The Joe Louis Story

Heavyweight contender Coley Wallace who looked and sounded exactly like Joe Louis, tried his limited best in his movie debut. Sadly, a cheap and clearly quickly made film, it really lacks the knockout punch to make this a great or even good movie. However, any fan of Joe Louis will find this entertaining enough, but that is about it.On a side note, Wallace defeated Rocky Marciano in an amateur boxing match and Marciano knocked out Louis in a professional fight.

Continuing to review African-Americans in film in chronological order for Black History Month, we're now at 1953 with The Joe Louis Story with Coley Wallace in the title role. This movie about the real-life champ from the '30s and '40s glosses over the racism that I'm sure he must have encountered being such a high profile sports figure during that time though at least one mention was made about it early in the picture. As for the actual footage of Louis and many of his opponents, they weren't very exciting to me possibly due to the lack of close-ups of them. Among the performances of many actors of color, Wallace-himself a fighter-did pretty good as Louis though he's not given much of a chance to express real emotion when things don't go so well. Best among them is James Edwards as first trainer Jack "Chappie" Blackburn whether disciplining Wallace or expressing concern to others about him. As the wife of Louis, Hilda Simms does what she can in that role whenever she expresses some frustration with how little time she has with the constantly busy champ. Other players of the same race worth noting include Evelyn Ellis as Joe's mother, John Marriot as Sam Langford, Isaac Jones as Johnny Kingston, P. Jay Sidney as handler John Roxborough, and Dots (Dotts) Johnson as Julian Black. Incidentally, this is the third time in several days I've seen this actor on film having just previously watched him in Reet, Petite, and Gone and No Way Out. So on that note, The Joe Louis Story is worth a look. P.S. Mr. Wallace was born in Jacksonville, FL, which is where I lived from 1987-2003.

Why is it that a film production company and its supposed professionals undertake a project that would seem sufficiently elastic to really emerge as a significant exponent of its subject-matter...only to become a pale facsimilie, causing its knowledgeable audience to feel slighted?

This was the case with the shouldn't-have-been low-budget "Joe Louis Story."

After Rocky Marciano one-and-for-all ended Joe Louis' memorable career, with that devastating TKO at Madison Square Garden that October night in 1951, everyone---not just fight fans---realized that a great sports era in this country had ended. Even non-liberal Americans reluctantly understood Joe Louis' significant impact not only in sports but on society.

A decade before Jackie Robinson, there was Louis. Joe not only had to win his battles inside the ring, but---in a struggle to win-over White fans---he had to remove much of the residue tarnish from the (1908-1915) reign of the first Black heavyweight champion, the talented but unsavory Jack Johnson.

Thus, when officials of the Chrysler Company, shortly after Louis' final fight, chose to do a film about the fighter's life/career, there was immense material at-hand.

Rather than utilize sufficient funds and really produce a true feature film---covering the story's multi-dimension potential---officials instead chose to go the cheap, shallow route. That's truly unfortunate because both Louis and his impact deserved so much more.

The biggest problem with the movie is that it sugar-coats the circumstances Louis faced, in-and-out of the ring. It shows him coming from a strong, middle-class Detroit neighborhood. He certainly did not come from this type of affluency.

When Black business leaders, John Roxborough and Julian Black, assumed roles as Louis' mentors/financial backers, much of their motivation was financial. They saw his ring potential and, despite their own economic status, wanted to ride his coat-tails to greater fortune.

This was not addressed in the film. Neither was the combination of prejudice and attempted mob-influence Louis encountered.

Few of Louis' early fights were shown/depicted, though clips from his key early bouts with Primo Carnera and Max Baer were shown.

When people think of Louis' opponents, two immediately come to mind: Max Schmeling and Billy Conn. The film discusses, and offers clips from, the Schmeling fights but virtually ignores the Conn bouts. Very brief mention is made of the anti-climatic second Conn fight; but it was the classic first fight that should have been developed and shown. Had light-heavyweight Conn---a huge underdog to a vintage Louis---survived the 13th round, and won either the 14th or 15th, he would have taken Louis' title.

There should have been much more continuity shown as Louis' career is presented. More clips from his title defenses would have been excellent---and necessary---bridges as we relived Louis' great career. He came within an eyelash of losing his Dec. 5, 1947, defense against Jersey Joe Walcott. Then, six months later, he made his final defense with a KO of Jersey Joe.

There were, however, a few positives. Coley Wallace facially resembled a young Louis so much that it was almost eerie. And Wallace, who had a brief, undistinguished professional career during the late-1940's and early '50's, of course accurately handled the up-close training and fighting scenes. Ironically, Wallace also is remembered for having been the last man to beat Marciano---if he actually did. Though all accounts say that Wallace was given a gift three-round decision of Marciano in their early-1948 amateur bout, he did win the official decision. Wallace was smart enough not to fight Rocky when both were pros.

