Gentleman Jim

Although the mention of Errol Flynn most often evokes images of his bravura Golden Age performance in "The Adventures of Robin Hood" (his portrayal of that character was ranked the 18th greatest American film hero by the American Film Institute), 1942's "Gentleman Jim," with Flynn as old-time boxer James J. Corbett waging his most famous fight against the great champion John L. Sullivan, is my favorite among Flynn's estimable body of work.

Flynn, considered the successor to Douglas Fairbanks as the screen's king of the swashbucklers, lived up to that promise with starring roles in films like "Captain Blood," "The Charge of the Light Brigade," "They Died with Their Boots On," "Dodge City," "Santa Fe Trail" and "San Antonio."

But "Gentleman Jim," based on Corbett's autobiography, "The Roar of the Crowd," and directed by the great Raoul Walsh, is quintessential Flynn, the sleek, daring young man on the rise and at the top of his game, here supported by a deep, perfectly cast group of actors that included frequent Flynn sidekick Alan Hale (this time as Flynn's father), Ward Bond (as a barrel-chested Sullivan), Alexis Smith (as his smitten but sassy love interest) and Jack Carson (as his well-meaning but gullible and socially awkward best bud).

And, yes, that's William Frawley a decade before "I Love Lucy" and Fred Mertz, stealing scenes in a pivotal role as a cigar-chomping, opportunistic but sometimes disbelieving little fight promoter.

Alas, the real-life Flynn, who had trained so hard to be in shape as Corbett, died at the young age of 50 in October 1959, his body aged well beyond its years, his personal life and film career in tatters, victims of a burn-the-candle-at-both-ends and all too often scandalous lifestyle (see his autobiography with ghostwriter Eric Conrad, "My Wicked, Wicked Ways," and David Niven's memoir, "Bring on the Empty Horses," for a glimpse of his complex and troubled life).

As for Corbett (1866-1933), who graduated from Sacred Heart High School in San Francisco and was "rumored" to have a college education, he's been called the "Father of Modern Boxing" for his athletic dodging, dancing and weaving technique in the ring, Muhammad Ali before there was a Muhammad Ali. That entertaining and often harrowing style against sometimes bigger and stronger opponents, plus being blessed with a natural sense of theatricality and movie-star good looks that led to a second career in stage acting, resulted in his being christened Gentleman Jim by an admiring press eager to capitalize on his charisma.

But this was Flynn at his best, as he should be remembered, a match with character made in cinematic heaven.

If you haven't seen "Gentleman Jim," or if it's been a while, have a look.

Based on James J. Corbett's 1894 autobiography "The Roar of the Crowd," the 1942 Warner Bros. film "Gentleman Jim" gives the prizefighter's story a Hollywood gloss but remains top entertainment nevertheless. In it, Errol Flynn stars in what he later called his favorite film role (over "The Adventures of Robin Hood," "Captain Blood," "The Sea Hawk" and "Objective, Burma"? Incredible!), giving a remarkably likable, high-energy and physical performance; practically an Oscar-worthy one. In his own 1959 autobiography "My Wicked, Wicked Ways," Flynn reveals that he was knocked unconscious three times in one day (by pro boxer Jack Loper) and suffered a mild coronary while making the film, but his energy on screen never flags; this is a highly impressive demonstration of Flynn's skills as both an actor and a physical performer.

In the film, we first meet Corbett in 1887, when he was a 21-year-old, brash, conceited, boastful bank teller in San Francisco, toiling away with his buddy Walter (the always amusing Jack Carson). His life changes very quickly, however, when he is admitted as a protégé in the posh Olympic Club, much to the disdain of elegant society girl Vicky Ware (the beautiful Alexis Smith, who had already appeared opposite Flynn in 1941's "Dive Bomber" and would go on to star with him in 1945's "San Antonio"). After knocking out the ex-British heavyweight champion at the club's gym, Corbett, to the delight of his constantly brawling Irish family, begins to climb the rungs of the nascent boxing sport, his fancy footwork and 73-inch reach being two huge assets, while the newly incorporated Marquess of Queensberry rules helped transform what was up until then a rough-and-tumble melee into the more refined sport that we know today. Corbett's career, of course, culminates with his victory over the "Boston Strong Boy" John L. Sullivan in New Orleans, on September 7, 1892. And as depicted on film, with Ward Bond playing John L., what a tremendous bout this 21-round fight is!

