Golden Boy

While 1939 has been properly established as a year of many exceptional films of the American cinema, my favorite actor, Miss Barbara Stanwyck, starred in two: The DeMille epic UNION PACIFIC, and this Clifford Odets' play-turned-movie, GOLDEN BOY. While this film is usually recognized as the one that made William Holden a star, equally famous is the story of how he would have been fired from the film during production had it not been for veteran Stanwyck sticking up for him, insisting that they give him a chance, and then helping him to be a success. There were no shortages of established leading men waiting in the wings for this coveted role, so Barbara's unselfish act forged a life-long relationship between them for which Holden thanked her with a gift of roses each year on the anniversary of the film's opening. In one review, Richard Corliss writes, "...Stanwyck godmothered the young William Holden to stardom and earned his lifelong devotion." I'm sure this real life teacher/student relationship is also mirrored in the actual drama that unfolds on the screen. In spite of their difference in age, however, it's not as vast as the Holden/Swanson relationship in SUNSET BOULEVARD, and the chemistry on Golden Boy is more evenly matched and more appealing. Furthermore, the supporting cast of Aldophe Menjou, as the boxing manager, Lee J. Cobb as Holden's dad, and Sam Levene as Holden's brother-in-law is so tightly woven that the movie has all the charm and intensity of the Broadway play on which it is based. A memorable line that Stanwyck delivers when she is luring the golden violin prodigy from practicing his scales to make some extra dough on the side as a prizefighter is, "...you take a chance the day you are born, so why stop now?" When he doesn't at first take the bait, watch out for the dated line, "I'll see you in 1966 when, by then, you may have become somebody..." Of course, thanks to Barbara, it happened in 1939. This is an extremely satisfying film suitable for the whole family.

A great film. A (very) young William Holden "hits" the bulls-eye on this one. And, I always love to see Barbara Stanwyck's hard, street smart "heart of stone" turn to mush. In a story that won't present you with many surprises as it unfolds, this film is held together by many fine performances. It's from that magical time, long ago, when New York City was inhabited by hustlers and gangsters and boxing was king. It was also inhabited by those of strong family values, the ones fighting that constant battle of the "easy" way or the right way. The mainstay, in that era (in film, anyway), was the ultimate triumph of good. Here, it is a joy to behold. The right choices, by both Stanwyck and Holden, seem very apparent to the viewer, but the right choices are rarely the first ones taken.

Eventually, they can be taken......

Notable for being William Holden's debut (he was just 21 and looks almost like a schoolboy!), this dated melodrama was adapted from a popular play by Clifford Odets dealing with a young man conflicted about which path to take in his life: a respected artistic career playing the violin and the more alluring celebrity (which also reaps instant monetary rewards) as a prizefighter. His Italian immigrant father (Lee J. Cobb, whose mannered performance has been especially criticized) obviously wants the boy to follow his musical instincts, but the pull of the ring is too great – more so because through it he meets and falls for Barbara Stanwyck, actually his manager (Adolphe Menjou)'s fiancée. Though initially acting under the latter's instructions, she eventually tries to dissuade him from fighting, particularly when gangster Joseph Calleia (another fine showcase for the Maltese character actor) takes Holden under his wing. The climax sees the hero winning the championship bout but at the cost of his black opponent's life and his own left hand; with the help of Stanwyck (realizing she really loves the boxer, Menjou relinquishes her) the "Golden Boy" stands up to his new boss – interestingly, Calleia lets him off rather too easily here when compared to similar films of later vintage! The film is pretty good (with equally solid support from Sam Levene as Holden's struggling cab driver brother-in-law) though betraying its stage origins by relegating the boxing matches to only a brief montage until the not very imaginatively handled finale; in hindsight, it's curious to find this cinematically lacking given the involvement of Mamoulian and his reputation as one of the most creative directors of the early Talkie era!

William Holden became a star as a result of this film, but there is no question that Barbara Stanwyck is the real star of this picture. She gives a performance that is beautifully layered and Her performance is nothing short of marvelous (My favorite line is when she says, "I'm my mother's girl"). And those beautiful shoulders!

Everyone knows the story of the boy who is torn between a life of boxing and music. The screenplay is a product of the times that it was written in. How else can you explain dialogue that glorifies men beating their wives? Or the leftist remarks that are spoken by the Bonaparte's friend, Mr. Carp? A black boxer named "Chocolate"?! Never happen today.

Everyone is great. Lee J. Cobb as an Italian is heartbreaking, even if his accent is laid on a little thick (It's like watching Laurence Olivier in "The Jazz Singer"). Sam Levene is good as the brother-in-law. And Joseph Calleia as Fuseli, is wonderful. When Stanwyck enters Holden's dressing room after the fight, he says, "Out Miss Moon, this ain't no cocktail lounge." Wonderful. I would love to see Pacino ham his way through this role.

But it is Miss Stanwyck who stands out. We can be thankful that she gave Holden his opportunity and fought to keep him. We can be even more grateful for this wonderful performance.

In this adaptation of the famous Odets play, a young man must choose between music and boxing. In his star-making role, Holden looks impossibly young, and turns in a surprisingly strong performance, given his inexperience. Stanwyck is quite good in a typical role of a tough broad with a soft heart. She helped Holden overcome his jitters and the two developed a legendary friendship during the filming. Cobb, only seven years older than Holden, is schmaltzy but touching as the latter's father. Levene is wonderful as Holden's brother-in-law. Menjou overacts. Mamoulian is at his best when depicting the family life of the Bonapartes. The fight scenes are brief but effective.