Saturday, December 8, 2012

Adventures of Sir Galahad – Chapter 15: Galahad’s Triumph


OUR STORY SO FAR: Through fourteen chapters of reckless, exciting derring-do, apprentice ka-niggit Galahad (George Reeves) has struggled to retrieve the invincible sword known as Excalibur and return it to its rightful owner, Arthur, King of the Britons (Nelson Leigh).  (The reason for this is that he’s the dillweed who was responsible for its disappearance in the first place.)  His ka-niggithood paperwork on hold until he accomplishes this task, Galahad—along with his comic relief sidekick Sir Bors (Charles King)—has gone toe-to-toe with the mysterious individual who made off with the sword, The Black Knight (voiced by Paul Frees): a foul villain in alliance with Arthur’s rival, the skeevy Saxon king Ulric (John Merton)…and Ulric’s questionably loyal chamberlain, T.T. Bartog (Don C. Harvey).  (The “T.T.” stands for “the treacherous.”)

Galahad has long suspected Sir Modred (Leonard Penn) of being The Black Knight, but his accusations have alienated him from both Arthur and Bors.  Last week, Galahad secretly entered Camelot via a secret passageway (known to everyone in the friggin’ kingdom but Arthur) and found his remaining ally, Sir Lancelot (Hugh Prosser), chained to a dungeon wall after being tortured by The Black Knight’s goons.  Releasing Lancelot, Galahad “penetrates further into the palace” (I swear—this is how announcer Knox Manning describes it in the opening of Chapter 15) and finds Modred and T. Bartog discussing their abominable plan to rid themselves of Arthur once and for all.  But when Galahad’s singular footwear gives away his hiding place, Modred traps him behind some curtains…and the two villains plan to run him in with their swords…


…not so fast, evildoers!  The quick-thinking Galahad quickly smothers the two men with the large tapestry, and grins at his resourcefulness.


Back in the dungeon, Galahad returns to Lancelot to brag about what a clever little sod he is.

GALAHAD: Lancelot…
LANCELOT: You found Queen Guinevere?
GALAHAD: No…but I have information that must get to King Arthur at once—hurry!

Making their way out of Camelot via that oh-so-familiar passageway, the two men are able to reach the outside of the gates…and in the space where Galahad parked his horse earlier—there are now two horses to accommodate both riders.  Where did the other horse come from?  Well, I suppose we could speculate that the first horse was a boy and the second a girl and those things just happen in nature…but the short explanation is simply: writers be lazy!

LANCELOT: While I pause for breath, tell me what this information is…
GALAHAD: There’s evidence that Modred’s The Black Knight…he and Bartog have quarreled…

Well, everybody was saying it would never last.  “The rest will have to keep until we find Arthur,” finishes Galahad…and to give them incentive to do so, Modred and T. Bartog emerge from the main gate.

“There are your spies!” T. Bartog shouts accusingly.  (“Why are they covered with mince?”  “They’re mince spies!”  Yes, I waited a long while to use that.)

Galahad and Lancelot gallop off, much to T. Bartog’s puzzlement.

BARTOG: Will you not give chase?  I think they are Galahad and Lancelot…
MODRED: Oh, they are perhaps riding to Arthur…
BARTOG: Let us do something to stop them!
MODRED: Oh, let them go!  They will help shape my plan…
BARTOG: Are you not complicating matters?
MODRED: No…it’s simpler than you think…

“…and as cunning as a fox what used to be Professor of Cunning at Oxford University but has moved on, and is now working for the UN at the High Commission of International Cunning Planning.”

MODRED (back inside the palace): Now is the time to proclaim The Black Knight lawful King of Britain!

Hypothetically—how should we formally address him?  King Black?  King Knight?  B.K.?

BARTOG: The interests of the Knight are dear to us both…I’ll be glad to help…

Oh, you’d sell your own mother into prostitution if the tariff was right.

MODRED: Your help is priced too high…we can manage without it…
BARTOG: You’re very sure, Modred…do you think King Arthur will not resist this move?
MODRED (with an evil smile): The Black Knight has the sword Excalibur…no one can win against that…
BARTOG: Where is this sword?
MODRED: I have it here…left in my care…

“Come,” beckons Modred.  “See for yourself!”  The two men walk over to where Excalibur would usually be hanging in the Sword Room, and Modred activates a hidden panel (another castle feature to which Arthur is oblivious, I’m guessing).  Reaching in to remove the sword…he finds bupkis!  (Cue the sad trombone!)


