AVALIAÇÃO DA IMDb
6,3/10
1,1 mil
SUA AVALIAÇÃO
Adicionar um enredo no seu idiomaAn ex-sailor turned boxer finds romance and gets a shot at the heavyweight title.An ex-sailor turned boxer finds romance and gets a shot at the heavyweight title.An ex-sailor turned boxer finds romance and gets a shot at the heavyweight title.
- Direção
- Roteiristas
- Artistas
- Indicado a 1 Oscar
- 3 vitórias e 1 indicação no total
Dorothy Appleby
- Woman in Bar
- (não creditado)
Brooks Benedict
- Reporter at Training Camp
- (não creditado)
Leila Bennett
- Stool-Pigeon Maid
- (não creditado)
Harry C. Bradley
- Bar Patron #4
- (não creditado)
Don Brodie
- Reporter
- (não creditado)
Billy Coe
- Billy Cow - Timekeeper for Big Fight
- (não creditado)
Cora Sue Collins
- Farmer's Daughter
- (não creditado)
- Direção
- Roteiristas
- Elenco e equipe completos
- Produção, bilheteria e muito mais no IMDbPro
Avaliações em destaque
Spunky young boxer woos and weds lovely torch singer, snatching her away from under they vigilant eyes of her mobster boyfriend, as it were, but soon, as his boxing star rises he takes to philandering... I wasn't prepared for the impact of this incredibly dynamic early talkie, taut, effective and clearheaded. The way Hawks and Van Dyke tell their story is to the point, the acting by both Loy and real-life boxer Max Baer is vivid and engaging. And yet, nothing will prepare you for the grand finale, the ultimate Madison Sq Garden match, a haven of broken noses and cauliflower ears. The fight itself is wonderfully, imaginatively shot with alternating angles, intermingled with shots of Loy and Walter Huston in the audience, fights breaking out, ladies swooning, desperate last-minute bets taking place, cutting faster and faster, faster and faster. Quite a feat, recommended.
I don't think anyone in Hollywood history did so well at playing himself as Max Baer did in this film until Audie Murphy played himself in To Hell and Back. Though his character name was Steve Morgan, believe me this is the genuine Max.
And this is a lot closer than the portrayal of Baer in that otherwise excellent film Cinderella Man that came out this year. Baer had all the tools necessary to have been the greatest heavyweight champion of all. His power punching killed two people in the ring as was graphically demonstrated in Cinderella Man.
But Max was no killer and no bully as Cinderella Man showed. Those deaths deeply affected him and he pulled his punches in many subsequent matches. In addition he was a colorful playboy who just loved the fast nightclub life as he does in The Prizefighter and the Lady.
Myrna Loy and her chauffeur are saved from an auto wreck by Max and his fight manager Walter Huston. They find out later she's the main squeeze of hoodlum Otto Krueger. I won't say more, but there are some of the same plot elements that are found in Broadway Through a Keyhole and Stars Over Broadway in which this same story has the protagonist a singer.
Today's audience might find it a little silly that fighter Max Baer appears in a Broadway review. But that was definitely Max as he sings with a bunch of chorus girls, Lucky Fellow, Lucky Guy.
Myrna Loy, Walter Huston and Otto Krueger all turn in fine performances in their parts. And Max Baer was a natural born performer. After his ring career he had a nightclub act with fellow pugilist and former Light Heavyweight Champion Maxie Rosenbloom. Baer was no longer the physical specimen he was in 1933, but he had great comic timing and also did several movie roles by himself and with Rosenbloom.
He also did a great dramatic part in The Harder They Fall as a stone cold killer of a heavyweight champion, the image that Cinderella Man tried to convey of him.
Also the Twentieth Century Fox film, Footlight Serenade, uses Max Baer as a model for Victor Mature's character.
And as a special treat for you boxing fans, a whole slew of former ring greats are introduced at the climax of the film before Baer fights for the heavyweight champion.
I found the film thoroughly enjoyable and hope TCM shows it more often so the real Max Baer is seen by today's audiences.
