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This was certainly not the most original movie made by Warner Brothers, but it was an excellent showcase for the talents of Edward G. Robinson and cast. It's a perfect example of the type of film this company made so well in the 1930s--a simple and predictable story combined with excellent dialog and acting and breezy direction. While this story will not change the world, it is well worth the watching. By the way, this story has been remade several times---such as THE WAGONS ROLL AT MIDNIGHT (with Humphrey Bogart taking on the Edward G. Robineson part and Eddie Albert playing a lion tamer instead of a boxer) and KID GALAHAD (with Elvis). None of these films are quite as satisfying as this film. So my advice is, if you only want to see one, watch this one.

Edward G Robinson in any movie is a must see for the man loved what he did and he did it for us. Here is another fine flick for him to ply his wares and woo us over into the land of entertainment. Who doesn't like a rag to riches story which is really about the common man and his dreams. Some no-body guy wants to save enough money to buy a farm and in America there are many ways to do this. This movie shares one of them. Heart-strings will be pulled upon as there is not one but two love stories going on here, a real good bad guy, good guy and a hero. Special mention to Humphrey Bogart who doesn't disappoint. Watch the close-ups on his face during the fight matches. When things go well, Bogie gives his best facial and if they go less than well he gives his worse facial expressions. Of course what could be more rousing than a good fight to end the story with? Also notice the stands in the fight scenes. Long has every fight movie had to shoot the upper seats in darkness while some used cardboard cut-outs to fill in those seats. After all, how many extras do you want on payroll? In this movie they even turn on the lights so we can see everything real or not. Imagine going to see this decades ago, 25 cents, popcorn, cold drink and either with your girlfriend or some buddies. Great night out and it still holds! This is entertainment with...

This 1937 boxing film from "Warner Bros," is a well-crafted classic with some good boxing scenes and typically great performances from Edward G. Robinson and Bette Davis. Humphrey Bogart is given the thankless role of that of another gangster but he still adds something to "Kid Galahad." Robinson is a boxing promoter who needs a winner in his stable of prizefighters after he fires his latest protégé. A young bellhop shows some potential and Robinson trains him as the next heavyweight champion, potentially. The path to success is not easy as Robinson tries to avoid the wrath of Bogart and his mob of fellow hoodlums. What also doesn't help, is Robinson having a jealous streak regarding Davis and his being overly protective of his younger sister. Bette Davis is largely written out of the film after 53 minutes but she still makes a valuable contribution. The plot is quite straightforward and the pace is very snappy. The dialogue is pretty good for a film of this kind. It helps if you are a fan of the boxing sport because you will enjoy this film even more. Michael Curtiz displays his brilliance with the direction and keeps any unnecessary subplots out of the narrative. "Kid Galahad" was remade with Humphrey Bogart in "The Wagons Roll at Night," which is vastly inferior. This 1937 film is a classic.

A commiseration party after a loss, leads to conflict where a bellhop gets quite cross, goes toe to toe with Turkey's lad, then gets the name Galahad, it's not too long before he has a brand new boss; who then puts him through the ring to fight and maul, this pugilist is handsome and he's tall, a trip to the countryside, he finds a girl to make a bride, but there's one whose eyes with tears cascade and fall; then a chance to fight to become champion, the crowds are buzzing this will be a great dingdong, but the tactics just confuse, you're set up to fail and lose, has the promise and potential, all gone wrong.

Bette Davis was HOT! If anyone doesn't believe it, watch this movie. This movie features a lot of great actors but none of them even come close to matching Bette Davis. She is HOT! She makes this movie happen. Much of the movie is stagy and predictable, but Bette Davis is like a diamond. She sparkles. She shows what she's got and what she's got is a lot. She was ALL woman. Voluptuous. Pouting lips. Big, round eyes. Lovely hips. She had it all and wasn't afraid to show it off. And she could act! No wonder she was in so many great movies. Looks and talent. No wonder she's a legend. Humphrey Bogart and Edward G. Robinson were great as tough fight managers. Wayne Morris was also impressive in the title role. He really looked like a prize fighter and the whole movie exudes the atmosphere of the arena and locker room where much of the action takes place. When you watch Wayne Morris in this movie, you have to like him. A real star. But all that takes second place to Bette Davis in what had to be the hottest role of her career. It must have been a wonderful experience to be part of the production crew and watch Bette Davis act or just to be around her. She was a star.