BARTOG: It would seem the confidence of The Black Knight has been misplaced…
MODRED: It could not have been Galahad that took it…he didn’t have time enough for that!
BARTOG: The name of the thief is unimportant…but if that sword should reach Arthur…

“You would be seriously screwed, mon ami.”

BARTOG: Now if you had Ulric as an ally…in time to meet Arthur’s attack…
MODRED (after a pause): The Black Knight can weave a web of his own…well, come to the point, Bartog—will you arrange this alliance?
BARTOG: If The Black Knight will double the rewards promised…
MODRED: He will…now ride to Ulric and ride fast!

There is a fade-out, and then a fade-in as King Arthur, Sir Bors, Sir Kay (Jim Diehl) and several nameless ka-niggits are shown resting in a field.  Sir Gawain (Rick Vallin) rides up and approaches his king.

ARTHUR: Do you bring news of the Queen?
GAWAIN: No, Your Majesty…

“Excellent!  Let’s head for the Titty Twister, men!”

GAWAIN: Our search has been in vain…
KAY: Every courier brings the same words, Sire…Queen Guinevere is not to be found here…
ARTHUR: I will not give up until…

“Until I so advise!” booms a voice in the distance.  It belongs to the mighty magician known as Merlin (William Fawcett), who has apparently decided to forego his usual puff-of-smoke entrance (they must be running out of budget).


MERLIN: I counsel you now…return to Camelot!
ARTHUR: Why come you here, Merlin?
MERLIN: To tell you that your destiny will be fulfilled in Camelot…
ARTHUR: But what of my Queen?

“And the Jack?  And the ten of diamonds as well?”

MERLIN: You will lose her forever…and your kingdom, too…unless you do as I say…
KAY: Merlin’s wisdom is great, Sire…

“Though, granted, his social skills suck pond water…”

ARTHUR (after a reflective pause): So be it…do you ride with us, Merlin?
MERLIN: No, Sire…there are other things for me to do…no less urgent than this…


Whatever fries your chicken, Merle.  So Arthur and the ka-niggits ride off, and Merlin places the budget in jeopardy by vanishing in a cloud of smoke.

As for those no less urgent things that Merlin has to do…well, one of them is to confront Galahad and Lancelot as the two men ride furiously down one of the kingdom’s many roads.  Again, Merlin chooses not to do any fancy-schmancy smoke crap, but merely step out in sight as if he were bumming a ride or something.

GALAHAD (as he and Lancelot come to a halt): Merlin…I’d not thought to find you here…
MERLIN: Save your breath and sharpen your hearing, Galahad…

I guess that’s his polite way of telling him to help himself to some Roast STFU.

MERLIN: Arthur is in dire need of your help…
GALAHAD: We’re here for no other reason but to give it!
MERLIN: Listen well…Arthur is on his way to Camelot…The Black Knight means to destroy him once he arrives…
LANCELOT: Why aren’t you there to prevent it?

Thank you!  I’m glad to see at least one other person who’s been wondering what the hell Merlin’s purpose in this serial is.

MERLIN: ‘Cause I can work only through Galahad…

“After all—this isn’t Adventures of Merlin, you know…”

MERLIN: …it is for him to take to Arthur the one thing that will save him…the sword—Excalibur!
GALAHAD: But The Black Knight has Excalibur!
MERLIN: The sword has been placed in the kingdom of the Lady of the Lake…

Well—what the hell is it doing there?  Honest to my grandma, I think you guys are just winging this last chapter.

MERLIN: You must get it from her…

“I’d do it myself…but I was supposed to call her after we went out to dinner last week, and…well, you know how it is…”

GALAHAD: How must this be done, Merlin?

I like how Reeves pronounces “Merlin”—the “mer” sounds more like “mare” than “mur.”

MERLIN: She lives in the Enchanted Forest near the Pool of Eternal Mist…

“It’s next to a Starbucks…you can’t miss it.”

MERLIN: You will endure many perils…but unless you do…Arthur will lose his crown…and his life…

“So it’s all on you, Gallie my boy.  Don’t f**k this up.”