And this is a lot closer than the portrayal of Baer in that otherwise excellent film Cinderella Man that came out this year. Baer had all the tools necessary to have been the greatest heavyweight champion of all. His power punching killed two people in the ring as was graphically demonstrated in Cinderella Man.
But Max was no killer and no bully as Cinderella Man showed. Those deaths deeply affected him and he pulled his punches in many subsequent matches. In addition he was a colorful playboy who just loved the fast nightclub life as he does in The Prizefighter and the Lady.
Myrna Loy and her chauffeur are saved from an auto wreck by Max and his fight manager Walter Huston. They find out later she's the main squeeze of hoodlum Otto Krueger. I won't say more, but there are some of the same plot elements that are found in Broadway Through a Keyhole and Stars Over Broadway in which this same story has the protagonist a singer.
Today's audience might find it a little silly that fighter Max Baer appears in a Broadway review. But that was definitely Max as he sings with a bunch of chorus girls, Lucky Fellow, Lucky Guy.
Myrna Loy, Walter Huston and Otto Krueger all turn in fine performances in their parts. And Max Baer was a natural born performer. After his ring career he had a nightclub act with fellow pugilist and former Light Heavyweight Champion Maxie Rosenbloom. Baer was no longer the physical specimen he was in 1933, but he had great comic timing and also did several movie roles by himself and with Rosenbloom.
He also did a great dramatic part in The Harder They Fall as a stone cold killer of a heavyweight champion, the image that Cinderella Man tried to convey of him.
Also the Twentieth Century Fox film, Footlight Serenade, uses Max Baer as a model for Victor Mature's character.
And as a special treat for you boxing fans, a whole slew of former ring greats are introduced at the climax of the film before Baer fights for the heavyweight champion.
I found the film thoroughly enjoyable and hope TCM shows it more often so the real Max Baer is seen by today's audiences.
Max Baer is the prizefighter and Myrna Loy is the lady in "The Prizefighter and the Lady," a 1933 film also starring Walter Huston and Otto Kruger. Loy plays a singer who's seeing Otto Kruger and singing in his club - she has a rich mezzo voice (courtesy of Bernice Alstock). She meets handsome Baer, who pursues her until she marries him. It's not all roses once she learns that he plays around.
This is a fascinating as well as entertaining film. Loy is extremely beautiful and lovely in her role, and Huston is his usual excellent self, as is Otto Kruger. The fascinating part is Baer, the champion fighter whose character was unfairly decimated in "Cinderella Man" - I hope his family objected. Baer was an extremely colorful character out of the ring but never got over killing Frank Campbell during a fight - he put Campbell's children through college. Here he plays something closer to himself, an amiable playboy with a mean punch. His appearance in a vaudeville act is almost as impressive as his fighting. In "The Prizefighter and the Lady," as in real life, he fights Primo Carnera, as he would a year later. Carnera refused to appear in the film as originally written, where he would be knocked out. I thought Baer was big until I saw Carnera - WHOA. The screen fight is very effective.
There are several real sports figures in the film besides Carnero - Jack Dempsey, who helped Baer make a comeback later on when he started telegraphing his punches, and also James Jeffries and Frank Moran. If you're a prize fighter historian, this is the movie for you.
Baer went on to make other movies, in fact, he was known as a frustrated performer. His most notable appearance was in Bogart's last film, "The Harder They Fall." By then, of course, his screen persona was a little different. I don't actually agree with one of the comments about the film - I think "The Prizefighter and the Lady," despite the star performances, would have been fairly routine without him. As an added plus for baby boomers - he's Jethro's dad, after all.
