The Harder They Fall

Respected sports writer Eddie Willis (Humphrey Bogart) is jobless when his newspaper folds. Fight promoter Nick Benko (Rod Steiger) wants to hire him as the press agent for his new heavyweight fighter Toro Moreno. The problem is that Toro is a big dumb giant stiff. Benko schemes to rig Toro's fights with nobodies building up his resume and get him a fight with the heavyweight champion Buddy Brannen.

Bogart is terrific as the morally conflicted Eddie. It's impressive considering he was unwell and this is his last film. He still carries the movie. Steiger is incredible as the bombastic croaked promoter. It's also a fine morality tale. The fight game has always been corrupted and this takes it to the extreme.

Humphrey Bogart is truly brilliant in this, his last film. "The Harder They Fall" (1956) is a stunning indictment of the boxing profession. The film also marks Humphrey Bogart's final performance as a former sports writer turned publicist — and he's in good company. Bogie's scenes with Rod Steiger, Jan Sterling and Mike Lane (as the giant Argentinian boxer) are truly memorable.

In addition to Bogart's fantastic performance, Rod Steiger chews the scenery nicely as a corrupt manager. Their scenes together are really well done, and very well written. I particularly enjoyed the scene after the big fight where Bogart presses to find out how much their fighter will ultimately wind up for getting so badly beaten in the ring.

There are probably a good dozen very, very good fight films, and this belongs to their number. The tension in the film derives from the ultimate conflict between Bogart's inherent decency and Steiger's unmitigated exploitativeness. The two had great on screen chemistry in their scenes together. They employed very different acting styles, Steiger being one of the first Method actors to enjoy success in the movies. Bogart was strictly old school, but he not only held his own, he dominated their scenes together.

Humphrey Bogart's last movie was a triumph! His acting was terrific! Excellent movie!

Eddie Willis(Humphrey Bogart) is a down on his luck boxing critic who has just lost job when his newspaper goes bust. Nick Benko(Rod Steiger) a crooked boxing promoter hears of this and invites Eddie over to discuss some business,Benko wants him to use his press connections to promote his new boxer the Argentinian Toro Moreno,a brute of a man but with little or no talent for boxing.Eddie laughs off Moreno's chances in a ring with anyone, but as Benko later explains the fights are going to be fixed and Edie can have a percentage of the takings. A more hard hitting and gritty boxing drama you might find hard to find, the film really exposes the seedy under belly of the sport with all its corruption and vices. Its often been mooted that Bogart's last screen role was possibly his best and I can see why, there is a depth in his character that was not always there in some of his roles, Steiger too is phenomenal as in fact are the whole cast. Robson's direction is always assured and the pacing is nigh on perfect. A word too for Burnett Guffey's cinematography which captures the wonderful locations and fight scenes beautifully.A Swan song that delivers a fitting end for a legend.

Here's a film that tries to deal with corruption, of how the fighting game is built around construction, of the ways results are fixed, all the lies and all the tricks, as the boxers follow mostly, their instructions. The performances of all is quite top drawer, Toro Moreno by Mike Lane makes quite a score, Rod Steiger's crooked Nick, is aggressive and so slick, but Humphrey Bogart is the one you just adore. So if you're looking for a film that works today, that's packed with cheats, and layered with foul play, that marks the ending of a story, an actor's sublime oratory, light a cigarette, but do find an ashtray.

Humphrey Bogart died about a year after this movie was completed. That alone would give the film poignancy. But, for Bogart, this final work was a grand coda indeed! In many respects, this was a brave effort in 1956 to expose the seedy side of boxing, and it did so in a most spectacularly effective manner, likely better than any other effort that came before or after it.

Near the end of the film, long after the swindle was known by the audience, as well as the protagonist (Bogart), the bookkeeper continued pouring over every tidbit of budget magic showing the details of how the boxer was skillfully swindled of his money. All of the expenses were taken out of his share, as the others in the heist took their money off the top.

Other movies would have made it a swift effort, but director Mark Robson knew that the details of the swindle is what made it seedy, and so he wanted the audience to see and hear it all. And it is the details that come after the brutality that make the conclusion all the more powerful.

Ultimately, the moral lesson is that the worst profession a person can undertake is one that profits off the bodies of other people.

Of special note are the number of actual boxers who acted parts in the film, including Jersey Joe Walcott, who was heavyweight champion from 1951-52, and who delivered one of the best lines of the movie, when asked why their boxer didn't protect himself like he was instructed, replied, "Some guys can sell out and other guys just can't. Goodnight!" There was a lot about this movie that was ahead of its time, including the meaningful roles of black actors such as Wolcott.

Max Baer was the other real world fighter who played an important role in the film. He was heavyweight champion from 1934-35, winning the title against Primo Carnera, an historical fact that was eerily paralleled in this movie. So well did Baer play the role of the bloodthirsty pugilist, that his reputation as an actual boxer was sullied by people who foolishly confused his actual boxing career with his performance in this film!

It should not go without notice that two real-world heavyweight boxing champions played prominent roles in this film, which very much exposed the corruption in the sport. Today, that corruption is well known, but this film was made in 1956, when most people took the sport as being clean.

Today, the film remains as relevant as ever, and Bogart's skill is a prime reason why. He expertly sells the movie with the kind of adroit and nuanced acting that was the hallmark of the legend's career. Few actors get to make such a strong statement in his final role!