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Nadie puede vencerme

Título original: The Set-Up
  • 1949
  • Approved
  • 1h 13min
PUNTUACIÓN EN IMDb
7,8/10
11 mil
TU PUNTUACIÓN
Alan Baxter, Wallace Ford, Robert Ryan, George Tobias, and Audrey Totter in Nadie puede vencerme (1949)
BoxingFilm NoirGangsterTragedyActionCrimeSport

Esperando la habitual derrota, un manager de boxeo acepta sobornos de un gánster de las apuestas sin decírselo a su púgil.Esperando la habitual derrota, un manager de boxeo acepta sobornos de un gánster de las apuestas sin decírselo a su púgil.Esperando la habitual derrota, un manager de boxeo acepta sobornos de un gánster de las apuestas sin decírselo a su púgil.

  • Dirección
    • Robert Wise
  • Guión
    • Art Cohn
    • Joseph Moncure March
  • Reparto principal
    • Robert Ryan
    • Audrey Totter
    • George Tobias
  • Ver la información de la producción en IMDbPro
  • PUNTUACIÓN EN IMDb
    7,8/10
    11 mil
    TU PUNTUACIÓN
    • Dirección
      • Robert Wise
    • Guión
      • Art Cohn
      • Joseph Moncure March
    • Reparto principal
      • Robert Ryan
      • Audrey Totter
      • George Tobias
    • 107Reseñas de usuarios
    • 55Reseñas de críticos
  • Ver la información de la producción en IMDbPro
  • Ver la información de la producción en IMDbPro
    • Nominado a 1 premio BAFTA
      • 2 premios y 2 nominaciones en total

    Imágenes88

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    Reparto principal85

    Editar
    Robert Ryan
    Robert Ryan
    • Bill 'Stoker' Thompson
    Audrey Totter
    Audrey Totter
    • Julie Thompson
    George Tobias
    George Tobias
    • Tiny
    Alan Baxter
    Alan Baxter
    • Little Boy
    Wallace Ford
    Wallace Ford
    • Gus
    Percy Helton
    Percy Helton
    • Red
    Hal Baylor
    Hal Baylor
    • Tiger Nelson
    • (as Hal Fieberling)
    Darryl Hickman
    Darryl Hickman
    • Shanley
    Kevin O'Morrison
    Kevin O'Morrison
    • Moore
    • (as Kenny O'Morrison)
    James Edwards
    James Edwards
    • Luther Hawkins
    David Clarke
    David Clarke
    • Gunboat Johnson
    Phillip Pine
    Phillip Pine
    • Tony Sousa
    Edwin Max
    Edwin Max
    • Danny
    Herbert Anderson
    Herbert Anderson
    • Husband
    • (sin acreditar)
    Larry Anzalone
    • Mexican Fighter
    • (sin acreditar)
    Arthur Berkeley
    • Cafe Patron
    • (sin acreditar)
    Phil Bloom
    Phil Bloom
    • Minor Role
    • (sin acreditar)
    Burman Bodel
    Burman Bodel
    • Man
    • (sin acreditar)
    • Dirección
      • Robert Wise
    • Guión
      • Art Cohn
      • Joseph Moncure March
    • Todo el reparto y equipo
    • Producción, taquilla y más en IMDbPro

    Reseñas de usuarios107

    7,810.7K
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    Reseñas destacadas

    9secondtake

    Inside a gritty world of boxing, and inside one boxer's head. Amazing!

    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.
    mcdamsten

    Still Packs A Punch

    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 *****
    8ccthemovieman-1

    'Rocky' Before There Was A "Rocky'

    Fight scenes-wise, this was "Rocky" almost 30 years before there ever was a "Rocky." It was the same kind of unrelenting (and unrealistic in that no matter how bad the beating the good guy was getting, the good guy couldn't lose) boxing action that Sylvester Stallone likes so much.

    But, don't get me wrong, I liked this film. It was good stuff. 'Rocky" was drama, romance while this was film-noir.....and solid film-noir, too.

    Robert Ryan, playing a 35-year-old aging rank fighter, gives it his all against an up-and-coming kid, not knowing that he supposed to take a dive. He finally finds this out (his manager didn't tell him) and by then, he was not going give up trying against his opponent.

    There are so many punches thrown in this four-round bout it will make your head swim. The best part of this film, to me, was the cinematography, which was outstanding. Kudos to director Robert Wise for the photography. There are a lot of nice facial closeups in here, all of which look sharp on the recent DVD transfer.

