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MGM had once used ad-lines which proclaimed "Garbo talks!" and "Garbo laughs!" For this movie they might have used "Robert Taylor strips!" Female fans had always swooned over the romantically handsome Taylor but men supposedly found him too much of a "pretty boy" who too often appeared in soapy costume dramas. Anxious to increase his appeal, and with Taylor's enthusiastic consent, MGM decided to toughen up their rising star's image by casting him as a prizefighter with a dark edge in a gritty (by MGM standards) boxing movie. First, the movie teases its audience by an opening twelve-and-a-half minute sequence detailing the childhood of its protagonist. (Gene Reynolds plays the young Robert Taylor). Then, ta-dah!, we see the adult protagonist, introduced with a shot of his bare, sweaty back as he works out in a boxing gym. Wait, there's more! The camera moves position and we now see Taylor's bare chest, also sweaty, complete with an inverted triangle of chest hair beginning at the collarbones and extending down to the sternum. (One imagines a make-up team carefully trimming and combing this hair to give it just the right effect.) For the next seven minutes Taylor appears bare-chested -- working out at a punching bag, retiring to a dressing room, taking a shower, appearing with a towel tied around his waist. Later in the movie he's shown soaking in a bathtub, (while reading "The Decline and Fall of the Roman Empire"), and then there are various boxing matches full of sweaty, face-punching action. All this "beefcake," showcased in a slick, satisfying, well-cast package, apparently did the trick because Taylor soon emerged as one of MGM's brightest and most durable stars. Curiously, Taylor rarely again took off his shirt, so if you want to see his nipples showcased in all their Hollywood glory, you better watch "The Crowd Roars."

"The Crowd Roars" is 1938 black and white boxing film starring Robert Taylor as "Killer" McCoy. It was remade (less successfully) in 1947 with Mickey Rooney.

Good looking Robert Taylor (1911-69) plays a boxer in an attempt by MGM to move him away from his "pretty boy" image in films like "Magnificent Obsession" (1935) and "Camille" (1936). He followed this one with two of his most memorable - "Ivanhoe" (1952), and "Knights of the Round Table" (1953). If you're a Taylor fan, you'll enjoy his role as a tough guy.

Maureen O'Sullivan (1911-1998) plays Taylor's love interest. She teamed with Taylor the same year in "A Yank in Oxford" (1938). She's most famous for playing Jane 6 times in the Tarzan films (1932-1942) but unlike Weissmuller, she played many other roles during that time, including "Tugboat Annie" (1933), "The Thin Man" (1934), "A Day at the Races" (1937), and "Pride and Prejudice" (1940). She slowed down in the 40s to devote time to her husband and 7 children, one of whom is the actress Mia Farrow.

Edward Arnold (1890 – 1956) plays the crime boss. He appeared in more than 100 films from 1916 to 1956. He's best known for playing Daniel Webster in "The Devil and Daniel Webster" (1941) and Diamond Jim Brady in "Diamond Jim". He's one of the few hefty men who were ever able to achieve leading man status, but staying "hefty" (and not going to fat) was such a problem for him that he ultimately decided to let his girth expand while his stardom faded. This earned him many meaty character roles.

Frank Morgan (1890-1949) plays Taylors' father. Morgan will forever be remembered as the "Wizard of Oz" (1939) but this was only 1 of nearly 100 film performances between 1916 and 1950, including Oscar nominations for "The Affairs of Cellini" (1934) and "Tortilla Flat" (1942).

Beautiful Jane Wyman (1917-2007) plays O'Sullivan's friend. She is best known for her Oscar winning performance in "Johnny Belinda" and her recurring role as Angela Channing on "Falcon Crest" (1981-90). Other notable roles include "Lost Weekend" (1945), "The Yearling" (1946), "The Glass Menagerie" (1950), and "Magnificent Obsession" (1954). She racked up 4 Oscar nominations, 2 Emmy nominations, and won the Golden Globe 3 times. She was Ronald Reagan's first wife (1940-48).

Well known boxers Maxie Rosenblum, Jim McLarin, and Jack Roper also appear.

Variety called it exciting melodrama with plenty of ring action, some plausible romance and several corking good characterizations."

Richard Thorpe (1896-1991) was a busy director with MGM, with more than 185 films between 1924 and 1967, receiving critical praise for his work on "The Great Caruso" (1951), "Ivanhoe" (1952), and "Knights of the Round Table" (1953).

There are dozens of boxing films. My favorites are "The Champ" (1931), "Champion" (1949), "Cinderella Man" (2005), "The Fighter" (2010), "Raging Bull" (1980), "Requiem for a Heavyweight" (1956), and "Rocky" (1976). Not included in this list are several films about fighters but the fight action is secondary (e.g., "On the Waterfront", "The Quiet Man", "The Great White Hope", "Snatch").

This sensational boxing film introduced a rougher and tougher Robert Taylor to 1938 audiences, the result of a well-publicized body building regimen under the personal supervision of Max Baer. Taylor plays Tommy McCoy, a handsome boxer who has to contend with the mob, his drunken father, and the prospect of having his perfect pan punched to a pulp.

This is the kind of old-fashioned entertainment that the studios used to churn out every week. Gorgeous Robert Taylor plays a prize fighter, Frank Morgan his moronic father, Edward Arnold a mob boss, and Maureen O'Sullvian is Arnold's beautiful daughter, who falls in love with Taylor. And hello, who wouldn't.

This is a piece very much of its time. Today, the relationship between the Tommy McCoy character as a young kid and the light heavyweight title holder Martin would be instantly suspect. How the world has changed.

The film manages to hold one's interest, especially with its exciting fight sequences. As an added treat, "Hart to Hart" co-star Lionel Stander, who played "Max," has a supporting role. I'd know that voice anywhere.

There is enough plot here for five pictures (all of which were made before this one), probably to compensate for paper-thin characters and a total lack of plausibility. The script tries earnestly to justify the unmarked features of a boxer who looks exactly like the young, very handsome Robert Taylor. Dewy-eyed Maureen O'Sullivan is sent to a finishing school by her unsavory (until the end) father, gambler Edward Arnold, but manages to become involved with the fight game (and Robert Taylor) when his training camp is set up at her country home! Low-key believable performances by Lionel Stander and William Gargan are helpful, but Jane Wyman is something of an embarrassment as a flirty, Southern-drawling cutie pie, and Frank Morgan dithers and chortles his way through yet another characteristic role.