Die Faust im Gesicht

I don't think I had ever seen this movie from beginning to end before but had the chance to do so when it came up recently on a cable channel. One feels, after watching it in its entirety, as one does after having listened to Mahler's 9th symphony - you are emotionally drained and devastated. The movie is Exhibit A in the prosecution's case that movies were better made in the past than today. It is impossible to imagine something this excellent being produced today. The movie makes no plays for cuteness or humor, and never seeks to soften its razor-sharp edges. It is grittily real from beginning to end. Actually, it surpasses reality, as all great art does, in letting us look starkly into the cruel realities of human existence. The acting is absolutely top-notch from all the leads. One is reminded that Jackie Gleason, after all the eye-popping excesses of "The Honetmooners" (as great as that series was, for what it was) was a truly superb actor. I cannot think of a movie in which Anthony Quinn surpassed himself in his role as Mountain Rivera - tough, beaten up, beaten down, loyal, honest and yet with a sensitive core deep within. Mickey Rooney shines just as brightly. The script is brilliant, economical, realistic, and revelatory of the characters; we forget just what a brilliant writer Rod Serling was. Of course one of the reasons the movie could not be made today is that it forgoes the obligatory happy ending (which was used, evidently, in the TV version); the movie follows its dark logic all the way to the final, devastating scene.

Jackie Gleason is in his element as promoter/manager/trainer of a broken down end-of-the-road boxer "Mountain Rivera" played brilliantly by Anthony Quinn. After 17 punishing years getting battered in the Ring "The Mountain" sports the scars, brain paralysis and the "shot" hoarse voice of an ex-fighter who is played to the hilt by Quinn. Mickey Rooney as "Mountain's" trainer is also sensational in his role. The whole cast in this film is simply fantastic. The writing of Rod Serling (of "Twilight Zone" fame) is masterful to say the least. Julie Harris who tries to provide hope for Rivera's future is beautifully and "tenderly" rendered on screen. The sleazy nature of the boxing business in the seedy surroundings of the cockroach infested hotel rooms is starkly defined in this black and white celluloid. There is a scene with Mickey Rooney and Jackie Gleason playing cards reminiscent of "The Honeymooners" with Art Carney when Gleason explodes in exasperation at Rooney who delays playing his hand at "gin" rummy. This is a taut and brilliantly portrayed film that everyone should see. Muhammed Ali (as Cassius Clay) is hauntingly shot at the beginning of the film. Jack Dempsey, the former heavyweight champ, is also shown at his restaurant in New York. The corruption and fear in this business is tellingly displayed. In fact this is a "must see" and "must own" kind of film. A Knock Out! As an aside, Jackie Gleason was so great on film partly because of his experience in live vaudeville shows. He grew up in abject poverty as a boy. This forced him out at an early age to make a living. The greatness came from hard times, talent and an insatiable work ethic. Thus the great talent of Jackie Gleason began to shine to the point of dethroning Milton Berle out of the top TV spot in 1954 as "The Honeymooners" stormed on screen. So many great talents from this era developed in the same way. Poverty and hard times had a way of producing talented star entertainers in the 30's and 40's. Perhaps this explains the lack of talent on screen today.

Rod Serling, of Twilight Zone fame, deserves kudos for this wonderful screenplay about an over the hill fighter played by Anthony Quinn, whose life and legend are at the behest of his corrupt and cynical manager, Jackie Gleason. Trainer Mickey Rooney is the only person in cinematic history who can call Gleason a "fink" and make it sound authentic. When Quinn's character can't cut it any longer, he tries to find meaningful work. However, he's taken one too many blows to the head, and has offered his allegiance to someone willing to betray him for a hint of the glory of the old days. Quinn's performance as the punch drunk fighter is full of pathos and extremely well done -- his finest hour in my opinion. Serling has much to say about the human spirit, love, and friendship gone awry. Beautifully photographed in black and white, this film deserves multiple viewings.

This Rod Serling written story originally was televised on the old CBS Playhouse 90 program which was live TV. This film produced by David Susskind sticks pretty much to the Playhouse 90 version with a few variations and a couple of characters. Anthony Quinn seems more like a heavyweight than Jack Palance did for one thing and the individual that Maish Rennick is in debt to is also more colorful than in the Teleplay. Jackie Gleason, Mickey Rooney and Julie Harris are as good in their roles as the actors who were in the Teleplay. The ending is slightly different and I found it to have more stark realism than the Teleplay. Check out the fighter that Mountain is in the ring with when the film starts.

The sport of professional boxing takes another beating in this tragic and powerful re-make of the Rod Serling Playhouse 90 teleplay. The film opens from the viewpoint of Mountain Rivera, a once ranked heavyweight, being pummeled by a youthful Cassius Clay. Rivera loses the fight, beaten so senseless that when asked where he is (NYC) he responds "I'm in Pittsburgh and its raining". When the the fight doctor examines him he makes it clear this broken down pug is all washed up. This puts his manager Maish in a bind since he bet Mountain wouldn't get past the fourth round with some thugs who also lost money because of his guarantee. Maish needs cash fast and the only way he can get it is to get his washed up fighter to wrestle. Rivera considers it degrading (remember it's 1962) and refuses.

Requiem is top heavy with strong performances from its quartet of leads. Jackie Gleason as sleazy Maish is given more to work with here than his Oscar nominated Minnesota Fats. He's a desperate man, wracked with guilt but ready to sell out Mountain to stay breathing. Mickey Rooney gives probably his finest adult performance as Army, the trainer who has Mountain's best interest at heart. Julie Harris as the social worker assigned to find him employment seems incapable of giving anything less than solid performances in everything she does and she does not disappoint here. Then there is Anthony Quinn doing what he does best but this time with a battered machismo that's barely holding together. Body broken, dreams shattered, he is a combination of punchy and naive; a hulking gruesome monster, but still a child inside. His plight is uneasy to witness and Quinn in conveying it has never been better.

Also deserving mention is night club owner and performer Madame Spivy playing Ma, the hood owed money. Dressed in a man's trench coat and hat she displays an offbeat menace with a clipped sardonic delivery that makes more than clear she is a woman not to be trifled with.

Director Ralph Nelson keeps things claustrophobic and low lit to emphasize the grim existence of the characters far from the big paydays and glamor of pay per view in Vegas. Their futures seem about as bright as the dark rooms they live in and the empty deserted streets they walk.

While it may not rank as one of the great fight films of all time,(unrestored cuts from the original print hamper the film's rhythm) Heavyweight's combination of excellent acting and story make it worth going the distance.