This is a fascinating as well as entertaining film. Loy is extremely beautiful and lovely in her role, and Huston is his usual excellent self, as is Otto Kruger. The fascinating part is Baer, the champion fighter whose character was unfairly decimated in "Cinderella Man" - I hope his family objected. Baer was an extremely colorful character out of the ring but never got over killing Frank Campbell during a fight - he put Campbell's children through college. Here he plays something closer to himself, an amiable playboy with a mean punch. His appearance in a vaudeville act is almost as impressive as his fighting. In "The Prizefighter and the Lady," as in real life, he fights Primo Carnera, as he would a year later. Carnera refused to appear in the film as originally written, where he would be knocked out. I thought Baer was big until I saw Carnera - WHOA. The screen fight is very effective.
There are several real sports figures in the film besides Carnero - Jack Dempsey, who helped Baer make a comeback later on when he started telegraphing his punches, and also James Jeffries and Frank Moran. If you're a prize fighter historian, this is the movie for you.
Baer went on to make other movies, in fact, he was known as a frustrated performer. His most notable appearance was in Bogart's last film, "The Harder They Fall." By then, of course, his screen persona was a little different. I don't actually agree with one of the comments about the film - I think "The Prizefighter and the Lady," despite the star performances, would have been fairly routine without him. As an added plus for baby boomers - he's Jethro's dad, after all.
. . . or is it life imitates art? For here we have real life boxing champs, stage-battling in the ring for a movie. Only to be pitted in real life the following year for a bona fide championship bout.
Van Dyke's direction and his crew's camera work and editing for the climactic screen fight are all excellent. As exciting and well staged as any modern film . . . and remember this was 1933! The cast is excellent, including Loy, Huston and Kruger.
The real surprise though is Baer himself, acting, boxing, singing, and dancing. Who ever had the idea of fashioning a script around this athlete got a brain storm. It was brilliant and it worked.
Overlook the title (and often middling script) and check this striking early talkie out.
Van Dyke's direction and his crew's camera work and editing for the climactic screen fight are all excellent. As exciting and well staged as any modern film . . . and remember this was 1933! The cast is excellent, including Loy, Huston and Kruger.
The real surprise though is Baer himself, acting, boxing, singing, and dancing. Who ever had the idea of fashioning a script around this athlete got a brain storm. It was brilliant and it worked.
Overlook the title (and often middling script) and check this striking early talkie out.
..........AND OBVIOUSLY SOMEBODY over at MGM was of like mind. It would appear that this story and film were tailor made for "the Livermore Larruper" as he had co-starring status (along with Miss Myrna Loy) and basically just did himself.
OBVIUSLY WE'RE TALKING a Boxing Movie here ("No sh*t Sherlock!), but it does manage to touch base with the Love Story, the Morality Play and the always popular Success Story. Although we may view some portions of it as being "Camp Humour"* there is still much to recommend it.
WHEREAS NO ONE at Metro Goldwyn Mayer ever thought of this as being Oscar material or a "Blockbuster" there was obviously some serious thought put in to give it that polished look. There appears to be a great deal of care in meticulously blending in drama, boxing action, comedy and the metaphor of the Prize Ring as Life itself.
WHICH BRINGS US to yet another observation. Professional Boxing has meant so much as a cultural catalyst to our country. This was particularly important in the late 19th Century and in the 20th Century all the way from the Turn of the Century to he 1950's.
NEVER WAS IT more so than in the Great Depression years of the 1930's. A poor kid from the wrong side of the tracks could pull himself up several rungs of the Socio-Economic ladder with success as a pugilist. In that sense, the boxing game turned itself into the great crucible of ethnic blending and pride and thus became a leading agent in our attaining "E Pluribus Unum." (That's "One from many", Schultz!)
WHILE WE CANNOT say that the movie has a great and memorable musical score, both its theme (which saw some other service) and incidental music were more than adequate. Its supporting cast made it look easy and included: Walter Huston, Otto Kruger, Muriel Evans and Vince Barnett. The Heavyweight Champ, Primo Carnera, "the Ambling Alp" (himself) had third billing playing himself (who else, Schulz?)
WELL NEEDLESS TO say, Max Baer never did achieve stardom in Hollywood; but did a lot of film work. He also managed to win the Championship from Primo in the following year of 1834.