Strong character performances were given by James Edwards, as Jack Blackburn, Louis' trainer and close friend; Paul Stewart, as a sportswriter and Louis supporter; John Marley, as Mannie Seamon, a Louis latter-career trainer; and Hilda Sims, as Joe's lonely, increasingly nagging, wife Marva.

The few clips of Louis' bouts add a touch of realism to the program.

This film should have been a major undertaking. It comes-off as a small-letter production when it should have been in all-caps.

If you want to see a movie about Joe Louis, at least up to the point where his career peaks, i recommend that you make a double bill of "The Joe Louis Story" and "Spirit of Youth," the latter STARRING Joe Louis as a young man from a poor family in Alabama who goes on to become the heavyweight champion. That's right -- Joe Louis (and, no actor he, but what does it matter -- it's JOE LOUIS!) made a better *fictional* film about his own life than his memorializers did in this ostensibly non-fiction film. All the insights into Louis' personal life that were missing in the bio-pic -- the Alabama beginnings, the smug over-confidence and breaking of training that led to the loss of the first Schmeling fight, the wife troubles, the emotional reliance on his mother and on his trainer -- all that and more is in "Spirit of Youth" -- PLUS the latter gives us a comic side-kick in the form of none other than the great comedian Mantan Moreland. Yes, "Spirit of Youth" is a fiction, and a light-hearted one for much of the way, and, yes, Joe Louis was not a professional actor in any way, shape, manner, or form, but the fiction in "Spirit of Youth" is in some ways based more closely on fact -- and certainly bears more emotional truth about Joe Louis -- than "The Joe Louis Story" does. Also, it features some great fight scenes with Louis playing the role of a fighter -- that is, staged fights that show him up close and personal the way the old newsreel footage in "The Joe Louis Story" cannot do. My advice is to rent or buy them both (they are both available for a low public-domain price) and watch them back-to-back, "Spiit of Youth" first, followed by "The Joe Louis Story." You'll be glad you did.

Two years after the Jackie Robinson Story came out another and slightly better film tribute to a black sports icon came out. Joe Louis had a bit more sense than Jackie Robinson did and let someone else play the part of Joe Louis.

Coley Wallace who had a boxing background stepped into the part and it helped. Of course the same cheapness of production classified this film as the Robinson biographical film. It did however give more information about Louis and his rise and fall though not nearly enough.

Joe Louis, born Joseph Louis Barrow, from an incredibly poor Alabama sharecropper family started his professional career in 1934 and became heavyweight champion in 1937 knocking out the Cinderella Man, James J. Braddock whose story was told two years ago in a film of the same name. Louis met and took on all comers for the next twelve years.

Only three people defeated Joe Louis, Max Schmeling former heavyweight champion on the way to a comeback as Louis was rising in heavyweight ranks, Ezzard Charles when Louis decided to come back himself for financial reasons, and Rocky Marciano on his way up to be champion in Louis's last fight. Interesting that all three men who defeated him became champions themselves.

His ring record was 68 wins with 54 of them by knockout, 3 losses, one of them a decision for Ezzard Charles and he was knocked out by Schmeling and Marciano. He made a still standing record of 25 successful defenses of the heavyweight championship.

Along the way Joe Louis managed to get himself in Bartlett's Familiar Quotations twice. The first is covered in the film as he said at a War Bond Rally in 1942 that we will triumph "because we are on God's side."

The second concerns his title defense against Billy Conn which was not mentioned. Conn, a light heavyweight had bulked up to challenge Louis in his division and Conn was known as one who was lightning fast in the ring. When asked how he would counteract his speed Louis was quoted as saying, "he can run but he can't hide."

Best acting performance in the film without a doubt goes to James Edwards who played old time lightweight fighter, Joseph Blackburn who originally trained Louis. Edwards with the proper breaks could have had the breakthrough career for black leading men as Sidney Poitier had.

Paul Stewart is in the film in the role of a fictional sportswriter character and narrator in the same type of part that Walter Brennan had in Pride of the Yankees. John Marley has an early movie role as Mannie Seamon who succeeded Blackburn as Louis's trainer.

Given the cheapness of the production it's good that they covered as much as they did. A made for TV film was done about the two Louis- Schmeling fights. Maybe someone will do a good biographical film at some point.

Joe Louis was one class act who reached the very heights and had a lot of heartache and bad times after leaving boxing. Even doing stuff like going into professional wrestling to earn money to pay the tax man, he still was a class act. Fitting and proper that Joe Louis is buried in Arlington National Cemetery because he was nothing less than a national treasure.