I'm kind of disappointed that I didn't send in my comments after I saw this film. This was an extremely enjoyable film. As a fan of Edward G. Robinson, I can say with great enthusiasm that he doesn't disappoint. Bette Davis is up to her smart-as-a-whip self which makes it even more entertaining. Humphrey Bogart puts on a role of a scheming man that makes him look better than he already is.

Near the end, the film started to derail a bit and got a bit pointless, but it was all in good taste. It was also well-directed with Michael Curtiz at the helm. I couldn't imagine anyone else directing this. Boxing fans and movie buffs, see this film immediately. This is one film you will not want to miss.

There were two primary reasons for seeing 'Kid Galahad'. One was for the cast, Edward G. Robinson, Bette Davis and Humphrey Bogart were three of the all-time greats and seeing them in the same film seemed to be even more irresistible than seeing them individually. The other being that it was directed by Michael Curtiz, who directed two of my favourite films 'Casablanca' and 'The Adventures of Robin Hood'.

Neither the cast or Curtiz disappoint, and neither does 'Kid Galahad' as an overall film. It is not among the best of all involved, Robinson, Davis and Bogart did do better films and performances and when thinking of classic Curtiz 'Kid Galahad' to me is not quite there but very nearly is. It is still extremely entertaining and handled so cleverly, with everybody involved on never less than good form (top form actually), and is much more than a boxing/sports film (of which it is a fine example of how to do it well). Actually remember the film more for the drama, relationships and insights. It has been often compared to its remakes 'The Wagons Roll at Midnight', which also featured Bogart, and the Elvis Presley musical version from 1962, and of the three this is by quite some way the best.

'Kid Galahad' may not have one of those stories full of surprises, can understand the predictable criticisms from anybody who have seen similar tropes in films frequently since before seeing the film.

It also doesn't always have the most refined of production values, mostly they come off well but some occasional hokiness in the fights from being a little over-kinetic.

Wayne Morris, whose career sadly faded into relative obscurity not long after, however is immensely likeable and easy to engage with in the title role, making the character very rootable. Even better are the three stars 'Kid Galahad' was seen for. Robinson is a very commanding and full of life screen presence, while pre-true stardom Davis and Bogart make every bit as strong impressions. Davis is both alluring and witty, while Bogart is malevolently tough and perhaps at his meanest without overdoing it. Jane Bryan is occasionally on the sugary side but mostly is very charming. A great job is done making the character relationships and conflicts interesting without it getting too over-heated.

Curtiz directs with no signs of breaking momentum or losing control, while the editing is mostly tight, cohesive and keeps things moving nicely (if at times in need of a slowing down). The story does generally absorb and the fights are excitingly and dynamically choreographed and even if the outcomes are not in doubt there is still a sense of fun and danger. Other than Robinson, Davis and Bogart, a big star here is the script, sharp-witted, taut without any extraneous fat and with intricate insights on manners and morals.

Overall, extremely entertaining. 8/10 Bethany Cox

Warner Bros. mix of gangster grit and boxing sweat has fight manager Edward G. Robinson battling with nemesis Humphrey Bogart over fighters, egos, and money (the only thing they don't argue about is dames!). Matters are complicated by a fresh, innocent rube, a bellhop with a right hook whom Robinson wins the confidence of. Bette Davis is Eddie's right-hand-gal who falls in love with the polite, shy Wayne Morris against her better judgment, while Jane Bryan as Eddie's kid sis wins the boxer's heart after graduating from convent school. Based on a Saturday Evening Post story, this smoky, super-emotional and physical melodrama allows each of its players to shine (except for Bryan, who isn't in the same league as the others). Michael Curtiz directed with skill and speed, though an early boxing sequence is too fast (with the film mechanically speeded up for no apparent reason); other scenes in the ring also look hokey, although these are the only incidents which do. Curtiz is amazingly adept at handling actors, and Davis is girlish and positively charming making sweet and light conversation with Morris, whose aw-shucks smiles at her tell us everything we need to know. Later remade as one of Elvis Presley's better pictures. A big fat hit. ***1/2 from ****

It's always hilarious today to see films where people like Lucille Ball and Bette Davis, whose voices are so familiar to audiences, are dubbed when singing. Bette's night club number in a rich contralto is a jarring moment in this movie.