BUT WE CANNOT close out this report without first making note of the one other outstanding sequence in the film. With his boxing fame, his stock rose in other forms of entertainment and he is depicted as being featured in a musical stage play. Man,. was it ever something "mock training" while dancing with a whole bunch of showgirls!
SO NOW WE'LL close with "Busby Berkeley-eat your heart out!"
OBVIUSLY WE'RE TALKING a Boxing Movie here ("No sh*t Sherlock!), but it does manage to touch base with the Love Story, the Morality Play and the always popular Success Story. Although we may view some portions of it as being "Camp Humour"* there is still much to recommend it.
WHEREAS NO ONE at Metro Goldwyn Mayer ever thought of this as being Oscar material or a "Blockbuster" there was obviously some serious thought put in to give it that polished look. There appears to be a great deal of care in meticulously blending in drama, boxing action, comedy and the metaphor of the Prize Ring as Life itself.
WHICH BRINGS US to yet another observation. Professional Boxing has meant so much as a cultural catalyst to our country. This was particularly important in the late 19th Century and in the 20th Century all the way from the Turn of the Century to he 1950's.
NEVER WAS IT more so than in the Great Depression years of the 1930's. A poor kid from the wrong side of the tracks could pull himself up several rungs of the Socio-Economic ladder with success as a pugilist. In that sense, the boxing game turned itself into the great crucible of ethnic blending and pride and thus became a leading agent in our attaining "E Pluribus Unum." (That's "One from many", Schultz!)
WHILE WE CANNOT say that the movie has a great and memorable musical score, both its theme (which saw some other service) and incidental music were more than adequate. Its supporting cast made it look easy and included: Walter Huston, Otto Kruger, Muriel Evans and Vince Barnett. The Heavyweight Champ, Primo Carnera, "the Ambling Alp" (himself) had third billing playing himself (who else, Schulz?)
WELL NEEDLESS TO say, Max Baer never did achieve stardom in Hollywood; but did a lot of film work. He also managed to win the Championship from Primo in the following year of 1834.
BUT WE CANNOT close out this report without first making note of the one other outstanding sequence in the film. With his boxing fame, his stock rose in other forms of entertainment and he is depicted as being featured in a musical stage play. Man,. was it ever something "mock training" while dancing with a whole bunch of showgirls!
SO NOW WE'LL close with "Busby Berkeley-eat your heart out!"
Você sabia?
- CuriosidadesAccording to an article in Daily Variety in March 1934, the movie was banned by the Nazi government of Germany because Max Baer was Jewish. When asked about it, Baer joked, "They didn't ban me because I was Jewish. They banned me because I knocked out Max Schmeling in the ring."
- Erros de gravaçãoSteve buttons up his sweater, straightens the bottom and puts his hands in his pockets in one shot with the Professor. In the next shot, when he's facing Belle, he buttons the bottom buttons again (before putting his hands in his pockets again).
- Citações
[Sitting at a nightclub table, Steve Morgan notices gangster Willie Ryan's elderly, sour-faced bodyguard]
Steve: I didn't meet you, did I?
Willie Ryan: That's my "adopted son."
Steve: Rather big for his age, isn't he?
Willie Ryan: [ominously] Yeah, he follows me around, keeps the flies off me. He's got a good aim with a..."flyswatter."
- ConexõesFeatured in Sports on the Silver Screen (1997)
- Trilhas sonorasLucky Fella
(1933) (uncredited)
Music by Jimmy McHugh
Lyrics by Dorothy Fields
Sung by Max Baer and chorus girls
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- How long is The Prizefighter and the Lady?Fornecido pela Alexa
Detalhes
- Data de lançamento
- País de origem
- Central de atendimento oficial
- Idioma
- Também conhecido como
- The Prizefighter and the Lady
- Locações de filme
- Empresa de produção
- Consulte mais créditos da empresa na IMDbPro
Bilheteria
- Orçamento
- US$ 682.000 (estimativa)
- Tempo de duração
- 1 h 42 min(102 min)
- Cor
- Proporção
- 1.37 : 1
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