Anima e corpo

This boxing picture deals with the seedier side of the business; (is there any other?). It helps that it was written by Abraham Polonsky whose script is suitably cynical and hard-boiled. John Garfield is the pugnacious fighter easily swayed by the prospects of easy money and not adverse to taking a dive. It's a fine, hard-nosed performance. Garfield was always at his best in roles that required him to battle with his conscience.

The whole movie is well cast. The under-rated Lilli Palmer is fine as the 'nice' girl who loves him as is Hazel Brooks as the 'bad' girl who seduces him while the villains are ably taken care of by Lloyd Gough and William Conrad. Best of all there is Anne Revere as Garfield's mother. (Did Revere play everybody's mother movies?). It's another of her no-nonsense roles. Revere was one tough cookie who kept her heart of gold well-hidden. The climatic fight scene is very well staged and Robert Parrish and Frances Lyon's editing won the Oscar while James Wong Howe's cinematography adds considerably to the realism.

Body and Soul is directed by Robert Rossen and written by Abraham Polonsky. It stars John Garfield, Lilli Palmer, Hazel Brooks, Anne Revere and William Conrad. Music is by Hugo Friedhofer and cinematography by James Wong Howe.

A talented boxer's career begins to spiral out of control when financial hunger, matters of the heart and a shady promoter begin to take a hold.

Viewing it now, Body and Soul looks to be chock full of boxing movie clichés, which of course wasn't the case back in the 40s. Such as it is with the year of release, it has been honourably inserted into the film noir pantheon. If that's worthy - and many of the noir bible writers seem to think so - is up to the individual viewer to decide, what is apparent though is this is a fine piece of film making regardless of genre or style assignment.

Charlie Davis' (Garfield in a worthy Oscar Nominated performance) descent down a crooked path is certainly noir in plot terms, and it makes for riveting viewing. The screenplay for the time is very choice and worthy, focusing as it does on corruption and violence within the sporting world. The look of the pic is that of realism, Rossen and Howe mixing elegiac beauty with fluent fight sequences (of which there aren't actually many), the monochrome sharp as a left hook.

There's no sentimentality on show, this is stripped bare to show the dark that lurks beneath the cheering crowds and sensational advertisement posters. Pic pulses with the beat of the street, the sweat is from those trying to make a living, all while anti capitalism seeps from every frame. The finale drives home a point - consistent with Rossen in general - and even though pic has a very stage bound core, the craft from all involved ensures it never hurts the dramatic worth. 7.5/10

John Garfield is a fighter taken over "Body and Soul" in this 1947 Faustian drama about a man who becomes too heady with success and too greedy, eventually signing on with a crooked fight promoter. Garfield is supported here by Lilli Palmer, Anne Revere, Hazel Brooks, William Conrad, Canada Lee, and Lloyd Gough.

American filmmakers love boxing movies, and why not? It's a one on one brutal action sport that has inherent in it good drama because of what is at stake for people who most likely came from nothing and used their fists on the street. "Body and Soul" is no different in this regard, but it's one of the best of its kind. It also boasts an unusual and exceptionally talented cast.

The film is loaded with conflict for Charlie Davis (Garfield) - his mother (Revere) doesn't want him to fight; he's in love with Peg (Palmer) and wants to marry her but is talked into delaying it when he signs on with a new and corrupt promoter, Roberts (Gough).

This will be the first of Charlie's concessions and unfortunately not the last. He fights Ben (Lee), but isn't told that the man has a blood clot and he needs to coast through only a few rounds. Instead, he pulverizes Ben, causing further brain damage, and takes him on as a trainer out of guilt.

Then he's seduced by a money-hungry babe named Alice (Brooks). And on and on, until Roberts bets against him and orders him to take a dive in the championship fight he's been waiting for. (With all the films done about taking dives, anyone who bets on a fight is nuts.)

Something about this movie - maybe it's the theme song, which is one of my favorites - swept me away. It's one of Garfield' most colorful performances, and the beautiful, classy Palmer is a perfect juxtaposition not only to the streetwise Charlie but the trashy Alice.

The truly transcendent role and performance is essayed by Canada Lee, a wonderful actor who died too young and had too few opportunities in film. His performance as the volatile, ill Ben was Oscar-worthy. Like Ben Carter in "Crash Dive," the fact that Lee is black does not enter into the script at all, and he is treated as an equal.

For all the rotten stereotyping done in films at that time, there were a few scripts that defied it. Lee was blacklisted and died in 1952 (the same year that John Garfield died), at 45, almost literally of a broken heart. He left a legacy of five films and some wonderful stage work, including Orson Welles' all-black Macbeth.

Cast members Garfield, Lee, Anne Revere, Lloyd Gough, Art Smith, Shimen Ruskin, scriptwriter Abraham Polonsky and producer Bob Roberts would all find themselves blacklisted, and director Rossen would be threatened but admit to being a Communist and name names.

Magnificently photographed in black and white by James Wong Howe and with top direction, "Body and Soul" is an example of how wonderful film can be.

One especially noteworthy aspect of this movie is the character of Ben Chaplin, played by the criminally underappreciated African American actor Canada Lee. A trademark of Lee's few but memorable screen roles is how his characters transcend the racial stereotypes of the day (see also his role in "Lifeboat"). Where Chaplin is black, his race is never mentioned, and is never even made an issue. There's no assumption of deferrence to the white characters. He is treated as an equal, which, especially for 1947, is an amazing breakthrough.

The other strengths of the movie, particularly Garfield's performance and James Wong Howe's cinematography, have been duly mentioned in other posts.

Great flick. I loved it for two reasons: simplicity and realism - about life and about professional sports. Its a clearly drawn sketch of a guy like Charley. Garfield is at his best. He is totally credible. Everything is clear: Peg is all good - all giving. Alice the vamp is one hundred percent evil. So is the promoter, Roberts. A subtle contrast versus these black and whites is Garfield's character because he is flawed. He changes moral coloring as the plot progressives. They stay the same. We know the good guys and girls right away. No moral obscurity here. Clearly an old-fashioned movie - this is the way they used to be. No car chases, no mega-explosions, and no moral relativity either. And there's a plot, too. We need more of these.