state of affairs considering the class on display in this short punchy product and I for one will be answering "The Set-Up" when asked to name a great boxing movie.

The Set-Up (1949)

This might be the best boxing movie ever made. It's kind of the opposite of "Rocky," of course (this one is about the small points, and not about becoming champion). But it's also the opposite of the two other classics that come to mind: "Raging Bull" and "Body and Soul."

Director Robert Wise made sure that everything here felt authentic and gritty--almost too authentic and gritty. You marvel at all the types in the crowds, inside and outside the ring. You notice the small rooms, the ordinary props, the lack of glamour. If you aren't afraid of the word mise-en-scene, this has created it perfectly. It's transporting.

And moving. Robert Ryan in the lead pulls out some of his best, subtle reactions. He's sometimes prone to strained expressions that may not always fit his character, but here he is thoughtful and determined and showing signs of being the old wise man in the crowd as the younger boxers act cocky or scared.

Then there's the plot drawn out of the title. It's a good thing this doesn't dominate the movie, at least not until the end, because the real plot has to do with a man coming to grips with the end of his career. And with a woman who loves him truly. It's great stuff.

More than a movie, this is an urban nightmare with an atmosphere thick enough to drown in. It's a vision of some never, never land of unending shadows, cheap neons, and snaking lines. Delirious pleasure seekers crowd "Dreamland" and the "Fun Arcade" or slip into the burger joint for a greasy slab, while overhead a band blares out a feverish tune. Soon the delirium spreads out into the dark as far as far as the eye can see. And through it all, weaves the camera, in and out, as though we too are trapped in the urban inferno.

Except the real pleasure-seekers crowd around a cone of shrunken light. Beneath the bulb, endless rounds of sweaty hopefuls beat out their brains for a few bucks and the roar of blood-lust delight. There's the fat guy stuffing his mouth with each hammer blow, the timid housewife shrieking along in ecstatic release, and the office guy shadow-boxing with the boss's kisser. And in the snake pit's center, there's an old guy, beaten and bloodied, trying to salvage some dignity before he checks out for the last time. Likely, he's the only one who cares. Yeah, it's a great little movie, maybe the best ever on boxing-- with an iconic Robert Ryan, an over-scrubbed Audrey Totter, and a reptilian Alan Baxter. Don't miss it.