GALAHAD: I’ll do my best…
LANCELOT: And I shall stand at your side…
GALAHAD (shaking his head): Galahad must make this journey alone, Lancelot…you join the King in Camelot…make haste, Galahad…time is fast running out!

You’ve got about nine minutes left in the chapter, son.  “I’ll see you soon in Camelot,” Galahad tells his friend, who sends him off with “Good fortune be with you, Galahad!”  The two men ride off in opposite directions, and from the expression on Merlin’s face…


…it’s as if he’s thinking: “Maybe I should have hitched a ride back.”  So there’s a scene shift to Camelot, and the gates of the castle open to allow T. Bartog to come riding in with King Ulric and several of his men.  That dink Modred is waiting to greet his guests.


MODRED: Welcome to Camelot, King Ulric!
ULRIC: I had not thought to come as a guest…

“Also, I just noticed something…this is only a model!”  Modred enthusiastically informs his “guests” that The Black Knight will receive them in the Great Hall.  (But first, he must change into his Black Knight disguise in the Not-So-Great Hall.)  He then plants his sloppy carcass on Arthur’s throne, and Ulric tells him he must be very grateful for the treason that permeates the kingdom.


BLACK KNIGHT: I understood that you came to form an alliance against Arthur…
ULRIC: I will do that…so long as it serves my interests…
BLACK KNIGHT; Good!  Let’s deal with Arthur first…and slit each other’s throats later…
BARTOG: Well spoken, Your Majesty…

Seriously, dude…is there an ass you won’t kiss?

BLACK KNIGHT: Here is my plan…we will dispose our forces so that the courtyard is completely surrounded…when Arthur and his knights arrive, we shall let them enter through the gate…
ULRIC: And then…fall upon them!  With our superior numbers…we will destroy the King…and wipe out the entire Round Table with one stroke!

So while Ulric and the Knight are fomenting their plan to wipe out Arthur and his ka-niggits with one stroke, Galahad is busily traipsing about in the Enchanted Forest, looking for The Pool of Eternal Mist.  (A brief bit of crosscutting shows Arthur and his men riding hard toward Camelot, with Lancelot galloping furiously behind to catch up.)  But unfortunately, Galahad gets entangled in The Vine of Eternal Clusterfudge, which he manages to escape but not before doing this:


He hits it with his sword in a Joe Besser fashion, as if to say “Oh, you craaazy vine!  I’ll harm you!”  He then walks a little way, and finds the Pond of Relentless Fog or whatever the hell Merlin called it.  The Lady of the Lake (Lois Hall) slowly appears, carrying Excalibur.  (Lake Lady only appears in three chapters of this serial—and yet she gets fifth-billing.  Lois had a hell of an agent.)

GALAHAD: Excalibur!
LADY OF THE LAKE: I have taken it from those who seek to use its power for evil purposes…
GALAHAD: Arthur has grave need of it…
LADY OF THE LAKE: It would be better if the sword were destroyed forever…

I have no quibble with this.  Anyone who declares himself king just because some moistened bint lobbed a scimitar at him…

GALAHAD: You do Arthur an injustice, my lady…
LADY OF THE LAKE: How so?
GALAHAD: He’s a good and righteous king…deny him Excalibur and…he will lose his kingdom…
LADY OF THE LAKE: Well spoken, Galahad…you are truly brave of heart…

“And a first-class sycophant.”

LADY OF THE LAKE: Arthur should be proud to dub you knight…
GALAHAD: Arthur has banished me from his realm…
LADY OF THE LAKE: Take the sword…you’ll find a charger in the trees…

“Make sure you return it in time or it’s an extra ten sovereigns a day.”

LADY OF THE LAKE: Ride swiftly to Camelot…your wish shall soon be granted…

Annnnd she’s outta there.  So Galahad walks off in the direction of the charger—which turns out not to be a Dodge, but a horse…though it is not “in the trees,” as the Lake Lady told him.  But don’t dawdle, Gallie—you’ve only got five more minutes left in this thing!

Meanwhile, back at the model…er, castle…Arthur and his ka-niggits come riding in like they own the place.  (Oh…wait…they do.)  Lancelot rides in a second after…


LANCELOT: Sire—we must leave before it’s too late!
ARTHUR: Leave Camelot?

