User reviews

A selfish boxer (Kirk Douglas in the title role playing one of his earliest characters as main star) alienates the people around him , his captivating wife (Ruth Roman as the victimized spouse), his loving brother (a restrained Arthur Kennedy) ,trainer (a moderate Paul Stewart) and other women (Marilyn Maxwell, Lola Albright).

This interesting movie based on a screenplay by prestigious Carl Foreman is a noir drama about boxing world with an ambitious starring well personified by Kirk Douglas. The violent boxing images shocked audiences of the 40s and still retains quite power nowadays. It's a grueling boxing tale with tough realism full of face-blistering, punch, knocks until ¨Raging Bull¨ surpassed it years later. Top-notch acting by Kirk Douglas as merciless, ruthless boxer in his usual hard-driving style and winning a deservedly best actor Academy Award nomination. Dark cinematography in black and white plenty of of lights and shades by Franz Planer. Atmospheric musical score by the classic Dimitri Tiomkin.

The motion picture is well realized by Mark Robson. In the early 40s Robson was much involved with the low-budget terror unit in charge of producer Val Lewton , for whom made ¨Seventh victim¨, ¨The ghost ship¨, and ¨Island of the dead¨. In the late 1940s Robson joined Stanley Kramer's independent company and directed his biggest commercial hit to date with ¨The champion¨. Years later Robson made another good film about corruption in boxing world titled ¨The harder they fall¨ with Humphrey Bogart. In the late 1960s, his work did decline . His last movie was a jinx one titled ¨Avalancha express¨. Robson and his main star, Robert Shaw, died suddenly from heart attacks. Rating : Above average, well worth seeing. This is certainly one of the best movies ever made about boxing world

Hollywood loves prize fighting stories. The films about this subject are too numerous to mention, but encompass nearly all decades and include "The Crowd Roars," "The Prizefighter and the Lady," "Golden Boy," "Humoresque," "Body and Soul," "The Harder They Fall," "Million Dollar Baby," "Raging Bull," "Cinderella Man" - I could go on and on. "Champion" is the story of a prize fighter who makes it to the big time by stepping on those who care about him - also not a new topic for Hollywood. This film was the one that made Kirk Douglas a star, winning him an Oscar nomination. Like the character he plays here, Midge Kelly, Douglas was on his way to the top.

The story begins at the fight for the championship as Midge reflects on his life. The story is then told in flashback. At the last minute, with the promise of $50, Midge (real name Michael) steps into a prize fight. A manager thinks he has talent and gives Midge his card. Midge and his lame brother Connie (Arthur Kennedy) make their way to Los Angeles, believing they have purchased an interest in a coffee shop there. When they arrive, they learn that their cousin has bilked them and someone else owns the place. The owner gives them both a job and they both fall for the waitress there, Emma (Ruth Roman), the daughter of the owner. When dad catches Emma with Midge, he forces them to marry, after which Connie and Midge take off. They seek out the fight manager but by now, he is retired. However, Midge convinces him to take him as a client.

Along the way, Midge gets involved with a tough blond, Grace (Marilyn Maxwell), fires his manager and goes with someone else, dumps Grace for another woman (Lola Albright), spends money like water, and basically gets everyone to hate him. Connie talks Emma into moving to Chicago and staying with Connie and Midge's mother who is ill; Midge of course never shows up until he learns she's dying. He then has his final confrontation with Emma, which gets ugly.

This is a dark, absorbing film - two brothers who deal with life very differently, one with anger and the other with gentleness. The focus is on Midge who as he rises higher and higher becomes colder and colder. Strangely, because we understand the genesis of his need for applause and power, we can't hate him, only feel pity.

Kirk Douglas, with his fantastic build, the tight jaw, the dimples and the cleft chin made an ideal movie star. Watching him at this age (32) you can see Michael's resemblance to him. Douglas' intense way of speaking and tense jaw have made him easily imitated for years. Though his acting is often dismissed today, he is a very good actor, even if now he seems at times a little over the top. The style of acting has changed, that's all. He gives a very complete performance as Midge - passionate, tough, angry, and needy. Arthur Kennedy, a more subtle actor and one much more appreciated even now, is wonderful as Connie. Young Ruth Roman does a good job as Emma but perhaps is too classy for the role.

