Rank films based on old timers: Gentleman Jim (1942), Great John L. (1945), Great White Hope (1970)

None of these movies will end up on anyone’s “best of” lists, not even a best boxing movie list, but each is interesting in its way and one of them, “Gentleman Jim,” is a good deal better than that.

The director of “Gentleman Jim,” Raoul Walsh, was an experienced professional with a lusty approach to life and a great talent for telling interesting stories in an interesting way. The performances were splendid, especially by a charismatic and charming Errol Flynn as Jim Corbett--one of the best performances of his career--and an excellent Ward Bond as John L. Sullivan. There is much humor and not a little sentiment, the latter especially evident in the last scene, as a vanquished Sullivan interrupts the victory celebration of Corbett’s family and friends to present him with his championship belt. For all the loud talk before their fight, each humbles himself before the other, Sullivan acknowledging Corbett’s superiority and Corbett allowing that he was glad that he didn’t have to take on Sullivan in his prime.

“The Great John L” really isn’t that different from “Gentleman Jim” in terms of seriousness. Both shared a common theme, of the Irish new to America and finding in boxing an outlet for their rowdy, bawdy ways. That’s not surprising, since the picture was made by Twentieth Century-Fox to cash in on the success Warner Brothers had with “Gentleman Jim.” Sullivan’s story has more melodrama, the great champion becoming a drunk before regaining his footing, but there was a good deal of humor as well, as when he accepts the challenge of a seemingly effete savate fighter, not knowing what that is about until he’s kicked in the face.

On the whole, though, “The Great John L” hasn’t nearly the zest of “Gentleman Jim.” Frank Tuttle was a competent studio director but not as talented as Walsh, while Greg McClure had the physical stature for John L. Sullivan but not the acting skill or personality of Errol Flynn.

Fight fans may find the pictures worthwhile as entertainment but not as historical records. Both present James J. Corbett as the progenitor of “scientific boxing,” which is to say, accurate combination punching, the blocking and parrying of punches, and effective movement. However, what passes for scientific boxing in each is what an audience in the 1940s would have expected from the boxers of their time. Errol Flynn, who was a talented athlete and had some amateur boxing experience—though not, as an early press release stated, as a member of the 1928 Australian Olympic team—gives a very convincing demonstration of this style, all the more so for the inserts of Corbett’s dancing feet, which were actually performed by Freddie Steele, the former middleweight champion, then starting out on a remarkable acting career in Hollywood. No attempt was made to simulate Corbett’s actual style in either picture, and the tights worn by Flynn and Rory Calhoun, the Corbett in “The Great John L,” were a good deal more decorous than the abbreviated garment favored by Gentleman Jim himself. As for bare knuckle fighting under the London Prize Rules, some attention was given to toing the mark or tumbling off barges where clandestine fights were held, but otherwise we’re to think that it consisted of two men standing in front of each other and punching away. There was no suggestion of grappling and throws, the gauging of distance, or the avoidance of blows.

Some years later, Flynn would further demonstrate his boxing prowess by engaging director John Huston in an epic brawl at a Hollywood party, after he made an unkind remark about his former leading lady, Olivia De Havilland, whom Huston was then seeing. Huston had done some professional boxing during his vagabond days in Mexico, so the contest was by no means one-sided. Both men took themselves to hospitals afterwards, Flynn with a broken rib and Huston with a broken nose and cut up face. There were no judges and no “newspaper decision,” since the studios saw that the story was suppressed, but the general consensus among the spectators was that Flynn had won the fight handily.

The third movie, “The Great White Hope,” is based on Howard Sackler’s Pulitzer Prize-winning play and offers strong performances by James Earl Jones as “Jack Jefferson,” the Jack Johnson character, and Jane Alexander as his white mistress. Boxing provides a backdrop of glamor and violence, but this isn’t a boxing movie as such. The fight in which Jefferson wins the title, for example—a conflation of the Tommy Burns and Jim Jefferies fights—consists of a few seconds of a grinning James Earl Jones in extreme close-up, apparently pummeling his unseen but hapless opponent Rather, Jack Jefferson is depicted as sort of Othello figure whose tragedy lies in provoking the indignation of a racist white America, as much by his relationship with a white woman as his success against white fighters.