T. Bartog and The Black Knight enter the courtyard, swords a-blazin’.  (I guess this classifies “too late.”)  Soon, members of the resistance join the two traitors, and the fight between rebels and knights is on.


Hurry up, Galahad!


The fight moves into the castle: Arthur tangles with the Black Knight, Lancelot with T. Bartog, and Sir Bors is assigned the task of exchanging cold steel with Ulric.  I love the back flip over the table this stunt guy does:


Finally, Galahad arrives at Camelot.  (Unfortunately, he came too late to save that poor slob sucking up dirt on the ground.)


“Here I am, you lucky people!”  Bors is glad to see his old pal, to the point of knocking Ulric on his ass, along with a pair of halyards.  But as Ulric gets to his feet and makes plans to spear Bors like a cocktail onion, we hear the whine of Excalibur and watch it plunge into the Saxon King like a Nestea drinker in a swimming pool.


There was no blood on the sword when it was removed from Ulric, by the way—that’s how cleanly it slices!  “Sire!  Excalibur!” Galahad cries out as he tosses the sword to Arthur…who’s badly in need of some weaponry, owing to The Black Knight’s furious fighting skills.  Arthur, in a move that Moe, Larry and Curly would have been proud of, hits The Black Knight on the head with Excalibur and knocks him to the ground, where his helmet rolls off and reveals his true identity.


ARTHUR: Modred!  So you are the traitor…

“I was expecting Paul Frees.”  Getting to his feet, Modred snarls: “You’ll never live to hang me.”  But he’s forgotten that Arthur is wielding the invincible sword, and he is quickly run through with Excalibur…prompting everyone in the room to observe: “You’ll never live to be hung.”


Just as T. Bartog is planning to insert a dagger in the fleshy part of Lancelot during their swordplay, Galahad comes to Lancelot’s rescue.  T. Bartog did not survive as long as he has without knowing when he’s licked.  Dropping his sword, he begins to whimper like a dog: “Spare me!”

GALAHAD: Command your men to surrender!
BARTOG: Lay down your arms!  Our cause is lost…Excalibur has been returned to Arthur…

Yeah…a little late to suck up now, pilgrim.  The camera moves in on a close up of Arthur’s hand, wielding Excalibur…and then we dissolve to another shot of that hand, as it prepares to rectify the events of Chapter 1.


ARTHUR: …be it known to all assembled here and all the peoples of the realm…that you have served me faithfully…your deeds have been brave and courageous…

“And about ten chapters too long…”

ARTHUR: …it can truly be said that you have won the right…to sit at the Round Table…I dub thee…Knight…rise, Sir Galahad…


“Arise, Sir Loin of Beef…arise, Earl of Cloves…arise, Duke of Brittingham…arise, Baron of Munchausen…arise, Essence of Myrrh…Milk of Magnesia…Quarter of Ten…”

Everyone is in attendance in the Great Hall witnessing Galahad’s ceremony…even Queen Guinevere (Marjorie Stapp) and Morgan le Fay (Pat Barton), whose whereabouts all this time I guess will remain a writers’ mystery (particularly since it would appear that Morgan was in cahoots with the Forces of Darkness that put the snatch on Guin in the first place).  No, the authors of Adventures of Sir Galahad will concentrate the serial’s remaining seconds on the bromance between Bors and our hero.

BORS: Sir Galahad…let the course of your knighthood run smooth…and may it be beyond suspicion…

“Keep your nose in the wind and your tail to yourself.”  Now I know what you’re thinking—what was the deal with Merlin playing both sides against the middle during this entire adventure?

MERLIN: If my actions were strange…they were meant only to prove Modred a traitor…and Galahad a true knight…

“Sure, I could have saved that doomed victim in the subway with my magic…but I merely sought to stop the train with my entrance puff of smoke…there is always a purpose to my dickishness.”  Oh, brother.  You couldn’t have just said: “Hey, Art—Modred’s a traitor.  Oh, and you should promote Galahad while you’re at it.”

BORS: Then we’ll have no more of your magic…
MERLIN: You’ll get none from me!

Morgan, on the other hand, is still keeping it up with the nose twitching.  As Galahad and Bors head for the exit, she waves her hand and…


BORS: Galahad!  Galahad!  Galahad!