Be advised one of the fights is particularly gruesome, and the director, Mark Robson, sought to give a realistic picture of the fight game using real announcers and referees.

Recommended as good drama, good early Kirk Douglas, and if you like boxing.

Mark Robson's (`Bridges at Toko-Ri' `Von Ryan's Express' `Earthquake') 1949 fight film `Champion' is one of the best depictions ever filmed of the fight game. This film is more than just a movie about a boxer, or just another rags to riches/American dream story, but rather a deep character study of man driven to succeed at any cost.

The man is Midge Kelly played brilliantly by Kirk Douglas. Midge's trek from train hopping hobo to dishwasher to prize fighting champion is realistically portrayed in a style that is not unlike Kirk's son Michael's portrayal of Wall Street businessman Gordon Gekko in `Wall Street.' Family, friends, lovers all better steer clear of Midge as nothing is going to intimidate or stop him.

Two other actors are very worthy of mention here; Arthur Kennedy and Paul Stewart. The able Kennedy (`Cheyenne Autumn' `Lawrence of Arabia' `Nevada Smith') plays Midge's honest and idealistic brother, Connie. His role in `Champion' earned him one of his five Oscar nominations. Paul Stewart (`12 O'clock High' `Kiss Me Deadly' `The Joe Louis Story') does a great job of depicting Midge's first manager, Tommy Haley. Besides these two and Douglas I found most of the acting to be typical of the era, overdone.

Lastly, it should be noted that this film one won Oscar; the 1949 award for editing went to editor Harry Gerstad (who also won for `High Noon.') The brilliantly filmed fight scenes are cut in a manner that adds a lot of impact to what is going on in the ring and in the arena. It is safe to say that Martin Scorsese and his editor, Thelma Schoonmaker had seen this film a number of times and borrowed from Gerstad's fight scene editing techniques in `Raging Bull,' which is the one boxing film I would rate higher than `Champion.' Forget Rocky Balboa…remember Midge Kelly and Jake LaMotta.

During the three years just following World War II, Kirk Douglas had completed seven feature films. He already had caught the attention of key motion picture executives, such as producer Hal Wallis. Success was gradually coming Douglas' way. But, with "Champion", like a sudden knockout punch, Douglas instantly achieved his lofty aim. In this low-budget film gem, populated by outstanding character portrayals, Kirk Douglas' performance as boxer Midge Kelly is the bravura centerpiece. Though the multi-textured character of Kelly, as created by Ring Lardner in his short story, lends itself to a strong performance, it is Douglas who lifts the character into the stratosphere. At age 33, and having been a wrestler while attending New York's St. Lawrence University a decade earlier, Douglas still possessed the phyical tools for this role. His work in the fight and training scenes are accurate and strongly believeable. But it is his performance as Midge Kelly the individual that is stunningly riveting. During "Champion", Douglas becomes the character until it is virtually impossible to separate actor and role. He eagerly assimilates Kelly's various nuances and attitudes. Passion has always been a Kirk Douglas hallmark. Never has he been so powerfully passionate as in this performance. Contemporary audiences may like to compare the screen work of son, Michael, with that of his father. But after seeing Kirk Douglas' unforgettable performance in "Champion", comparisons fade.

In his biography, "Ragman's Son," Douglas tells of watching a screening of "Champion" in the home of a studio mogul who had invited numerous people unknown to the actor...who himself was unknown to the guests. After the screening, Douglas relates, the guests---as one---turned back toward him with overwhelmed expressions. They now had a startled new knowledge of the young actor whose presence at the back of the room they only vaguely had acknowledged.

Joining Douglas, with excellent performances of their own, were Paul Stewart, Marilyn Maxwell, Luis Van Ruten, Ruth Roman, John Day, Arthur Kennedy and Lola Albright. Each was highly believeable.