"Kid Galahad" is a 1937 film directed by Michael Curtiz and starring part of the excellent Warners roster: Edward G. Robinson, Bette Davis, Humphrey Bogart, Jane Bryan, and Wayne Morris. Morris is a hunky bellboy, nicknamed "Kid Galahad," made into a champion boxer by manager Nick Donati (Robinson); he falls for Robinson's pretty sister Marie(Bryan). Meanwhile, Robinson's girlfriend Louise (Davis) has fallen for Morris herself.

Predictable drama, but the cast is terrific and the film moves very quickly. Everyone is terrific. Bogart was not yet a star, and is effective as Robinson's nemesis, Turkey.

Obviously Warners loved this story - it was remade as The Wagons Roll at Night and later as a vehicle for Elvis.

Boxing stories have always been great film fodder. There isn't anything exceptional about "Kid Galahad" except its cast, and you're sure not going to see the likes of them again.

Director Michael Curtiz was known for manly films like The Adventures Of Robin Hood, Captain Blood, Angles With Dirty Faces but he also directed women's pictures like Mildred Pierce and the musical Yankee Doodle Dandy. This is the first of six films where Curtiz worked with Humphrey Bogart, his most famous is Casablanca.

The powerhouse triumvirate of talent almost overpowers the story. Kid Galahad stars Edward G. Robinson who is wonderful as the headstrong fight promoter, Bette Davis provides romantic chemistry as his compassionate girlfriend and Humphrey Bogart (still early in his career) plays a rival boxing manager that uses gangster tactics to get his own way.

Bette Davis had just returned to Warner Bros. after attempting to walk out on her contract in 1935 when she made Kid Galahad, a hybrid gangster-boxing film in 1937. Although far from the types of vehicles that would make her the studio's top box office star in a few years, it served both her and the studio well. Warner's got her name on the marquee to draw her growing legions of female fans to an otherwise male- oriented film, while she got the chance to appeal to a more masculine audience than usual. The result was a hit for her that would remain a classic boxing flick for decades.

Francis Wallace's novel, which had been serialized in The Saturday Evening Post, was a natural for Warner Bros. with its mix of boxing action and gangland corruption. The studio had the perfect actor for the role of tough fight manager Nick Donati in Edward G. Robinson, who had been a star there since his triumph in Little Caesar (1931). His gangland rival was a good role for supporting gangster star Humphrey Bogart. And the part of the young bellhop who belts his way to victory when the reigning champ puts the moves on Robinson's girlfriend (Davis), would be ideal for showcasing screen newcomer Wayne Morris. Davis was happy to accept the secondhand role, particularly as she was still waiting for the studio to develop a script for her next big vehicle, Jezebel (1938). She was also eager to work with Robinson, but after one day of shooting, he went to production chief Hal Wallis to demand she be replaced. In his opinion, she was little more than an uncontrolled, although gifted amateur. He would repeat that assessment in his memoirs, arguing that she had left the stage for Hollywood before developing control of her craft. Davis never spoke ill of Robinson, though she observed wryly in later years that he had stopped shooting during a death scene to complain to director Michael Curtiz that she and co-star Jane Bryan were drowning out his final speeches with their sobbing. The stars would never work together again.

One lasting relationship that came out of the film was between Davis and Irving Rapper, who would direct her biggest hit, Now, Voyager (1942). Rapper had just been hired as the film's dialogue director when, on his first day, he watched Curtiz staging a fight scene between Davis and Robinson. When Davis failed to respond properly to a shove from Robinson, Curtiz yelled, "That's not the way to fight, you damn bum!" Davis asked him to show her what he wanted, so Curtiz took her place in the scene. Robinson didn't want to throw the director around, afraid the larger man would hurt him, but he got into things when Curtiz started playing the scene as a Davis imitation. When Robinson pushed the director, he banged into a table and bounced back, almost knocking over his leading man. Davis got the point and stepped into the scene. But Robinson forgot to adjust the shove for his much lighter leading lady, and she went flying across the stage, landing in Rapper's lap. "My God, who are you?" she asked. When Rapper introduced himself as the film's new dialogue director, she quipped, "Thank God you caught the ball!" The boxing scenes were as real and brutal as any filmed previously. After the scene in which Morris knocks out a boxer in the ring, Curtiz screamed that it looked fake and demanded a re-take. But they had to wait for the actor to regain consciousness; he really was down for the count. When Kid Galahad came out, the author Wallace was so impressed he sent Morris a telegram, "Thank you for bringing our boy over the border of fiction into reality."

