Un coeur, deux poings

In earlier viewer comments I notice that Max Baer is referred to both as a "lunk" and as a dominating presence. He had every opportunity, since he appears in a majority of the scenes. The script called on him to demonstrate incredibly diverse talents, even as he was surrounded by such seasoned performers as Myrna Loy, Walter Huston and Otto Kruger, all of whom give excellent performances. We see him in semi-comic scenes as a braggart strong man; in love scenes with Myrna Loy in which something seems really to be going on between them, and in flirtations or affairs with other women; in a ten-minute "dance" number embodying fighter training techniques with a line of chorus girls; and finally in an only slightly abridged championship fight with the then heavyweight champ Primo Carnera, anticipating their actual battle a year later. It's amazing that a screen neophyte with no drama training actually brings these off credibly; I agree with the dominating presence comment. If you look at his subsequent filmography, it's clear that he never had another significant opportunity; perhaps it was necessary for a film to be built around him as this one was. As I watched this film last night the thought came to me that he was born fifty years too soon; he could have been successful in the kind of roles recently played by Stallone and Schwarzenegger, neither of whom, in my opinion, has the range for which Baer showed the potential.

Spunky young boxer woos and weds lovely torch singer, snatching her away from under they vigilant eyes of her mobster boyfriend, as it were, but soon, as his boxing star rises he takes to philandering... I wasn't prepared for the impact of this incredibly dynamic early talkie, taut, effective and clearheaded. The way Hawks and Van Dyke tell their story is to the point, the acting by both Loy and real-life boxer Max Baer is vivid and engaging. And yet, nothing will prepare you for the grand finale, the ultimate Madison Sq Garden match, a haven of broken noses and cauliflower ears. The fight itself is wonderfully, imaginatively shot with alternating angles, intermingled with shots of Loy and Walter Huston in the audience, fights breaking out, ladies swooning, desperate last-minute bets taking place, cutting faster and faster, faster and faster. Quite a feat, recommended.

I don't think anyone in Hollywood history did so well at playing himself as Max Baer did in this film until Audie Murphy played himself in To Hell and Back. Though his character name was Steve Morgan, believe me this is the genuine Max.

And this is a lot closer than the portrayal of Baer in that otherwise excellent film Cinderella Man that came out this year. Baer had all the tools necessary to have been the greatest heavyweight champion of all. His power punching killed two people in the ring as was graphically demonstrated in Cinderella Man.

But Max was no killer and no bully as Cinderella Man showed. Those deaths deeply affected him and he pulled his punches in many subsequent matches. In addition he was a colorful playboy who just loved the fast nightclub life as he does in The Prizefighter and the Lady.

Myrna Loy and her chauffeur are saved from an auto wreck by Max and his fight manager Walter Huston. They find out later she's the main squeeze of hoodlum Otto Krueger. I won't say more, but there are some of the same plot elements that are found in Broadway Through a Keyhole and Stars Over Broadway in which this same story has the protagonist a singer.

Today's audience might find it a little silly that fighter Max Baer appears in a Broadway review. But that was definitely Max as he sings with a bunch of chorus girls, Lucky Fellow, Lucky Guy.

Myrna Loy, Walter Huston and Otto Krueger all turn in fine performances in their parts. And Max Baer was a natural born performer. After his ring career he had a nightclub act with fellow pugilist and former Light Heavyweight Champion Maxie Rosenbloom. Baer was no longer the physical specimen he was in 1933, but he had great comic timing and also did several movie roles by himself and with Rosenbloom.

He also did a great dramatic part in The Harder They Fall as a stone cold killer of a heavyweight champion, the image that Cinderella Man tried to convey of him.

Also the Twentieth Century Fox film, Footlight Serenade, uses Max Baer as a model for Victor Mature's character.

And as a special treat for you boxing fans, a whole slew of former ring greats are introduced at the climax of the film before Baer fights for the heavyweight champion.

I found the film thoroughly enjoyable and hope TCM shows it more often so the real Max Baer is seen by today's audiences.

The movie's routine plot involving the on-again, off-again romance and marriage between Myrna Loy and Max Baer seemed completely dwarfed by the drama of the final 25 minutes, which pitted Max Baer against Primo Carnera for the world heavyweight championship. As most boxing fans will know, Carnera was the world heavyweight champion and Baer was a contender when this movie was made, and they actually did square off against each other for the heavyweight title the year after this movie was released, when Baer beat Carnera. In a sense, the fight in this this movie is a preview of the real championship fight even though it was staged, and it is much more enjoyable if you keep that in mind. Many of the boxing greats were introduced before the fight just as is done in actual championship fights.

Actress Myrna Loy is one of the legendary names in (early) Hollywood. In her biography, she admits that the only major mistake she made in her career was underestimating the raw physicality and animal presence, as well as the dominating personality, of heavyweight champion-to-be Max Baer for "The Prizefighter and the Lady". This film was made in 1933, less than a year before Baer demolished Primo Carnera for the title. The 6-3, 225-pound Baer was 24 when this film was made, and at his physical peak. His chiseled features rivaled those of any actor. Though Baer had never had formal drama training, his sheer presence---and fun-loving personality---often dominated scenes, regardless of those with him. Nowhere is it more evident than in this film. Despite the skills and experience of his primary co-stars, Baer utterly overshadows everyone. About all Loy and everyone else can do here is try not to look too much overshadowed. Everyone who knew Baer, including those who fought him---such as Joe Louis---stated that Max was a frustrated performer. As for the film itself, as an early talkie, its plot and character interactions were quite elementary. Corny might best describe them. Loy, and Otto Krueger, when not in scenes with Baer, demonstrate solid acting. For fight fans, this is a Who's Who. Some of the greatest names of early boxing appear here in walk-on roles. Jack Dempsey, just seven years removed from his championship days, is the referee in Baer's climactic title fight with cinema---and actual world champion---Carnera. Other renowned figures are Jim Jeffries and Jess Willard (former heavyweight titlists), and former heavyweight challengers Tom Sharkey and Frank Moran. Some trivia: Baer here played a character named Steve Morgan. Though his celluloid fight with Carnera was judged a draw, Morgan gives the champ quite a beating early in the bout. When Baer and Carnera actually met for the championship, on June 14, 1934, at New York's Long Island City Bowl, Max entered the ring wearing not his own robe, but the one from the film...with Steve Morgan's name emblazoned on the back. Obviously, it was an attempt to psych Carnera. One of the ringside reporters quipped: "Too bad Max couldn't make it tonight. I think he might have beaten Primo." Whichever name he used, Baer knocked down Carnera a record 11 times in 11 rounds before the referee stopped the bout and awarded Max the crown. This film is worth watching for the charismatic Baer, his exciting and entertaining battle with Carnera, and all those historic boxing figures.