Even if Carl Foreman's adaptation of Lardner's story was sometimes predictable, the combination of Douglas' volatile performance, and the high-calibre work of the supporting actors make "Champion" a mini-masterpiece.

According to the Films of Kirk Douglas book, Douglas was offered a choice between a big budget MGM loan out The Great Sinner and this small independent film Champion about boxing. For the first time in his career Douglas was able to show what a shrewd judge of stories that were tailor made for him.

He chose Champion and for his efforts earned his first trip to the Oscar Sweepstakes. He lost the big prize to Broderick Crawford for All the Kings Men. But from then on in Kirk Douglas was taken seriously as an actor. Douglas was also determined to break free of studio contracts and chart his own career. Some actors can and some are terrible judges of screen property. Kirk Douglas has always been in the first category.

The story involved two brothers, Kirk Douglas and Arthur Kennedy, who when we first meet them are bumming their way across the country to take possession of a diner that was sold to them bogusly. To earn some eating money, Kirk had gone the distance in a four round preliminary fight and came to the attention of fight manager Paul Stewart. Now dead broke, Douglas turns to Stewart who takes him on as a prize fighter, for real.

Douglas can't forget those days in the hobo jungle and is willing to do anything, use anybody to rise to the top of his profession. His role is a complex one, he's ruthless and tough, but he also has to have enough charm to fool the three women who enter his life, Ruth Roman, Marilyn Maxwell, and Lola Albright.

Arthur Kennedy got an Oscar nomination in the Supporting Actor category as Douglas's brother and conscience. Paul Stewart is every inch the wise professional fight manager who steps out of his league when Douglas gets into the big money in the fight game.

There's not a moviegoer who's ever seen Champion who will forget the primeval look on Kirk Douglas's face in the climatic fight scene in defense of his championship as he gets back up from the last of several knockdowns. Like something out of a Hammer horror picture, it's that frightening. You won't forget it either.

Champion is a gritty boxing movie that is ahead of its time. A combination of Rocky and Raging Bull.

It features a bravura performance from Kirk Douglas as a drifter who graduated from the school of hard knocks.

Douglas plays Midge Kelly, a man who has had to fight all his life for a bit of respect. He has a permanent chip on his shoulder.

Midge and his brother Connie (Arthur Kennedy) who has a gammy leg go out west where they think they have a share in a diner. Along the way Midge fills in at a boxing match when one of the undercard is declared unfit to box.

When the ownership of the diner turns out to be a mirage, they work as waiters. Midge romances the boss's girl Emma (Ruth Roman) and is forced to marry her. Midge abandons her soon after and hooks up with manager Tommy Haley (Paul Stewart) who teaches Midge how to box.

Midge has a natural toughness and shows promise as a boxer. However his refusal to throw a fight causes consternation with a gambling syndicate.

In order to progress Midge abandons Tommy Haley and he soon becomes a world champion.

Douglas plays Midge as pig headed, amoral and uncompromising. He learns quickly from Tommy as to how to box. His brother Connie acts as his conscience.

Women like Grace Diamond and Palmer Harris are there for a good time and help him progress in the boxing game.

Kirk Douglas was Oscar nominated for his performance. He can certainly do the physical side, there is a training montage that would have inspired Rocky. Douglas also shows just how driven Midge is, it eventually becomes a win at all cost mentality. Yet more often than not, Midge remains charming albeit selfish.

Champion also displays the seedy underbelly of boxing. The gamblers who fix matches. Managers like Tommy who know they will be eventually discarded. Even some of the boxers hate it and want to be out of it.

This is a great movie. I rented it from the video store and expected an average boxing film, but instead I got a masterpiece. This movie is better than any boxing movie I've ever seen. The character is also very well constructed. Kirk Douglas really looks like he knows what he's doing in the training and boxing scenes. His acting in this is great and he doesn't overact. He is one of my all time favorite actors. Arthur Kennedy, another favorite of mine, is very good in this movie. Like in the part were he's yelling at Kirk Douglas telling him how his blood's gone cold. He tells Douglas he's worse than a murderer, he's a grave robber.