“Oh, Chiiiiiick…”  Well, a good cast is worth repeating:


…and unless there’s a massive GOTV effort for Jungle Raiders in the next twelve hours, our next Serial Saturdays presentation will either be The Desert Hawk or Don Winslow of the Navy.  We look forward to having you join us!

Friday, December 7, 2012

Friday’s sticky note


One hundred and three years ago today on this date, one of radio’s most prolific playwrights was born in the Windy City…and that individual also became a force to be reckoned with in films, television and the legitimate the-a-tah as well.  Mention “Arch Oboler” to any old-time radio fan, and it’s likely they’ll conjure up the sound of a giant beating heart (“Chicken Heart”) or a particularly nasty woman who is transformed into a cat (“Cat Wife”).  Arch didn’t create radio’s celebrated Lights Out (that honor belongs to Wyllis Cooper, who also fashioned a similar radio horror classic in Quiet, Please) but it would be hard to deny that he concocted most of its best-known fright tales.  Moviewise, there was a lot of talk on both the Facebook and Twitters about TCM’s recent airing of the 1953 cult oddity The Twonky…that film that sprung from the fertile imagination of Mr. O himself.

I wrote up a little something over at the Radio Spirits blog to commemorate Arch’s natal anniversary—the blog has been kind of dormant of late due to some shenanigans from Hurricane Sandy, and also my own bone laziness.  But we are back in business now.

While I’m on the subject of TCM and the Twitter, it’s been kind of an amazing week in that I’ve actually had the opportunity to watch a couple of flicks on The Greatest Cable Channel Known to Mankind™.  Last night, my BBFF Stacia and I traded quips during the channel’s screening of one of our favorite films (Stacia, believe it or don’t, owns three copies of this movie), The Third Man (1949).  Monday night, while I wasn’t able to see the 1924 version of Captain January (my father usually has a rendezvous with kindly Doc Maddow about that time), I did wrest hold of the TV set in time to see three of the “Baby Peggy” shorts, followed by the documentary Baby Peggy: The Elephant in the Room (2012).

Let me go on record as saying Elephant in the Room is a first-rate documentary, a fascinating and at times poignant presentation of the child star career of Diana Serra Cary, who as “Baby” Peggy-Jean Montgomery was second only to Jackie Coogan as the most popular kidlet at the box office during the 1920s.  But I also want to go on record as saying that on the basis of seeing the three shorts—Carmen, Jr. (1923), Peg o’the Mounted (1924) and Such is Life (1924)—I couldn’t quite figure out what all the fuss was about.  I have established a reputation on the Internets as a person who’s not a big child star fan (as witnessed by my teasing referrals to a certain actress as She Who Must Not Be Named) but I don’t dislike all juvenile performers.  The esteemed Scott C. of World O’Crap once jokingly accused me of not liking any kiddie thesp who wasn’t in Our Gang; an insinuation which I resented.  (I didn’t deny it…I just resented it.)

Be that as it may, I kind of made a Twitter enemy or two with my candid assessment of Peg’s cinematic talents…which I’m more amused than mad about, really.  My pal Page of My Love of Old Hollywood has joined me in pariahdom, and like myself disdains most child actors but for some odd reason worships at the Temple of Shirley.  (Page has even invited the saccharine little moppet to comment on her pictorial posts from time to time, leading you believe that sweet little Shirley somehow got possessed by Triumph the Insult Comic Dog.)

Back in May 2009, I did a post that mentioned a petition started up by comedy historian Stan Taffel, asking to convince Sony Home Video to release the twenty two-reel comedies that comedy legend Charley Chase did for the Columbia studio from 1937-40.  Sony had struck up new 35mm prints from the original masters of these shorts and had planned to release a collection after the success of their 2006 box set of Buster Keaton comedy shorts…but then that darn ol’ anemic economy put the kibosh on that.