Kid Galahad was a hit with critics and audiences alike, with many of them praising Robinson and Davis for their professionalism and singling out Morris as a bright new talent. Ultimately, the studio would fail to come up with suitable follow-ups for the young actor, who would fade into supporting roles his best being in Stanley Kubrick's Paths Of Glory.

Many critics also hailed the film as the best boxing picture to date. Please notice the fine character work of actors: Harry Carey as the trainer, Jane Bryan as Robinson's sister, William Haade as the Champ and Joe Cunningham as the reporter.

Finally when The Mirisch Bros. bought the story as a vehicle for Elvis Presley (with Gig Young and Lola Albright in the other leads), Warner's re-titled Kid Galahad for television prints as The Battling Bellhop to avoid confusion with the Elvis re-make which was now a comedy-musical-boxing-drama.

The presence of a trio of some of the best Warner Brothers players from the studio era makes Kid Galahad worth watching. You cannot possibly go wrong in a film that has Edward G. Robinson, Bette Davis, and Humphrey Bogart.

After a fight where Robinson's fighter is knocked out by Bogart's pugilist, Robinson throws a party any way. Robinson's palooka lost because he didn't listen to instructions. Bogey and his fighter William Haade come in anyway. During the festivities, William Haade gets fresh with Robinson's girl, Bette Davis, and young bellhop Wayne Morris flattens him with one punch. Robinson thinks he's found a new heavyweight.

I doubt there have been too many people more innocent portrayed on the screen than Wayne Morris in this film. The gawky country kid who comes off like a young Jimmy Stewart with a little more meat on his bones manages to get both Davis and Robinson's kid sister Jane Bryan interested in him. That ticks off Robinson considerably and he starts looking at Morris in a new and bad light.

Of course the presence of those three Hollywood legends makes Kid Galahad watchable. Davis with little to work with turns in a good performance as the decent girl friend of Robinson who while she's been around the track a few times, has a good heart. Jane Bryan is appealing herself as the sister. She retired early from the screen when she married Justin Dart the founder of Rexall Drugs. Later on Dart became an early backer of another Warner Brother contract player named Ronald Reagan when he opted for politics. Bryan by then a fashionable society hostess was also a big backer of the Gipper.

Robinson is good, his fanatical interest in protecting his sister is not as bad as Paul Muni with Ann Dvorak in Scarface, but pretty close without crossing over into incest. Humphrey Bogart is also fine as the mobbed up manager, a type all to familiar in boxing.

Kid Galahad is dated, you couldn't have someone today as innocent as Wayne Morris is portrayed on the screen, the film would be laughed at. But those were more innocent times.

Don't be fooled by the starry cast! This average Warner Bros. boxing movie just recycles the usual clichés and mostly generates yawns instead of excitement.

Of course, it's altogether not too bad and the big names get by on pure nostalgia, but the main plot line remains bland and forgettable despite some small touches of interest. The inconsistency of tone is another minus, while the Robinson-Davis liaison certainly has its share of snappy moments.

But naturally, the pic's still miles ahead of the Elvis remake. Yuck!

5 out of 10 'fluffy' Bette Davises

Kid Galahad (1937)

*** (out of 4)

Edward G. Robinson plays fight promoter Nick Donati who thinks he has found a fighter (Wayne Morris) he can take to the Championship. The only trouble is Nick's hot tempered anger, which gets him in trouble with his girlfriend (Bette Davis) and a gangster (Humphrey Bogart) who he double crosses. Not to mention his anger when the fighter begins to date his sister (Jane Bryan). This drama from Warner plays a little too long but there's no denying the extreme fun it contains due to the three legends appearing together as well as the strong supporting cast. The story is pretty predictable if you've seen any of the 30's boxing pictures but then again the genre had pretty much wore itself out in terms of plot details by the end of the silent era. With that said, the story here of a hot tempered manager makes for some nice drama but the story isn't what's going to bring people to this movie. Seeing Robinson, Davis and Bogart together is where the fun is at and the reason why people will be drawn to this film. It's rather strange that the Elvis remake was more popular than this one for sometime but I'm going to guess that was due to this one not being available for so many decades. Robinson turns in a good performance but it's certainly not among his best. Bogart is a lot of fun in his supporting role as the tough gangster. Davis nearly steals the film and delivers a very good performance as the woman always having to keep Robinson's temperature down. The real surprise comes from Bryan and Morris who are perfect together and steal the show in the end. Film buffs might not find too many original ideas here but that doesn't really matter due to the wonderful cast being held together by the strong direction of Curtiz.