    Humor is thrown into this film-noir as we see a variety of boxing fans, from the bloodthirsty woman to a fat man always eating to another guy acting out the action while in his ringside seat. They provide some much- needed respite from the grim story. Ryan, as he usually was, is interesting to watch. The ending of the film is a tough one and, I found tough to watch at times.

    Note: the film was done in "real time" - a 72-minute period in the life of the boxer Ryan portrays.
    9hitchcockthelegend

    Don't you see Bill? You are always just one punch away.

    The Set-Up is directed by Robert Wise and stars Robert Ryan & Audrey Totter. The screenplay was adapted by Art Cohn from a 1928 poem written by Joseph Moncure March. The story (played out in real time) sees Ryan as Stoker Thompson, a 35 year old nearly washed up boxer still trundling around the circuit believing he's still got what it takes to become a champ. In spite of pleas from his fretful wife, Julie (Totter), Stoker gets in the ring with Tiger Nelson (Hal Baylor), a man 12 years younger. Unbeknownst to Stoker, though, his manager Tiny (George Tobias) has struck a deal with underworld gangster Little Boy (Alan Baxter on prime sweaty and icy form) for him to take a dive and let Nelson win.

    What first struck me the most watching this was just how vile everyone apart from the boxers are. The fighters are actually the only ones with honesty and integrity running through their veins. These guys are the ones with the self respect being a chief issue for them, they are fighting not just for glory, but for a basic human trait. The first half of the film puts us in the boxers changing room as the fighters wait to go out into the ring. Here we see the number of noble pugilists stripped back to reveal either their fears or their blind beliefs - while they in turn wait to see who comes back victorious or defeated. As they chat amongst themselves the atmosphere is palpable and Wise excellently uses cutaways to the excitable and blood thirsty crowd. The impact is to that of a gladiatorial arena and shows the sport to be seedy yet utterly beguiling at the same time.

    Then it's on to Stoker's fight where Ryan is terrific (he actually boxed for College for 4 years). Thompson is a character so stand up, yet driven by foolish pride, it puts Stallone's Rocky Balboa firmly in the shade, his whole "just one punch away" mantra is truly wonderful and heartfelt and leads to one of those endings that are frustratingly brilliant in its bittersweet closure. The whole fight with Nelson has a beautiful fluidity about it (former pro boxer John Indrisano choreographed it), with Milton R. Krasner's photography keeping it grim and humanistic - both in the ring and out on the darkly lit L.A. streets as Totter's conflicted wife ponders a potential battering for her stoic husband.

    Boosted up by a towering performance from Ryan, and dripping with a film noir sense of desolation, The Set-Up is a simple but powerful boxing gem. A film that gets down to the nitty-gritty of the fighters and the seedy people that surround them. 9/10
    10telegonus

    Knockout

    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.

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    Argumento

    Editar

    ¿Sabías que...?

    Editar
    • Curiosidades
      The clock on the square at the beginning shows 9:05 PM, and the same clock at the end shows 10:16 PM. The movie takes place in real time.
    • Pifias
      After the big fight, when Stoker is in the locker room, he opens his locker and takes out his clothes and shoes. In two subsequent shots his shoes are back in the locker, and then in a fourth shot he removes his shoes from the locker a second time.
    • Citas

      Stoker: Well, that's the way it is. You're a fighter, you gotta fight.

    • Conexiones
      Featured in Film Review: Robert Wise (1967)
    • Banda sonora
      A Touch of Texas
      (1942) (uncredited)

      Music by Jimmy McHugh

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    • How long is The Set-Up?Con tecnología de Alexa

    Detalles

    Editar
    • Fecha de lanzamiento
      • 2 de abril de 1949 (Estados Unidos)
    • País de origen
      • Estados Unidos
    • Idioma
      • Inglés
    • Títulos en diferentes países
      • Combat trucat
    • Localizaciones del rodaje
      • The Hill Street Tunnels at 1st, Bunker Hill, Downtown, Los Ángeles, California, Estados Unidos(Staircase over tunnel scenes, the overlook where Julie contemplates suicide as train passes. Location was the Hill Street Tunnels, including the pedestrian staircase leading to overlook. Location was just north on Hill Street from 1st Street. Erected in 1913 and demolished in 1954 to make way for Los Angeles County Courthouse and Hall of Administration.)
    • Empresa productora
      • RKO Radio Pictures
    • Ver más compañías en los créditos en IMDbPro

    Especificaciones técnicas

    Editar
    • Duración
      1 hora 13 minutos
    • Color
      • Black and White
    • Relación de aspecto
      • 1.37 : 1

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    Alan Baxter, Wallace Ford, Robert Ryan, George Tobias, and Audrey Totter in Nadie puede vencerme (1949)
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