Three years later, Sony has a volume of Chase comedies ready to go that will be released on January 1 of the new year (a great way to usher in 2013, I think) and though it’s one of their MOD releases (which means that the shorts will be on DVD-R), it’s encouraging to even get them out to the public…and in brand-spanking-new prints as well.  All of the Chase Columbias I own are on DVD-R anyway, but according to Stan the first volume set will contain three Chase shorts I have not seen: The Awful Goof (1939), The Chump Takes a Bump (1939) and South of the Boudoir (1940).  The remaining shorts on the disc will be the Charley Chase classics Rattling Romeo (1939) and The Heckler (1940), the not-so-classic Man Bites Lovebug (1937) and The Mind Needer (1938) (two of the worst, in my opinion), and a short I like but I may be in the minority, Skinny the Moocher (1939).  (There’s also a bonus short, 1939’s A Nag in the Bag, that while directed by Chase stars vaudeville legends Joe Smith & Charlie Dale.)

The SRP on this disc is $20.95 but Amazon has a pre-listing for it at $14.67, and while the money situation is non-existent here at Rancho Yesteryear (we’re so broke we can’t even pay attention) I hope to put this little baby in my shopping cart before its January release.  (If I can swing it, I will make sure that the November Milestone release Cut to the Chase: The Charley Chase Comedy Collection accompanies it so it will not be lonesome.)  For those of you unfamiliar with this amazing comedy talent—might I suggest a purchase of Kino’s The Charley Chase Collection 2?  They have it available for a limited time at $7.99—a steal, my friends, and worth every penny.

One last minute reminder: voting for TDOY’s next Serial Saturdays cliffhanger is about to end, and so if you have an important say in what chapter play will torture me next be sure to cast your vote in the poll up in the upper right corner.  At last look, it appears that Don Winslow of the Navy has got the narrow inside track…but we’ll know for certain when Adventures of Sir Galahad concludes tomorrow afternoon.

Tuesday, December 4, 2012

The Late Show: The Harder They Fall (1956)


The following is Thrilling Days of Yesteryear’s contribution to The Late Show: The Last Movies Blogathon, currently underway at Shadowplay from December 1-7.  The blogathon takes a look at the cinematic “curtain calls” from actors, directors, etc.—and as always, there are spoilers ahead in this essay.  (Oh, and thanks to my BBFF Stacia for giving me the heads-up on this ‘thon.)


Famed sportswriter Eddie Willis (Humphrey Bogart) finds himself pounding the pavement after the newspaper for which he wrote a column for nearly twenty years goes belly up.  He’s been asked by shady fight promoter Nick Benko (Rod Steiger) to stop by a gymnasium and get a gander at Benko’s latest acquisition—an Argentinean strong man named Toro Moreno (Mike Lane), whom Benko plans to tout as the next heavyweight champion.  That’s going to take some doing…because after watching Moreno spar with a trainer (Jersey Joe Walcott), it’s crystal clear to Eddie that Toro has no future in the fight game.  “A powder-puff punch and a glass jaw—that’s a great combination,” is Eddie’s wry assessment of Moreno’s boxing abilities.

But the aspiring boxer will be at the center of a symbiotic relationship between Eddie and Benko: Nick needs Willis because of his considerable cachet in the sports world, and Eddie needs a “bank account.”  “A man past his forties shouldn’t have to run anymore,” Willis informs his new boss.  Eddie suggests that they start building Toro’s career out in California (“They like freak attractions out there.”), and with the help of Benko’s man Max (Herbie Faye), Team Toro will find enough boxers out there willing to take a dive to disguise Moreno’s lack of fighting ability.

Toro’s first fight is a sham…and Art Leavitt (Harold J. Stone), a television sportscaster and close friend of Willis’, recognizes it as such, planning to blow the whistle on Nick’s operation to the boxing commission.  Eddie is able to talk him out of it, and “The Wild Man of the Andes’” career begins to build up speed thanks to Eddie’s promotional abilities (he’s now got 10% of Toro as Nick’s partner) and fixed fights.  The Moreno caravan starts to move toward the East Coast, with Toro landing a bout with ex-heavyweight champ Gus Dundee (Pat Comiskey).  Benko is paying Gus $100,000 to tank for Toro…but it looks like he won’t have to.  Dundee is suffering from injuries sustained in his last bout with new heavyweight champion Buddy Brannen (Max Baer), injuries that come to the fore once he steps into the ring with Toro.  Gus dies on the operating table from a cerebral hemorrhage.

