Mac Coy aux poings d'or

In the first few minutes of Killer McCoy, Mickey Rooney sings, dances, shoots some sharp pool, shows a range of emotions, and takes his shirt off to work a speed bag. Now I finally understand why he was able to get busy with Ava Gardner. He's a total stud.

This cynical boxing movie features fine work from Sam Levene, Brian Donlevy and Tom Tully, plus some showy acting from James Dunn.

Problem starts when Ann Blyth shows up. As with most gritty movies that shoehorn in a love interest, it falls apart quickly. We have to sit through a romance montage. And the movie loses its focus, turning into a chick flick where Rooney and Donleavy are focused on protecting the sweet, innocent Blyth. Snooze-O-rama.

What started out as a cynical look at poverty and the choices we make to escape it, ends up so soft and rounded and middle America it could have been made by Disney.

While Killer McCoy might not sound like a winner at first glance, it's surprisingly smart, exciting, and fun. It might look like Mickey Rooney isn't the best choice for a prizefighter, and it might look like James Dunn is just reprising his Oscar- and Rag-winning role in A Tree Grows in Brooklyn, and it might look like Brian Donlevy has a throwaway role as a typical bad guy, but this movie is one of the top of its kind.

Mickey Rooney shows off his acting chops in this meaty role, and not only does he show a different mastery of choreographed footwork, but he has a range of emotions that show great experience and street smarts. James Dunn once again plays a drunk who can't get ahead, but it is slightly different than two years ago's film. If you did enjoy A Tree Grows in Brooklyn, though, you'll want to watch this one. Brian Donlevy isn't a straight villain, and has a very interesting character. He's fleshed out and given layers to his performance, showing once again, that he's a very good and underused actor. Ann Blyth is Mickey's love interest and Brian's daughter, and while she is the contrast to Mickey's coarse boxing world, she's not a one-dimensional snob. She's sweet and loving, and it's clear why both Mickey and Brian want to shield her from their world.

The script of Killer McCoy is very strong. Frederick Hazlitt Brennan has written smart, snappy dialogue as well as dramatic scenes, and the plot unfolds at an even yet exciting pace. This is a surprising hidden gem that isn't remembered anymore, but when you watch it you'll realize it should be.

No he's no Di Niro but his street pug slugging came off very real. Mickey Rooney looked like he was really taking some shots up there and I wouldn't doubt it if he actually insisted on doing it for the realism. Either that or the editing deserved an Oscar! Interesting cameo of , Johnny Andrisiano,( Rocky ) the real-life fighter who trained Mic for the film. (And who died mysteriously-suicide?) Also keep your eyes peeled for a quick but fleeting glimpse of Shelly Winters as one of two autograph hounds in the car. James Dunn playing his poor song-and-dance soul was superb! This movie is a rare gem and it really deserves more credit than it's given.

This is Mickey Rooney's first true adult role, just a year after his final appearance as Andy Hardy until a final film in the 1960s. This entry has lots going for it, not the least being a terrific performance by Rooney as the title character. At age 27, Rooney was trying to rid himself of MGM's image and McCoy was probably a godsend role for him, bridging the squeaky-clean image that he had with something a bit more adult. Rooney here is still boyish and starts the films as the dutiful son of a no-good drunk father (James Dunn) and a mother who literally works herself to death providing for the family and making excuses for her wastrel of a husband.

The local priest, as an act of charity, tells Rooney and Dunn about a need for a song and dance number to open for a fight that night with the job paying ten dollars. After the fight, Rooney says he'd like a turn at the winner, and he does manage to knock the guy out. This causes someone who sees the fight to take him under his wing and teach him the ropes of the trade. At one point down the line Rooney kills a guy with his punch and that earns him the nickname "Killer".

All the while Mickey's dad is causing problems - drinking heavily, running up big debts to gamblers that eat up the purses that Mickey wins, until his dad sells Mickey's contract to a crooked gambler (Brian Donlevy) who is living a double life that includes a daughter nobody knows about who is attending an elite finishing school (Ann Blythe). Complications ensue, not the least of which is that Rooney's father has a big mouth in the presence of the wrong people about everything that is going on.

Look fast for Shelley Winters in a non-speaking bit as one of Rooney's groupies as he trains for a championship.

What I've described sounds pretty formulaic except maybe for the crooked gambler living a double life, but it is very well done and is an excellent showcase for an adult Rooney in an adult role. He's convincingly hard boiled when he needs to be. The only thing negative I can say is how the conclusion seemed rushed - like the writers really didn't know quite how to end it.

Strangely enough, Rooney and the director of this film had a big argument on the set about how bad Rooney's acting was which caused him to walk off the set. Rooney angrily recalled the incident 50 years later when Robert Osborne interviewed him on Turner Classic Movies. Osborne sat perfectly still while Rooney ranted about the situation, later saying he was afraid Rooney would have hit him if he moved or spoke.

A slum kid fights his way to the top despite an alcoholic dad and a bunch of tricky gamblers.

MGM does a boxing movie, not exactly its usual glamorous fare. And though the movie suffers in comparison with the gritty, noirish classics of the time, Body and Soul (1947) and The Set-Up (1949), Rooney lends a kind of manic energy that remains compelling. In fact, the film's shrewdly cast, from bit parts to leads, making it easy to overlook the film's theatrical over-tones. Sure, it's a vehicle for Rooney, to toughen his Andy Hardy image, but the producers have surrounded him with a first-rate cast, and a pretty good story that's got just enough twists to carry past the many clichés.

My favorite parts are surprisingly some of the talky parts—the two gamblers Tully and Donlevy, each thinking he's outfoxing the other; or the two boxers Rooney and Steele, buddying up in the nightclub after their match; or a cynical Rooney finding out the chippie waitress does have more on her mind than casual sex. Each is cleverly written and expertly performed. I just wish Rooney had hooked himself to a generator where all that energy could have lit up a city.

No, the movie's neither memorable nor a boxing classic, but it does make it as 100-minutes of colorful entertainment.