Midge Kelly does do a lot of wrong in this picture. He starts out as an o.k. guy and when he becomes a famous prizefighter and then champ he really changes. The money and fame goes to his head. He gets mixed up with a blonde too and steps on people to get to the top. He even gets rid of his manager Tommy, wonderfully played by Paul Stewart. He is always good in his supporting roles. The ones that come to mind are; The Bad and the Beautiful, King Creole and The Joe Louis Story. The actresses are good in this movie too and I think all three of them go good with Kirk Douglas. John Day is good as Johnny Dunne. He's always playing some tough guy or boxer. In Abbott and Costello Meet The Invisible Man he played fighter Rocky Hanlon. In Jailhouse Rock he played a tough guy that gets in to a brawl with Elvis Presley. In the Captain America serial he fist fights with Captain America.

My favorite parts in the movie are the opening scene when the fight announcer is introducing us to the champion. The announcer is played by Sam Balter. Balter seems to always be playing an announcer or commentator. In Abbott and Costello Meet the Invisible Man he plays the commentator for the fight. Sam Balter was a great choice for Champion. As you see Kirk Douglas walking into view you can tell just by looking at him that he's a champion. My second favorite part is the thrilling climax. I love every boxing scene in the movie too. If you want to see one of the greatest movies ever made see this movie.

While traveling to California in a cargo wagon, the clandestine Michael "Midge" Kelly (Kirk Douglas) and his crippled brother Connie Kelly (Arthur Kennedy) are robbed and thrown off the train. They hitchhike and get a lift from the famous boxer Johnny Dunne (John Daheim), who is traveling with his mistress Grace Diamond (Marilyn Maxwell) to Kansas City for a fight. They explain that they have bought a share in a restaurant. In Kansas City, Midge gets in trouble while seeking a job and is invited to fight box for 35 dollars. He takes a beat and the promoter pays only 10 dollars to him, but the trainer Tommy Haley (Paul Stewart) invites Midge to go to his gym in Los Angeles to be trained in box. When the brothers arrive at the restaurant, they learn that they have been cheated in the business and the owner Lew Bryce (Harry Shannon) hires them to work in the restaurant waiting table and washing dishes. Soon Midge seduces Lew's daughter Emma Bryce (Ruth Roman) and when her father finds their affair, Emma with Midge are forced to get married to each other. However Midge decides to flee to seek out Tommy and leaves Emma alone after the wedding. He learns how to fight with Tommy and defeats several fighters. When he is scheduled to fight Johnny Dunne, the organized crime orders him to lose the fight. However Midge defeats Dunne and is black-listed and can not fight any more. But Grace convinces him to leave Tommy and be managed by Jerome Harris (Luis Van Rooten), who is connected to the crime world. Now Midge begins a successful career betraying his friends and stepping on women, including Harris' wife Palmer Harris (Lola Albright). How far will he go to make money and be champion?

"Champion" is an awarded film-noir based on the story of an ambitious boxer that is capable to betray friend to climb in his career reaching fame and money. The direction and performances are excellent with good choreography in the fights, and the film was awarded in Film Editing category (Oscar) and Best Cinematography (Golden Globe). In addition, it achieved several nominations. My vote is seven.

Title (Brazil): "O Invencível" ("The Invincible")

I love how 'Champion (1949)' presents itself as one sort of film, and then, quite knowingly, becomes something else. The opening sequence follows boxer Midge Kelly (Kirk Douglas) as he presses through the cheering crowds and into the boxing ring. A sports announcer touts the legend of Kelly's meteoric rise, from penniless drifter to middleweight boxing champion of the world. Right then, I fully expected to watch an inspirational underdog success-story, with shades of 'Rocky (1976)' rather than 'Raging Bull (1980).' However, by the end of the film, 'Champion' has removed its mask to expose a face coloured with noir. Success does, indeed, find this determined underdog, but only through a history of exploitation and betrayal. Along the way, this "champion" leaves behind a crippled brother, a fatherly manager, an innocent wife, and a succession of blonde beauties whom he invariably dumps after he's made use of them.