Kid Galahad (1937)

A strong boxing world drama with Bette Davis and Edward G. Robinson? This can hardly go wrong, and it doesn't. It's also directed by the dependable Michael Curtiz, and has a smaller but strong role for Humphrey Bogart. The result if a full blown and rather complex drama going far beyond fixing fights and a boxer's improbable rise to the top.

Davis in particular blows me away, playing both the sophisticated and wise wife of the great promoter, but also a sweet kid torn by love, a "dizzy fool." Her performance alone makes the movie a gem. I only wish she was in it more. Robinson is his dependable self, the nuanced strong guy with doubts and a big heart. Bogart, for those following him, plays a role he almost got typecast in, the tough guy criminal, and he's really good, if not very well-rounded type.

Curtiz, of course, gets a different kind of admiration here, making the movie great, avoiding some clichés that were begging to be reused in any boxing story. He even gets the boxer, played with the emotion of a tree stump by Wayne Morris, to hold up his innocent simplicity well enough to fit into the rest of it. The crossed affections of the main characters is more convincing than it needed to be. It's good stuff. Watch how Curtiz, as always, complex scenes with amazing fluidity (an odd but amazing example is the series of scenes after the last fight in the back rooms).

The one thing I can't judge is how convincing the boxing is, but it looks good to me, and since there is a bit of time spent watching the fighting in the ring this matters. The idea of the "good" fighter unwilling to throw a fight he can win fairly is built up here to the key climax, and Bogart and Robinson clash in the end in classic style. For the adventurous, this was remade in 1962 as an Elvis Presley vehicle. (And a sidebar trivia —the best Elvis movie is the 1970 "King Creole" directed by, yes, Michael Curtiz.)

But back in 1937 came this feisty, complex, richly envisioned drama around the boxing world of the Great Depression, and it's a terrific one.

Don't let the poster mislead you, "Kid Galahad" isn't a sport movie. See, in a sport movie, the athlete owes his success to his talent, his guts, strength, passion, heart and all the inspirational stuff; but in "Kid Galahad", the managers are the real fighters. In fact, the film follows a simple pattern, easily verifiable: whatever the manager suggests, it works, either to make the opponent lose or win. Take a scene, a good one by the way, where Bogart tells his champ to whisper some words to Robinson's protégé … although the outcome isn't in his favor, you know he got exactly what he wanted. It's just as if the final result only depended on the manager's aims and motivations, no matter how twisted they are.

It seems simplistic but this is how it works in Michael Curtiz' "Kid Galahad", a seemingly Cinderella story about a young bellboy who becomes a boxer after demonstrating the value of his punch during an incident. Galahad is the chivalrous nickname to honor his gallantry and also because his real name Guisenberry (he's called Gooseberry by Robinson) wouldn't even sell free newspapers. In fact, the young boxer, who's too idealistic (euphemism for naive) to be believable, is more a bait for his trainer's personal schemes and the journalists who want some juicy events to print on big headlines … and I thought Mickey in "The Fighter" was passive, although Galahad has an excuse: the film isn't a sport film per se, and it might be inferior to "Rocky" but it's still better than "The Fighter"

"Kid Galahad" isn't a sport film because it's mainly about sport-business, and the rivalry between two businessmen: in one side, Edward G. Robinson as Nick Donati (again, he plays an Italian American in a convincing way, his Italian delivery is molto bene) and in the other, Turkey Morgan, Bogart again as the treacherous villain with a derogatory name. And no matter how thrilling and well-made the boxing matches are, they're never as exciting as watching each of Robinson and Bogie trying to outsmart one another. If sport is a business, business is sport too, with fewer rules naturally… in fact, between Donati and Morgan, it's no holds barred, and let the most tactical win. And going into the depths of their calculations is one of the film's greatest delights.

Yet as much as I enjoyed the movie, I couldn't overlook how dated it was, but nor for the reasons you'd think. It is not dated because of its sappy and predictable romance between 'Goosebbery', the gentle-giant who falls in love with Donati's sister although no signs of mutual attraction are ever showed. It is not dated because the athlete prefers the bland Marie to a young and charismatic Bette Davis playing Fluff, Donati's girlfriend. It is not dated because of the performance of Wayne Morris as Galahad, although he seems to gain more confidence as the film progresses. It is dated for one simple reason: we know that Bogart is the best actor in the film along with Robinson yet he gets the shortest screen time. Curtiz would (thankfully) amend himself by giving him the lead role of "Casablanca".

