Cuore d'amanti

In this unusual Pre-Code film, Slag Bailey (George Bancroft) and Puff (Wynne Gibson) aren't exactly high class folks. Slag is a boxer and Puff is a lounge singer. As for Slag, his career in the boxing ring falls apart when he is overconfident and beaten by a young guy (John Wayne in one of his earliest roles). At about the same time, Slag's beloved manager (James Gleason) is killed...and only a short time later, the manager's son shows up! Instead of sending the boy to an orphanage or giving him to the police, he and Puff decide to pretend to be husband and wife and raise the boy. Puff agrees to do this for a year...which stretches into several years...which stretches to getting the boy into college.

There's not a lot of plot other than that. This is NOT a bad thing, as instead it's an excellent character study about two folks who sacrifice themselves and do good by the boy. Good acting and an interesting script make this an odd but entertaining flick.

So how exactly does this fit Pre-Code sensibilities? Well, no one knows it but Puff and Slag live as husband and wife and only get around to marrying after more than a decade of cohabitation! This is something you NEVER could have seen in the post 1934 Post-Code films...no way!

Another unknown hidden gem. The film starts off in one direction and, once you think you understand where the story is going, it takes another turn in another direction.

Wynne Gibson is perfect as the girlfriend for this dumb and slow boxer played by George Bancroft. Bancroft's career as a boxer is fading and finally he is defeated by a young newcomer. John Wayne is the newcomer and you only see him in the ring and then in a short scene much later. So, if you are looking for a good John Wayne picture, this is not it.

Bancroft's manager had all his savings riding on Bancroft's winning, but, since Bancroft lost, he has lost everything. He attempts to steal the money but is killed in the attempt.

Bancroft and Gibson find out the manager had a son so they find him and realize the mother died a long time ago and the manager was all the boy had to take care of him.

In an almost comic way, Bancroft and Gibson slowly become domestic "parents" to the kid. The transition is slow and believable. There is such "heart" in the film. There is a sad scene where someone from the past bumps into Gibson and is shocked to see how plain and worn out she now is from being a "Mom" and chores, etc. It is a well played scene. It made me think about all the parents out there who lose their goals, lives, hobbies, fun, etc. When they have a child to consider (or at least some parents!)

This is a Classy Classic gem. It is worth finding it and giving it a chance!

Boxer George Bancroft hasn't been training for his fight with college graduate John Wayne, despite his manager, James Gleason talking about how he needs a lot of money, and his live-in girlfriend, Wynne Gibson, razzing him over it. When Bancroft loses, Gleason gets killed trying to steal the money. Bancroft and Miss Gibson cover it up, then head up to Ironton to see who the mysterious telegram is from. It turns out to be from nine-year-old Billy Butts. They want to leave, but can't figure out how to do that to a child, so they wind up staying twelve years raising him into Charles Starrett.

It's an Oscar-nominated script by Grover Jones and the wonderfully named William Slavens McNutt; Bancroft and Miss Gibbs are wonderfully matched as two wrangling lovers, even if Bancroft spends most of the script thinking and speaking very slowly. It's a fine comedy-drama, and the relationships and characters are nicely explored.

It was later remade as UNMARRIED, with much of the pre-code charm washed off; that was Helen Twelvetrees' last movie.

Veteran boxer "Stag" (George Bancroft) hasn't quite had all the sense knocked out of him by the younger "Buzz" (John Wayne) so hangs up his gloves and takes up with his gal "Puff" (Wynne Gibson). That relationship is swiftly tested when his manager is accidentally killed and they end up rearing his now orphaned young son "Ted". They are not a wealthy family by any means, but they are determined to give this youngster every chance to go to college and make a life for himself that doesn't involve him getting pummelled. This doctrine proves even more sensible when they encounter "Buzz" a while later and find his career has already ended leaving him struggling to make ends meet. Of course, pugilism is in the young man's genes and so as he grows older (and is now Charles Starrett) he becomes more and more enthusiastic about a lucrative career in the ring and that is bound to cause consternation amidst this loving triumvirate. It is a fairly predictable story, this, but there are two quite touching performances from Bancroft and Gibson that rather bely the norm that sees boxing offer a glittering stairway to the sky for the poverty-stricken and opportunity-lacking working class. It's quite tightly filmed, written and though it could definitely have done with some more wattage to illuminate some of the scenes, it's a solid story worth a watch.

An American drama; A story about an overconfident ageing boxer who loses his last match to a hotshot up-and-comer leading to awful consequences and new responsibilities. This is a heartwarming character study with good story progression. There is good chemistry between the tough, risque club dancer and her partner, washed up prizefighter with a heart. The way their relationship develops, with her fiery demeanour, adapting to guardianship and respectable suburban life, is winsome and amusing, but it is also touching how she regrets her former life and embraces the new. John Wayne as a shabby, young pugilist is good. All in all, a little too long in the running time but there is more than enough to sustain interest. As an aside, the film was nominated for the 1932 Academy Award for Best Writing, Original Story.