Director Mark Robson (best known for his RKO horror collaborations with Val Lewton) cunningly forces his audience to rewatch the film's opening sequence, but this time through different eyes. No longer do we see in Midge Kelly the triumphant underdog, but the wasted vestiges of a man. The sports announcers' words ring false; the film's title – "Champion" – is to be spoken with scorn, not reverence. 1949 was an excellent year for boxing dramas: Robert Wise also released his gritty, superior 'The Set-Up (1949),' which starred Robert Ryan as a washed-up fighter who refuses to take a dive. 'Champion' is the lesser of these two pictures, held back by an occasional tendency for melodrama, but nevertheless packs a strong emotional punch. Kirk Douglas' fierce, fearless portrayal is relentlessly intense, a man so hypnotised by the prospect of power and success that he will stop at nothing to attain it.

I love Golden Age Hollywood's boxing films - they rarely pull their punches (no pun intended) while equally pulling out great performances from top actors - think John Garfield in "Body & Soul", Paul Newman in "Somebody Up There Likes Me" and Humphrey Bogart in "The Harder They Fall", to name but three. It seems they also unfailingly brought to light the dark underside of boxing, the corruption and fight-fixing, this only adding a realistic edge to the sometimes overblown drama.

So it is here with "Champion" a vehicle just made for the virile, granite-hard Kirk Douglas who puts in a bravura performance as the single-minded self-serving bum who accidentally falls into the fight game and then works his way up the greasy pole to the heights of world champion, not caring who he tramples on to get there.

There's great support from Arthur Kennedy as his lame but still independent brother, Paul Stewart as his first trainer, recalled by Douglas's Midge Kelly character for his last (literally) big fight, while the actresses playing the women-folk in the film, (no less than three vie for Douglas's attention as the movie progresses) are all excellent in different ways, Ruth Roman as his first crush whom he marries in almost a shotgun wedding after sleeping with her behind her father's back (the sexual inference is subtly but unmistakably conveyed), Marilyn Maxwell as his platinum blonde predatory tough-girl co-manager who eventually gets captured by the game she stalks and Lola Albright as the two-timing young wife of Douglas's other co-manager, all of whom he uses and abuses in typical Neanderthal style. I could have done without the tasteless woman-beating threat that Douglas delivers at one point, but in the main the dialogue is sharp and intelligent. I particularly savoured the obvious innuendo when Douglas playfully asks Roman "Do you want to get wet" as they frolic on the beach in an early scene. Perhaps Kennedy's final epitaph for Douglas "He was a champion" overdoes the corn factor, but now as then, obituaries of the rich and famous are rarely honest and often whitewashes of the actual truth.

The direction by Mark Robson is first rate, with many effectively rendered scenes, none more so than the first image of Douglas emerging, fists at the ready, from the darkness, squaring up to his assailants on board a train he's hitched a ride on with brother Kennedy. The fight scenes are very good for their time and the close-ups inserted convincingly into what must have been some real-life long-shots of an actual title fight.

The film is flawed for me though by the often-repellent nature of Douglas's character as he really doesn't deserve the loyalty of the loving entourage around him but Douglas delivers a knockout performance of compelling magnetism and no little physicality to carry the movie right through to the final bell.

In conclusion, like all the best fights, the action here consistently holds your attention and just doesn't let up throughout.

Kirk Douglas plays Midge Kelley, a talented boxer who uses everyone around him for his own gain. This may be Douglas' finest effort on film. The editing won an Oscar and rightfully so. This might be the finest movie involving boxing ever produced. Available in color but see the original black and white version. Listen for Polly Bergen's voice as a radio/juke box singer.

