Lucky Fellow, Lucky Guy
I don't think anyone in Hollywood history did so well at playing himself as Max Baer did in this film until Audie Murphy played himself in To Hell and Back. Though his character name was Steve Morgan, believe me this is the genuine Max.
And this is a lot closer than the portrayal of Baer in that otherwise excellent film Cinderella Man that came out this year. Baer had all the tools necessary to have been the greatest heavyweight champion of all. His power punching killed two people in the ring as was graphically demonstrated in Cinderella Man.
But Max was no killer and no bully as Cinderella Man showed. Those deaths deeply affected him and he pulled his punches in many subsequent matches. In addition he was a colorful playboy who just loved the fast nightclub life as he does in The Prizefighter and the Lady.
Myrna Loy and her chauffeur are saved from an auto wreck by Max and his fight manager Walter Huston. They find out later she's the main squeeze of hoodlum Otto Krueger. I won't say more, but there are some of the same plot elements that are found in Broadway Through a Keyhole and Stars Over Broadway in which this same story has the protagonist a singer.
Today's audience might find it a little silly that fighter Max Baer appears in a Broadway review. But that was definitely Max as he sings with a bunch of chorus girls, Lucky Fellow, Lucky Guy.
Myrna Loy, Walter Huston and Otto Krueger all turn in fine performances in their parts. And Max Baer was a natural born performer. After his ring career he had a nightclub act with fellow pugilist and former Light Heavyweight Champion Maxie Rosenbloom. Baer was no longer the physical specimen he was in 1933, but he had great comic timing and also did several movie roles by himself and with Rosenbloom.
He also did a great dramatic part in The Harder They Fall as a stone cold killer of a heavyweight champion, the image that Cinderella Man tried to convey of him.
Also the Twentieth Century Fox film, Footlight Serenade, uses Max Baer as a model for Victor Mature's character.
And as a special treat for you boxing fans, a whole slew of former ring greats are introduced at the climax of the film before Baer fights for the heavyweight champion.
I found the film thoroughly enjoyable and hope TCM shows it more often so the real Max Baer is seen by today's audiences.
And this is a lot closer than the portrayal of Baer in that otherwise excellent film Cinderella Man that came out this year. Baer had all the tools necessary to have been the greatest heavyweight champion of all. His power punching killed two people in the ring as was graphically demonstrated in Cinderella Man.
But Max was no killer and no bully as Cinderella Man showed. Those deaths deeply affected him and he pulled his punches in many subsequent matches. In addition he was a colorful playboy who just loved the fast nightclub life as he does in The Prizefighter and the Lady.
Myrna Loy and her chauffeur are saved from an auto wreck by Max and his fight manager Walter Huston. They find out later she's the main squeeze of hoodlum Otto Krueger. I won't say more, but there are some of the same plot elements that are found in Broadway Through a Keyhole and Stars Over Broadway in which this same story has the protagonist a singer.
Today's audience might find it a little silly that fighter Max Baer appears in a Broadway review. But that was definitely Max as he sings with a bunch of chorus girls, Lucky Fellow, Lucky Guy.
Myrna Loy, Walter Huston and Otto Krueger all turn in fine performances in their parts. And Max Baer was a natural born performer. After his ring career he had a nightclub act with fellow pugilist and former Light Heavyweight Champion Maxie Rosenbloom. Baer was no longer the physical specimen he was in 1933, but he had great comic timing and also did several movie roles by himself and with Rosenbloom.
He also did a great dramatic part in The Harder They Fall as a stone cold killer of a heavyweight champion, the image that Cinderella Man tried to convey of him.
Also the Twentieth Century Fox film, Footlight Serenade, uses Max Baer as a model for Victor Mature's character.
And as a special treat for you boxing fans, a whole slew of former ring greats are introduced at the climax of the film before Baer fights for the heavyweight champion.
I found the film thoroughly enjoyable and hope TCM shows it more often so the real Max Baer is seen by today's audiences.
- bkoganbing
- 25 sept. 2005