Toro’s next opponent is champion Brannen…who’s a bit put out that Toro is getting the notoriety for Gus’ demise—“I did all the work and your guy gets all the glory,” he complains to Eddie.  So Buddy has a score to settle with Toro…if Toro even gets into the ring.  The boxer is wracked with guilt over Gus’ death, until Eddie finally has to tell him that the fix has been in from the beginning.  Willis tells Toro that he can’t win and Brannen can’t be bought…so the best he can do is hang in as long as he can and take a dive at his best opportunity.

Toro winds up massacred by Brannen in their bout.  His face looks like a meat grinder, and his jaw has been broken.  He asks Eddie to get the money owed him so he can return home to Argentina, and when Eddie arrives at Nick’s offices he learns that Toro’s contract has been sold to Jim Weyerhause (Edward Andrews), another crooked manager…who’ll make his money back by having Toro return to the boxing circuit and take dives for the next up-and-comer.  On top of this indignity, Eddie learns from Nick’s accountant Leo (Nehemiah Persoff) that after all the expenses and sleight-of-hand cooking of the books…Toro has netted a grand total of $49.07 for the beating he took from Brannen.

The oleaginous Edward Andrews plays crooked manager Weyerhause...but his fellow sleazebag (wearing the hat) is none other than George Cisar, known to the TDOY faithful as capitalist swine banker Cyrus Tankersley from Mayberry R.F.D.

Eddie spirits Toro out of the hospital and puts the boxer on a plane back to Buenos Aires…with $26,000, Eddie’s own “take” in the enterprise.  Nick and a couple of his boys come around looking for Toro, and Benko is none-too-pleased about Eddie’s shenanigans (“A man that gives away twenty-six thousand dollars, you can’t talk to…I wanna tell ya one more thing—I wouldn’t give 26 cents for your future.”).  But Willis can no longer be bought or scared off, and he sits down at his typewriter to write the following:


Novelist-screenwriter Budd Schulberg penned The Harder They Fall in 1947, a novel about the reputed corruption behind the sweet science whose main character, Eddie Willis, was purportedly modeled after sportswriter and event promoter Harold Conrad.  It was the character of boxer Toro Moreno that would generate the most controversy, however, particularly when the book was adapted (the screenplay was written by Philip Yordan, who also produced the film) for the silver screen eight years later.  The model for Toro was controversial pugilist Primo Carnera, a former heavyweight champion in the 1930s whose career was dogged by persistent rumors that his manager had ties to the mob and that many of his bouts, including the one where he took the title from heavyweight champion Jack Sharkey in 1933, were not entirely on the up-and-up.  (After Harder came out in 1956, Carnera sued Columbia Pictures for defamation of character…but he did not prevail in the courts.)

Interestingly, the boxer who would defeat Carnera in real life to claim the heavyweight title was Max Baer…who repeats his triumph here playing Buddy Brannen, the pugilist who ends Toro Moreno’s reign in the ring.  (Both Baer and Carnera also faced off in the 1933 Myrna Loy film The Prizefighter and the Lady…though Primo was fortunate to win that cinematic fight.)  The presence of Baer, not to mention former boxers Walcott (in a wonderfully understated performance as the trainer George) and Comiskey (as Gus Dundee), adds a needed note of realism to the film; there is also a poignant moment where Willis and sportscaster chum Leavitt watch an interview Art has conducted with a punch-drunk pugilist, played by former boxer Joe Grebb.

If the gentleman massaging Gus Dundee's (ex-pugilist Pat Comiskey) neck looks familiar...it's Willy Wonka and the Chocolate Factory/Chico and the Man star Jack Albertson in a small role as Gus' manager.

But The Harder They Fall is perhaps best remembered as the cinematic swan song of Oscar-winning thespian Humphrey Bogart.  It certainly wasn’t planned that way: his next project was going to be a film with wife Lauren Bacall (a movie that was eventually made as Top Secret Affair with Kirk Douglas and Susan Hayward) but the esophageal cancer that came from a lifetime of smoking and drinking had already started to take its toll—some of which is unmistakably noticeable in Harder.  (It became part of Hollywood legend that Bogie’s voice had to be re-dubbed in several places in the film because of his sickness, but this is simply not true.)  The pop culture icon known as Bogart would leave this world for a better one on January 14, 1957.