In Champion Kirk Douglas gives an intensely ruthless performance both in and outside the ring as middleweight boxer Midge Kelly. Kelly fights his way to the top while pursuing blonds and respect with an arrogance and ego ideally suited for the square jawed rock solidly built Douglas whose career sky rocketed with this role.

Kelly along with brother Connie are drifters when the inexperienced Midge agrees to get into the ring for a quick buck. He is quickly throttled and retires immediately. Economic circumstances force him back into the ring, this time with smashing success. Opponents fall inside the ring while women go horizontal outside as ranking and ambition grow. So does his surliness and lack of regard for those close to him. Wife, brother, manager get the same rough going over his ring opponents do.

Douglas' strong performance is solidly supported by Arthur Kennedy as his brother, Ruth Roman as his wife and Paul Stewart as his manager. Each holds his or her own in scenes with the overwhelming Douglas. Marilyn Maxwell is another story. Her fatale is flat, stiff and unconvincing.

Admirable as the quartet of performances are the film's most impressive aspect is the cinematography of Franz Planer with its darkly lit locker rooms and gymnasiums providing a suitable stage for Midge's ruthless nature. It is equally impressive in presenting the world that Midge pursues but Douglas really shines when he is enveloped in the dark shadows of Midge's ambition.

I liked this movie for many reasons--the acting, the writing and probably most of all because it strips away the clichés of most boxing films and exposes it for the ugly sport that it is. While there were several exceptional anti-boxing films (REQUIUM FOR A HEAVYWEIGHT, THE HARDER THEY FALL and THE SET-UP), this one is the most dramatic, unflinching in its violence and features the most amoral and dislikable lead you'll ever find. Kirk Douglas was just great as the smooth-talking but totally self-absorbed boxer who was "the Champion". While in some films his larger than life persona might not work so well, Douglas' talents were exactly what this film needed and this film rightfully made him famous. In addition to his acting, I really think the next biggest star of the film were the makeup artists who managed to make Douglas look as if he'd been pulverized. Following his final bout, in particular, he appears to have had his face beaten to a pulp--and it's not easy to achieve that sort of look. The third star was the unflinching and exceptional script--it didn't pull any punches and gives a wonderful portrait of a horrible person who makes it to the top of his game by walking on everyone who he comes across. This great film is best described as a Film Noir boxing film and is strongly recommended (unless you have a weak stomach). In addition, all the above mentioned movies would be excellent viewing. Unlike GOLDEN BOY and KID GALLAHAD, these films de-glamorize a sick and dangerous "sport" and seek to deconstruct the clichéd image of the boxing hero.

Coming from the wrong side of the tracks, hapless hobo Kirk Douglas leaps from train to trainer, via ravishing Ruth Roman in this above average boxing drama.

Duped out of co-ownership of the Step Inn cafe on the Californian coast, Douglas and disabled brother Arthur Kennedy discover to their dual dismay that they have each stepped into dead end careers as executive dishwashers. Finding himself railroaded into marrying the owner's daughter (Roman), Douglas decides to take the money (what little there is of it) and run. Passing up potentially glittering vocations as a soda jerk or ditch digger, a chance meeting with former acquaintance and trainer Paul Stewart, leads tough guy Douglas to embark upon a future in the ring.

With a pervading sense of pride coming before a fall, Douglas emerges through his increasingly successful career, to be the kind of character who is principled when it suits him and unscrupulous when it doesn't. He is at best ambivalent towards the women he encounters - expensive Marilyn Maxwell, who has a passion for 'pretty things' (possessions, not the band!) and cultured Lola Albright - whilst remaining largely secretive about his continuing dysfunctional marriage. In a sequence which alludes to the second temptation of Christ, he succumbs weakly to the lure of money, alienating both Kennedy and Stewart in the process.

Douglas proves adept at conveying two-faced insincerity in this abrasive saga, which ultimately plays out as an anti-boxing statement. Fights often degenerating into unchecked barbarism, with refs unwilling to intervene and call a halt. Medical attention for stricken contestants only available through a telephone call. In stark contrast, by calling the main protagonist 'Midge', you're unlikely to instill any quaking in the boots or trembling at the knees. It's hardly Bonecrusher territory.

