Il colosso d'argilla

Eddie Willis was once a top sports writer, but now he is down on his luck and searching for work. He gets a proposition from dodgy promoter Nick Benko, he is to write up sensationalist press for Benko's new discovery, the gigantic Toro Moreno. Trouble is is that Moreno is a poor boxer, powder puff punches and a glass jaw. But each fight is fixed by Benko and along with Eddie's press writings, this propels Moreno to being a household name, thus a crack at the heavyweight title is in the offering. However, Eddie starts to feel conflicted the more the story unfolds and just around the corner is a tragedy that will shape the destinies of everyone who is involved.

This was sadly to be the last film from the great Humphrey Bogart. He would pass away the following year, but thankfully this Mark Robson directed piece proves to be a fitting swansong. He puts depth to his portrayal of Willis and his face off scenes with Rod Steiger's Benko are a real acting joy to observe. The film itself {great scripting from Phillip Yordan} is a scathing and critical look at the boxing circuit, corruption, greed and a scant care for human life come bubbling to the surface, with Burnett Guffey's stark black & white photography adding grime to the nasty underbelly. Real life {and one time heavyweight champion of the world} boxer Primo Carnera sued {and lost} Columbia because The Harder They Fall's story was close enough to his own life story, that in itself makes this film's core story all the more interesting. 8/10

"The Harder They Fall", based on the brutally real novel by Budd Schulberg, presents us with an aspect of the boxing world that no one talked about in those days. The sport was dominated by the racket men that made tremendous profits at the expense of the young pugilists that came from poor backgrounds.

Mark Robson, the director, was a man that understood that underworld well. He had already directed the excellent "Champion", so he proved to be a natural for taking the helm of this movie. Mr. Robson, worked as an editor for Orson Welles and knew what worked in the cinema. Working with the cinematographer Burnett Guffey, a man who was one of the best in the business, Mr. Robson created a film that was a ground breaker. New York City in the fifties is the background for the story that was shot in real exteriors that added a drama to the film.

This was the last film in which Humphrey Bogart made. In fact, Mr. Bogart shows signs of the illness that would take his life after the film was completed. Humphrey Bogart's Eddie Willis is a man that clearly wants to be fair to the poor boxer, Toro, from Argentina, who is being manipulated by the bad guys under the evil Benko. This was one of the best appearances of Mr. Bogarts in the movies.

The other surprise in the film is the portrayal by Rod Steiger of the mob man that wants to use Toro for his own illegal gains. Rod Steiger stood in sharp contrast with Humphrey Bogart. Being a method actor, his technique was entirely different from the one of his co-star. Yet, when both men are seen on the same frame, one can sense two great actors doing what they did best.

The interesting cast put together for the film made it better than it could have been. Under Mark Robson's direction we see a lot of New York based actors in the background. One would have liked to see more of Jan Sterling, who plays Eddie's understanding wife Beth. Also in the cast, Nhemiah Persoff, Jack Albertson, Max Baer, Jersey Joe Walcott, Mike Lane, Carlos Montalban, make good contributions to the film.

The boxing sequences are masterfully staged by Mr. Robson, who gives us a ringside seat to watch the matches. This film shows the director at the top of his craft.

I just saw this film and now realize that Sly Stallone must have watched it about a hundred times before staging the fight scenes in Rocky – he even recreated the subtle touch when Toro's coach cuts his eyelid in the fight to release the built-up blood (except in this film, you only see him go for the eye with a scalpel but don't see him actually cut it as you do in Rocky). The final fight at the end of this movie is THE most gruesome fight ever filmed. Stallone tried to capture this in Rocky, but it has nowhere NEAR the realism of the fight in The Harder They Fall. This is partly because it is shot in black and white, which for some reason makes everything seem more gruesome than color; partly because of the foggy, staggering way it is shot, as if you are seeing the punches through the groggy boxer's eyes; and partly because the actor who played Toro was not a star like Stallone or DeNiro in Raging Bull – they could make him look like a true wreck, a distorted, disfigured wreck – without fear of diminishing his "star" quality handsomeness.

My favorite line in this movie is when Bogart angrily asks Steiger how he'd like to have his jaw broken like Toro's. Steiger's henchmen immediately start to converge on Bogart, who says, "He didn't have 5 guys in the ring with him." It's a great line that brings home how the powerful are protected from the very pain they inflict on others.

The movie's title, from the old saying, "the bigger they are, the harder they fall," is also very ironic, because the "big" guys – Steiger and the corrupt fight backers – actually never "fall" – it is only the "little" guys, like Toro, who fall the hardest.

By the way, it was really spooky seeing Max Baer himself re-create his historic fight with Primo Carnera in this film, which is based on Max Baer's historic fight with Primo Carnera! You can see a film of this 1934 fight online, in which Baer knocks Carnera down 11 times in 11 rounds. By round 2, Baer was actually chasing Carnera around the ring, and at least 3 times he knocked him down so hard that he actually fell on top of him!

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.

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.