Whether or not you believe that Paul Frees re-dubbed some of cancer-stricken Humphrey Bogart's lines in this film...you cannot deny that he is, indeed, everywhere (as the priest who counsels a grief-stricken Toro).
The character of Eddie Willis in Harder is pretty much classic Bogart; a cynic who sets his scruples aside for the moment in order to obtain greater material rewards.  Eddie Willis is a professional; he’s able to foresee and navigate the pitfalls prevalent in the effort to pass off tenth-rate fighter Toro as a champ, and he can fall back on his knowledge of how the game is played when it comes to negotiating to his advantage (as witnessed in a scene where he confronts Weyerhause and his fellow managers, who are angling for a bigger slice of Toro’s pie).  Eddie also has to call in a few favors: he convinces old friend Art to play dumb before the boxing commission when they plan to investigate Toro’s phony first fight…even though his friendship with Leavitt suffers tremendous damage afterward.  (Bogart’s Willis has a great line after Art wants to know what more can be done to “close the books”: “Just stop looking at me as if I’d picked your pocket.”)

For the most part, the characters played by Bogart (though there are exceptions) achieve a sort of moral redemption by movie’s end—with Willis being an excellent example.  He has difficulty turning a blind eye to how unhappy Toro is at fighting, particularly after Toro’s manager Luis Agrandi (Carlos Montalban, brother of Ricardo) is sent back to Argentina when his visa expires.  It pains Eddie to see Toro so upset at the thought that he was responsible for Dundee’s demise, but it’s worse when he asks George (a 53-year-old, washed-up fighter) to show Toro he’s not the boxer he thinks he is.  What buries the camel in a straw stack for Willis is when he learns that Leo’s creative accounting is going to leave Toro with less than fifty bucks in the boxer’s pocket (“He took the worst beating I ever saw in my life! You want me to go back there and tell him that all he gets is a lousy $49.07 for a broken jaw? How much would you take?”) and that in the big picture, Toro is nothing more than a commodity to be bought and sold.  (He particularly blanches when Nick compares the fighters he owns to horses in stables.)

Despite his age and frailty, Bogart is still effective playing the tough guy; it’s as if his elder statesman status protects him from the punks in Nick’s employ (when several of his goons menacingly threaten to work Eddie over he snarls, referring to the beating Toro took: “He didn’t have five guys in the ring with him”).  As the film heads for a wrap, Eddie’s ready to take a sledgehammer to the corrupt Nick’s operation via the power of the pen (and with the support of his wife Beth, played by TDOY fave Jan “Smoochie” Sterling).  At a time when the philosophy in Hollywood was “If you want to send a message, call Western Union,” the communication that Congress needs to either clean up boxing or ban it is very rare for a mainstream studio film.

Bogart’s classy final performance is supported by first-rate turns by the cream of the movie industry’s character actor crop: you have a sensational presentation from Steiger—whose character of Nick Benko is little more than just a hood, but his charm and good manners have clearly taken him places.  Sterling is underused as Bogie’s spouse, but is able to utilize her usual “hard-boiled dame” casting in an effectively softer way as the woman who’s able to show Eddie that his moral bearings have been cut loose.  Other great showcases are provided by Lane (as the gentle and awkward Toro), Persoff (as oily account Leo), Stone, Andrews, Montalban and Faye.  Harder wasn’t director Mark Robson’s first rodeo in the sweet science, seven years earlier he directed Kirk Douglas in the equally hard-hitting Champion (another boxing film that reeks of sweaty gymnasiums and corruption).  The film was submitted to the Cannes Film Festival in 1956, but the only nomination Harder received at the Academy Awards was for Burnett Guffey’s striking black-and-white cinematography.

The little boy in front of the TV set later quit the acting game and went into honest work as conservative pundit Tony Blankley (who passed away in January 2012).  (Okay, I just realized I used the words "honest" and "conservative pundit" in the same sentence...take it easy on me in the comments section, huh?)
As a longtime member of the Cult of Bogart, I think it was great that one of my favorite movie actors got to go out on such a high note with this film.  But I admire The Harder They Fall for other reasons as well: chiefly, it is one of the hardest-hitting treatises on the sport of boxing ever lensed, fearless in telling its audience that the fix is in, not-at-all squeamish in focusing on its brutality, and disturbingly callous in its treatment of boxers as nothing more than cattle.  Sadly, the words Bogart’s Willis pounds out on his typewriter at the film’s end go no further than the flickering images on a silver screen.