I bet Curtiz would have blamed himself to have given such an ungrateful role to Bogie, or without giving him the chance to add some substance or redeeming qualities to his character. The fact is, because it's Bogart, we tend to root for him, or at least, to put Donati on an equal level of crookedness, which at one point of the film, shows. And by exploiting the more forgettable figure of the boxer without trying to keep a straight focus on the rivalry between Bogie and Robinson, there is a surely wasted opportunity to give more depth to Bogart's character. The film is never more exciting as in the scenes without the boxing champion. And Bogie is so great in playing strong but sensitive characters, it's painful to watch him as a one-dimensional bad guy.

"Kid Galahad" succeeds in showing how boxing management works, with bookies and journalists as accessories, through the way they are lured into teasing the players' egos, as if the Press itself was only the extension of the ring… that's something not many films, even today, bothered to show and "Kid Galahad" is an eye-opening experience. Take the scene I previously mentioned, when Galahad is told to wear his adversary out without knocking him off, but then Morgan tells his protégé to whisper something about Fluff and he's immediately knocked down, proving that he's ready for a shot at the title, Donati is reluctant but then journalists are used as foils to provoke the match and they play their little game perfectly. The match isn't fixed except the one that goes outside, which ends up being the most important one.

That documentary aspect of the film is really exciting and works like a great slice of American sports' life before the War. It's also one of the first bits of gangster revisionism movies before the iconic "Angels With Dirty Faces"… Robinson and Cagney will switch to other movie genres, while the eternal outsider, Humphrey Bogart, will stay on the crime drama and embody the most prevalent Post-War genre: film noir, letting him reveal this side of his iconic charisma, and just because it was made before "High Sierra" and "The Maltese Falcon" the film is dated, exciting but dated.

It's redeemed by the great performances of the trio Robinson, Bogart and Davis, of the entertaining match games and the magnificent insight on sports business and its intricacies between journalism and money issues, which hasn't changed much. Well, I guess, it's not as dated as it seems. Not a heavyweight masterpiece, but a middle weight little gem.

I love Hollywood movies on boxing, movies like "Body And Soul", "Golden Boy", "Champion", "The Set-Up", "The Harder They Fall" and here's another classic I remember watching as a kid some 40 years or so ago and so was grateful to watch it again just now.

For my money, it's an absolute winner, I mean how could it fail with Michael Curtiz directing the likes of Edward G Robinson, Bette Davis and Humphrey Bogart in leading parts. Sure there's more than a touch of melodrama about the story, you see Eddie loves Bette but she loves Wayne Morris as the hayseed farmer's boy turned bellhop turned new heavyweight hope but he loves Eddie's fresh out of the convent kid sister Jane Bryan and even after all that is resolved, the movie still doesn't end entirely happily.

Robinson's great as the not completely straight boxing manager who'll throw over any of his fighters who disobeys his instructions in and out of the ring. He's also over-protective of his pretty kid sister Bryan and is so determined to keep her out of any contact with the fight game he bans any of his fighters from ever meeting her. Eddie's own girl is sometime night-club singer played with verve by a beautifully accoutred Davis, who even gets to sing a song on screen, although thankfully she didn't branch out from there as a vocalist. Then there's Bogart, still playing heavies at this stage in his career, in support as Robinson's menacing, tough-as-nails and twice as crooked rival promoter, plus I really liked Morris and Bryan in their parts, not forgetting Harry Carey as the seen-it-all-before trainer who also acts as Robinson's conscience.

Sure you could argue every character's a stereotype you've seen in every fight flick from the first bell, but it's done with such panache here that before long, like me you'll let it beat you around the head so much you'll end up enjoying it

When bellhop Wayne Morris knocks out a heavyweight contender, boxing promoter Edward G. Robinson dubs him Kid Galahad and decides to make a champion out of him. But when Robinson's girlfriend Bette Davis falls for Morris and Morris falls for Robinson's kid sister Jane Bryan, it causes the promoter to turn against his protégé.