A minor detail, perhaps, but a microcosm of a wider issue. For all its tough, brash, unashamedly gritty intentions, this rags to riches tale comes across as measured, choreographed and formulaic. Champion may have championed Douglas' escalation to stardom, but much of the rest of this production is in need of a lift.

spoilers 1949's "Champion" explores this idea, and does it with a straightforward economy of style typical of the noir style. I'm not sure if I'd go all the way and label it noir - like Robert Wise's "The Set-Up" it feels like too much of a boxing film for me to do that, but it does come awfully close.

There are echoes of Howard Hawks' "Scarface" in "Champion", what with a lower class boy coming to power through violence and force of will. However, Kirk Douglas does it through reputable, official violence. On the other hand, although Midge Kelley distances himself from his family, Tony Camonte keeps his family close - the difference that it makes is that in the end, when both larger than life figures are near the end, Tony Camonte has his sister fighting by his side, whereas Midge has no one and nothing but madness.

The Director, Mark Robson, manages to make Midge's slow removal into being an asshole and a money-centered jerk convincing. You can't tell at first, but all the clues are there. It's a natural development, and really it is quite amazing to think back that this man, who does these awful things, started out so charming and sincere. All in all, well-done. The cinematography is great, too.

Deserves its reputation as one of the classic fight films. Douglas is superb. In the fight scenes you just about feel the sweat from the boxers hit you in the face. And Arthur Kennedy's fine performance as Midge's brother Connie makes one appreciate what a superb character actor he was. Don't miss this one.

The story is about two brothers traveling from Chicago to LA to earn a living. By coincidence, Midge (Kirk Douglas) discovers his talent in boxing and becomes an upstart with an insatiable desire for money, fame, women and respect. On the other hand, his brother Connie (Arthur Kennedy) is more down-to-earth who seeks happiness with much less. The cast is great and screenplay is very well written.

Having watched some boxing movies recently, I can tell that many memorable scenes in Rocky movies and Raging Bull (1980) were inspired from this one.

Even though I don't like boxing as a sport, I always end up watching movies about boxers. And, while I'm the first to admit that seeing a bunch of rugged, half-naked, sweaty guys is a bonus, it might not be the main reason why I continue to watch them. Then again, it might. Kirk Douglas probably spends more of the movie with his shirt off than on.

In Champion, we see the story of a poor, angry young man who wants respect and adoration. Due to a chance right-place-at-the-right-time meeting with a well-known boxer, he ends up in the ring for some quick, easy money and finds out he's pretty good! But in his quest to become a champion, what is he willing to throw away?

The real reason why I keep watching boxing movies is because of that age-old, always interesting story of learning what's really important when you think you've got it figured out. They're wonderful stories, because the hero is always terribly flawed and makes tons of mistakes, and the suspense lies in two questions: will he get punished for what he's done, and will he be forgiven and get a happy ending?

Kirk Douglas was nominated for Best Actor for his performance in Champion, so if you're a fan, you're definitely going to want to rent this one and see him in his early days. He's got an incredible "Oscar clip" scene at the end of the movie; even though he was only nominated three times during his career, you can tell he more than earned it in this movie. Only three years after his first film The Strange Love of Martha Ivers, he plays his typical bad boy, only worse. If you've never seen a Kirk Douglas movie, this is not the one to start with. He's awfully mean, so you might always associate him with this role and not like him in the future. Check out The Glass Menagerie first, and then when you see him act so mean, you'll be shocked and impressed!

The make-up in Champion is really impressive, especially given the constraints of the Hays Code, which didn't allow for gruesome gore or violence. Arthur Kennedy plays Kirk Douglas's brother, and while I'm not usually his biggest fan, he was easily the most likable person in the movie! All in all, it's not my favorite boxing movie in the world, but I'm never one to turn down a movie with a half-naked guy in the lead.