The Fighter

This isn't so much a boxing movie as a peasant rebelling against a cruel dictatorship movie. Richard Conte (who, at 42, was about 15 years too old for the role of Felipe Rivera) plays the peasant in question who flees to New Mexico to raise funds for the rebellion after his beloved is murdered by troops. The film is a clumsy amalgamation of two stories - Rivera's life as a peasant, and his attempts to raise money to buy guns for the rebellion through boxing - the former of which is sandwiched between the latter as an extended flashback. As always in this type of film all the peasants are decent noble types and all the troops are leering sadists.

Lee J. Cobb plays Durango, the heroic rebel leader and he isn't that great. He was called upon a few times in his career to portray latino types and, with his tendency to exaggerate the accents he was never convincing. In fact the film is fairly ordinary throughout and directed in a workmanlike manner by Herbert Kline (who also wrote), although the fight sequences are fairly good for the time. This is one for Conte completists only.

Conte plays Felipe Rivera, a Mexican who joins up with a revolutionary group trying to wrest the country from its current leadership. His motivation is unclear to begin with but a long flashback takes care of that. Rivera's chief means of assisting the cause is boxing to raise cash for it. The film is flawed, there's no getting away from that. It has plenty of very wooden, stereotypical acting and the script is pretty crude. But there is some outstanding camera-work here (James Wong Howe was cinematographer, along with an uncredited Floyd Crosby, who shot High Noon and worked on From Here to Eternity), especially the boxing scenes but there are great moments throughout, and Conte's performance is another highlight. His role is ultimately more three dimensional than is often the case (in my experience - seen 9 of his films) and his fight scenes are great. Conte fans will almost certainly enjoy the film. Cobb's performance (as the leader of the revolutionaries) will divide viewers, but I enjoyed it - enthusiasm over realism. All in all, good fun. It's public domain and you can watch it online on The Internet Archive.

Plot-- A peasant rebel fighting against Mexico's government in the early 1900's is separated from the main force and seeks to rejoin them with the 1000 rifles they need. But the only way he can finance the rifles is by returning to the boxing ring.

Oddball movie adapted from a Jack London story. I expect London's version gels better than the film, though the latter does have its moments. Unfortunately, the boxing sequences are typical Hollywood hokum in which blockbuster punches never miss nor is defense ever practiced. I guess that's because missed round-houses and defensive jabbing lack drama while film is expensive. Nonetheless, photographer Howe (and perhaps uncredited Crosby) alternate camera angles in unusual and compelling fashion that keep the viewer interested.

Too bad, IMDb doesn't report where the Mexican scenes were filmed, because the grimy hovels and city streets look authentic as heck. I wish I could say the same for the clumsy exterior backdrops that mar some scenes, but at least they're not over-used. Still, there are several darn near sublime scenes. That's when the camera suddenly drops us behind the lovers sitting seaside. In contrast to the movie's high-key lighting, this is a poetic night world in which the lovers appear to contemplate a noirish eternity that stretches out before them. To me, these are the movie highlights.

As an old movie fan, I'd never heard of this 1952 indie entry. Moreover, I expect it got crushed by the same year's release of Marlon Brando's Viva Zapata. Then too, I expect political lefties like actor Cobb, writer Kandel, and director Kline were drawn to the politically charged material. Unfortunately, for them and maybe the film too, the McCarthy purges of Hollywood lefties was gaining momentum. So likely a cheap indie like this didn't get much distribution, nor do I recall it showing up on a late show in film-conscious LA.

That fine actor Conte manages in the lead role, while Cobb's out-sized presence fits that of a revolutionary leader. Nonetheless, the conflicting sides are made up of stereotypes, right down to the well-scrubbed peasant women and the cruel Federales. All in all, the 70-minutes has an interesting look to it. Yet the parts do shift back and forth erratically, failing ultimately to merge into anything memorable.

At the time this film was released in 1952 I was a sophomore intercollegiate boxer (135 lbs, 6'2"). I saw the film twice in 1952. I had seen other boxing films but none as realistic as boxing by Richard Conte. He was an incredibly talented and under rated actor. In you love boxing see this film! Conte looks like and moves like a boxer. Considering Conte was 42 years old at the time this film was made he appears in remarkable physical condition. Not only is the boxing itself "real" but the ostensible purpose of the boxing matches make sense. Conte's people need guns and he boxes to get money for those guns. It is difficult to remember scenes of a film I saw 56 years ago. I do remember that Conte during the course of boxing matches appeared to be exhausted just would a real boxer after a match. Of course the weight class I boxed, and especially intercollegiate boxing, is never designed to injure/harm anyone. Real boxing is designed to injure/damage the opponent.

Richard Conte walks into the Maduro office just across the river from Mexico. He has been sent by the head of the guerillas, Lee J. Cobb. He has no proof, just his word; at first they think he may be a Diaz spy, so they set him to mopping the floor, and tell him he can't stay there at night, even though he says he has no money. He shows up the next day with twenty dollars, which he gives to the cause. Eventually Vanessa Brown gets his story from him. He is from a small village which the Federales have been taxing to death. Cobb showed up alone. They hid him, and the Federales killed everyone and burned the village. The money is from acting as a sparring partner at a local boxing gym.

Conte plays his role as angry as possible, with no words, just body language. Cobb plays his at his biggest, which is immense. Fortunately, Conte has a weapon on his side; the cameraman is James Wong Howe, and the boxing match at the end is as brutal as any put on the screen, long shots (using a body double for Conte, hunched over) and closeups of the two men's upper bodies, trading blows alternately. No one could shoot a fight in black and white like Howe.

It's from a Jack London story, "The Mexican." I probably read it almost fifty years ago, but have no memory of it. I expect I'll remember this movie.