Good sports drama from Warner Bros. with three big name stars, two of which were still on their way up. Edward G. Robinson's terrific in a role he plays with ease. Bette Davis is likable and sexy in the kind of role she hated playing. Humphrey Bogart plays one of his patented gangster characters. He's always fun. Harry Carey, Sr. is wonderful in a supporting role. First big role for Wayne Morris, who never reached the heights WB groomed him for. He's very likable in an "aww shucks" way. Remade in 1941 as a circus movie, The Wagons Roll At Night, with Bogart tackling the Robinson role. Remade again as an Elvis musical in 1962, probably the most famous of the three. This one's my favorite, though, with all the wonderful flavor WB urban dramas had in the 1930s. Nice boxing scenes and enjoyable characters make it a good one.

If you merged a classic gangster story with the typical rags to riches boxing movie you'd get this. It's very professionally made, it never lets your interest wane and you don't need to be a boxing fan to enjoy it.

What makes this such an entertaining film and not just something for boxing fans is superbly written, believably acted and dynamically directed characters. It's a perfect example of how a picture about a subject you might not think you're interested in can be totally engrossing because the characters just click with you. Like all good dramas, this is about interesting people - people you can believe in - people you care about.

E G Robinson was at the top of his game when he made this. You obviously know it's EGR but for an hour and a half, he's not an actor, he's Nick Donati, he is that fascinating and complex real person with real issues. Bette Davis was in that brief phase of her career when she was getting decent roles and was also something of a sex symbol. It's not really her film but for what she has to do, she's absolutely perfect - and I must admit, surprisingly hot! She's somewhat like a younger version of Tallulah Bankhead.

To see just how quickly the art of filmmaking was developing in the 1930s, compare this with THE LIFE OF JIMMY DOLAN made just four years earlier. Whilst that film is a pretty decent boxing flick, it feels decades older in its style and authenticity. Michael Curtiz's fastidious direction and realistic dialogue makes this feel like something from the 40s or even 50s.

Monumental film for way it pits Bogart vs Robinson. Curtiz gets best out of these men. Important film for Bogart who was beginning to make his mark. A few years later curtiz would direct bogie in Casablanca. Bette Davis is amazing and is really the heart of the picture. It is hard to imagine how Warner Bros got away with showing her in plunging neckline at height of Hayes code.

This had all the ingredients to be one of those super classics but unfortunately the screenplay is not so tight. There are numerous holes and wastes of time. The central character in the picture is a boxer portayed by Wayne Morris who is supposed to be a Gary Cooper type but is underwhelming.

Great bit part by Virginia Dabney. The first half of this film is solid. The second half drags on but curtiz gets an A+ for effort for the finale.

It's all a little sloppy but Curtiz directed six pictures that year (including two uncredited). He made Casablanca and Yankee doodle dandy in the same year. He was a workhorse for Warner and they got every ounce of sweat out of him.

This picture could have used a little tightening up but you have to appreciate the three great stars.

Kid Galahad is a famous early boxing picture, so if you're a fan of the genre, you might want to check it out. I was particularly interested because it was made in 1937 and the classic Golden Boy was made two years later. The latter received tons of accolades, launched the career of William Holden, and has lasted in audiences' memories.

However, I found Kid Galahad to be a superior movie. First and foremost, Edward G. Robinson is the lead, and he has a very warm and likable screen persona. Even though Adolphe Menjou was fine in Golden Boy, he was not as easy to root for as Eddie G. Secondly, both films feature an Italian loving family, but Galahad's was more believable in the nationality. Lee J. Cobb, as everyone knows, was not very believable as an Italian. Edward G. Robinson was fluent in Italian in real life, and to hear him rattle off the language easily to his mother felt like we were seeing him in his childhood kitchen. True, he wasn't of Italian descent, but it certainly seemed like he was in Galahad.

There are those who love Clifford Odett's play, but I found the earlier story more endearing. Instead of a violinist endangering his hands, an innocent bellhop gets sucked into a "one fight only" boxing match by two rival managers (Eddie G and Humphrey Bogart). - happens to have talent in the ring, and Eddie starts grooming him to be the next champ - with the condition that he always obeys him. Bette Davis, Eddie G's moll, warns - against the kind of life boxing brings. Just as in Golden Boy, there's a forbidden romance and the threat to the end of innocence.

I admit Bette was a bit miscast as a gangster's moll; Barbara Stanwyck was far more convincing as the hardened manager's live-in. Bette was too soft and sweet. Still, she got to wear some pretty dresses and show off her figure! If you like beefcake eye candy with your boxing flicks, or if you want to see the "original" version of Golden Boy, check it out.