Trapped by the authorities on a “white slavery” charge, Jefferson takes his bitterness out against his mistress, treating her so badly that she commits suicide. In remorse, he makes a deal to give up his title in a contest with “The Kid,” a giant white fighter. This sets up the one boxing scene in the movie, in which The Kid, played by the six-foot nine-inch James J. Beattie, a marginal contender when the film was made, clumsily pummels Jefferson around the ring round after round. Knocked down yet again in the 12th round, Jefferson sees some of his antagonists in the crowd gloating and, enraged, begins fighting for real. He handles The Kid as easily as he would a child, using his left hand as a range finder and landing right hand after right hand on the hapless Kid, knocking him down three times before the round ends. However, Jefferson has exhausted himself and is knocked out in the following round as the vast crowd stands and echoes the referee’s count.

The differences between this climatic battle and the Jack Johnson-Jess Willard fight may suggest the film’s commitment to historical verisimilitude.

 

Seems redundant.

Seriously, great post summarizing the three films. As noted, none was trying too hard to be historically accurate and should be taken for what they are with more than a grain of salt in determining truth vs. fiction.

The Great White Hope film was based on the play of the same name, which won a Pulitzer Prize. James Earl Jones originated the lead role off Broadway, then the entire cast moved with it when it was staged on Broadway (a first, apparently, for an entire off-Broadway cast to move as one to big-time on Broadway). Jones won a Tony for the role, then played it on film. This role basically launched him into stardom, or at least made him a staple and household name from then on.

 

Thank goodness the Hayes Code was in force when Gentleman Jim was made - otherwise we might’ve been exposed to Errol in a thong - perhaps nice for the ladies but certainly not us blokes.

 

I like the older films, they don't try to insult your intelligence..

 

Good Job!

 

In my opinion, the best movie about an old-time boxer is Cinderella Man.

I've never rewatched Gentleman Jim, after buying the video 20 years ago. It wasn't a bad film, but it was not especially entertaining.

Some older movies about fictional boxers were very good, like Kid Galahad (1937) and City for Conquest (1940).

 

Thank you for this post. Combines 2 of my major interests, boxing and films.
So long, since I saw The Great John, it has been many decades since it has been on tv. Just remember Rory Calhoun, as GJC dancing rings round the chunky McClure.
Gentleman Jim, had a lot going for it, director, star, but the “Oirishness” was excruciating. I’ve a recording on vhs, period detail was excellent. Olympic Club, barge fight with Choynski. According to IMDB, Mushy Callahan did Corbett’s twinkle toes, while Freddie Steele was Flynn’s double.
Odd, changing the names, but The Great White Hope, captured Johnson’s anger and resentment, thanks to Jones. Shame there wasn’t more focus on the fights, but the brief glimpses were tantalising. No sign, so far of the proposed Johnson film from Stallone!

 

I must admit, I haven’t seen John L 1945. Might chase it up for a look/see.

Of course I like boxing but even when it’s well done, in terms of optimal treatment of a sporting genre, I don’t know that the sport and back stories necessarily translate that well to film.

On the other hand, I don’t follow baseball so much but what a great subject matter that has been proven to be cinematically.

Baseball seems to have just the right amount of everything (available to tap) for good, all round entertainment.

 

Hi Fergy.
Well they certainly didn't with Rod Sterllings, Requiem for a Heavyweight, without doubt one of the best and most poignant boxing movies of all time, and a tour de force from Quinn as a washed up fighter, with nowhere to go, in turns , sad, uplifting, and all too real, I have seen it a dozen times, but each rendition leaves me moved.
stay safe buddy, chat soon .
Mike.

 

Really good post. I always thought that it was Billy Conn who supplied he dancing feet?

I have n't seen the John L film but I like both of the other two. Gentleman Jim was great light entertainment and the Great White Hope was indeed a tour de force of acting and dramatics. They should have made it a straight biopic of Jack Johnson in my opinion.

 

I think Joe needs a movie now as George had one.

 

Joe as in Frazier?

 

How about Dempsey with Treat Williams?? That was a pretty good bio pic.