Even those who don't like the sport of boxing, I feel, should enjoy "Gentleman Jim." The four fights depicted on screen (the one with the Brit champ; a hungover fight in Salt Lake City; a dockside matchup against Tony Choynski, preceding a police raid and riot; and the big bout in New Orleans) are well done, exciting, tense and marvelously shot by director Raoul Walsh, a man who excelled at both fast-moving action scenes AND period re-creations, both of which talents are utilized here. (This was Flynn's third film out of an eventual seven with the director.) Though hard hitting, the fights are not ugly to watch, unlike, say, those in the 1956 Humphrey Bogart film "The Harder They Fall" and Martin Scorsese's "Raging Bull." Rather, the fights in "Gentleman Jim" stress Corbett's remarkable agility and footwork ("That bloke jumps around like a jackrabbit," declares the Brit fighter; "He should've been a dancer," says an Irish priest later on), and Flynn, doing all his own stunts, bobs and weaves and skips and moves like the real deal. Indeed, during the big fight, he makes Sullivan look like a lumbering stumblebum, which, for the first four rounds at least, was how things supposedly really went down. Though the two men had just about the same reach, and though Sullivan outweighed Corbett by a good 34 pounds, Corbett's new "scientific approach" to boxing, so well shown in the film, ultimately won the day. But wait...an even better scene follows, in which Sullivan comes to Corbett's victory party, and the two men touchingly reveal to one another their mutual respect and admiration. It is a wonderful scene, and Bond and Flynn are both superb in it. I would be remiss if I didn't mention the fine work turned in by the film's uniformly fine cast (including Alan Hale as Corbett's dad and William Frawley as his bellicose manager) and note what a great-looking picture this is, with impressive sets (especially those in the ritzy Olympic Club) and a screen that is filled (as was Walsh's wont) with constant motion. A huge triumph for everyone concerned, the picture really is (you'll pardon the expression) a knockout!

Loosely based on the James J Corbett biography "The Roar Of The Crowd", Gentleman Jim is a wonderfully breezy picture that perfectly encapsulates not only the rise of the pugilistic prancer that was Corbett, but also the wind of change as regards the sport of boxing circa the 1890s.

It was like trying to hit a ghost!

The story follows Corbett (a perfectly cast Errol Flynn) from his humble beginnings as a bank teller in San Fransico, through to a chance fight with an ex boxing champion that eventually leads to him fighting the fearsome heavyweight champion of the world, John L Sullivan (beefcake personified delightfully by Ward Bond). Not all the fights are in the ring though, and it's all the spin off vignettes in Corbett's life that makes this a grand entertaining picture. There are class issues to overcome here (perfectly played out as fellow club members pay to have him knocked down a peg or two), and Corbett has to not only fight to get respect from his so called peers, but he must also overcome his ego as it grows as briskly as his reputation does.

Along with the quite wonderful Corbett family, and all their stoic humorous support, Corbett's journey is as enthralling as it is joyous, yet as brash and as bold as he is, he is a very likable character, and it's a character that befits the tagged moniker he got of Gentleman Jim. The film never sags for one moment, and it's a testament to director Raoul Walsh that although we are eagerly awaiting the final fight, the outer ring goings on are keeping us firmly entertained, not even the love interest sub plot hurts this picture (thank you Alexis Smith). The fight sequences stand up really well, and they perfectly show just how Corbett became the champ he was, his brand of dancing rings round slugger fighters is now firmly placed in boxing history.

As the final reel rolls we all come down to earth as an after fight meeting between Sullivan and Corbett puts all the brutality into context, and it's here where humility and humbleness becomes the outright winner, and as far as this viewer goes, it will do for me to be sure to be sure. 9/10 for a truly wonderful picture.

If you like Flynn, Jack Carson, Alan Hale, Alexis Smith, William Frawley and/or Ward Bond, then this is the film for you. This film is a biopic about the boxer, James "Gentleman Jim" J. Corbett, who was one of the first boxers to fight under the modern boxing rules. This film deals with his ascent to stardom, courtesy of his brash cockiness and natural talent as a boxer. Carson portrays his less attractive friend who enjoys the perks involved in being friends with a star. Hale is his Irish father who is hilarious.

Smith plays a woman whom Flynn courts throughout the entire film. She pretends to loathe him, mostly because of his arrogance, but throughout the film, you can tell that she's got the hots for him (and who wouldn't?) even though she tries to suppress it. Frawley is Flynn's boxing manager who tries to keep him a serious boxer, but struggles at times. Finally Bond plays John Sullivan, the reigning heavyweight boxing champion who Flynn ends up challenging. Their fight is the climax of the film. There's a very touching scene between Flynn and Bond at the end of the film. It's followed by a very funny scene involving Hale and Carson. Highly recommended. Even if you're not a boxing fan, you'll find this film enjoyable. Flynn so effortlessly makes his "cock of the walk" character utterly charming. In lesser hands the part of Jim Corbett could have easily become obnoxious, but Flynn's personality and charisma makes the audience root for his character.

You're going to want to rent this movie to see Errol Flynn as a boxer. He has plenty of sweaty, shirtless scenes to keep you satisfied, but believe it or not, those scenes won't be the ones that keep you coming back to this movie over and over again. Yes, he's adorable, but it's Ward Bond who steals the show. He plays "John L. Sullivan himself", the champion boxer Errol hopes to beat. Not only does he put on a hilarious Irish accent and bare all in his own boxing scenes, but he sinks his teeth in the meaty, emotional role. In my favorite scene, Errol challenges him to a fight by insulting his age and virility, and Ward loses his temper, while making sure to finish his meal. You'd never guess that Ward Bond could steal the spotlight away from the incomparable Errol Flynn, but he does.

Back to the lead, though: Errol comes from a poor background, and he often gets into fistfights. When he learns he can make money from boxing, he makes it his mission to become a gentleman. Alan Hale, usually Errol's sidekick, gets to play his loud and proud father. Alexis Smith is the snooty love interest who sees his poor background through his tuxedo. How does it turn out for the boxers? You'll have to watch this adorable, entertaining '40s flick to find out.