Requiem pour un champion

Requiem for a Heavyweight(480P)

source: Requiem for a Heavyweight

With a title like "Requiem for a Heavyweight" you certainly aren't expecting an upbeat movie! But, here, there ends up being little point to watching the film. The film starts with the heavyweight of the title, Anthony Quinn, badly losing a fight. The fight doctor declares him unable to fight anymore, since he could lose sight in his left eye if he goes back in the ring. What follows is the expected downward spiral, instigated by the thoroughly unscrupulous manager played by Jackie Gleason. He's deep in debt to bookies and has no issue in using Quinn's fighter in any way he can to make a buck. He certainly plays a reprehensible character very well. I love black-and-white cinematography, and it is beautifully done here, on location in New York. Unfortunately, we get to see little of the city during the course of the movie, since the drama takes place almost entirely in interiors. The script is by Rod Serling, who always showed skill with various genres. The movie is staged well by Ralph Nelson, a veteran TV director, who helmed the original TV version of the story in 1956. The performances are excellent all around. It is amazing to see how beaten up Mickey Rooney looks at 42! His appearance definitely sells him as the worn-down "cut man" of the team. The make up is by Dick Smith, to me the greatest make up artist ever in film. He is most famous for creating Brando's "The Godfather," as well as doing make up effects, like in "The Exorcist." Here, he's billed as Richard Smith. Overall, an interesting movie for what it is. But, you can see all the beats coming before they happen. ****** (6 Out of 10 Stars)

A punchy fighter, Anthony Quinn, gives a brilliant performance. Quinn shows a depth in acting range in this film which he showed in 1954's "La Strada." At the end of a long career, Quinn is approached to be a counselor in a summer camp. Unfortunately, his trainer, played in an outstanding supporting performance by Jackie Gleason, has other plans. He wants to get him into wrestling and that he should take a dive. The difference between wealthy and poor societies is brought out here and done quite well. The ending is sad but exactly to the point.

I don't like boxing as a sport. But I love it as a subject of American movies. Europeans can't do a good boxing movie! I think boxing is a very good dramatic subject, even if most if these movies are full of cliche : the boxer is always a dumb bum or brute with a good heart (here : Quinn) the manager is always a stupid guy thinking only about money (Gleason) and the coach is always a good nature man (Rooney). And, at last, we throw a lady in it, because every boxing movie needs a woman in it, even if we don't know why (here : Harris). This one is pretty good because of the great acting by Quinn, Gleason, Rooney and Harris, and because it had a certain sens of reality announcing the masterpiece of the genre : Raging Bull (1980) by Martin Scorsese. I also like that sense of reality present in many American films of the era (1955 and early sixties, say the Kazan films, or Marty) showing that movie makers wants to throw a distance between them and the Hollywood style. Raging Bull is my numer one, this movie is my number two, but look at the other three of my top five : Somebody up there likes me (1956, with Paul Newman), The Champion (1949, with Kirk Douglas) and oldie Kid Galahad (1937) with Wayne Morris and Edward G.Robinson.

Requiem For A Heavyweight - This 1962 adaptation of the Rod Serling(Twilight Zone) TV classic movie about a punch drunk boxer that turns to wrestling to make a living.This version stars Anthony Quinn as aging palooka managed by Jackie Gleason and Mickey Rooney.Quinn is Moose Riveria who is befriended by a lovely social worker who promises a way out with dignity- but in the end he sticks by his sleazy promoter and plays an Indian in a carnival like wrestling show.This movie is very melodramatic and is more speeches than action.You do get an excellent first person perspective start to the movie,a decent score and appearances by Cassius Clay,Jack Dempsey and Mike Conrad(From Hill Street Blues).The DVD has the trailer to The Greatest.This dated movie is rather slow at times-although it features a sympathetic performance by Quinn and a solid performance by Gleason.This black and white movie has not aged well and is not something I would suggest . C- JOBBER JOE-Roundtable Wrestling Radio

I had missed out on an Italian TV broadcast of this acclaimed boxing drama in the 80s and, even if it did get released on DVD on both regions, I never got to pick it up until now because its lack of any significant supplements kept pushing it back. Anyway, I got to watch and own it now and it was certainly worth the wait as this must surely rank among the best films that deal with boxing. Interestingly, REQUIEM FOR A HEAVYWEIGHT was originally previewed at a much longer running time (featuring some 16 minutes of additional footage) but the version I watched is the more familiar 86-minute cut. The film was superbly written by Rod Serling – best-known for writing many of THE TWILIGHT ZONE (1959-64) episodes and introducing the show – who, among others, provided the screenplay for such notable films as PATTERNS (1956), SEVEN DAYS IN MAY (1964) and PLANET OF THE APES (1968). Actually, this was the fourth filming of the play and previous TV versions – both made in 1957 – starred Jack Palance and, of all people, Sean Connery in the role played here by Anthony Quinn! The four leads are all outstanding: Quinn gives what is arguably his most moving performance as the dim-witted boxer who cannot even talk coherently with all the beatings he took in the ring and might even lose his sight if he keeps at it much longer; Jackie Gleason is excellent as Quinn's manager who is driven to bet against his own man in order to collect some fast dough and pay off his debts to an androgynous racketeer breathing down his neck; Mickey Rooney is just terrific as Quinn's loyal handler (and an ex-prizefighter himself) who quickly sees through all of Gleason's schemes to keep Quinn in the ring for his own personal gain; and Julie Harris as the lonesome social worker who takes pity on Quinn and tries to get him employed away from ringside perils. The blooming MARTY (1955)-ish romance between Quinn and Harris is perhaps a bit too good to be true and occurs rather too suddenly for this cynical viewer but it does not in any way detract from the film's stifling recreation of the seamy ambiance –strikingly similar to that of THE HUSTLER (1961), also featuring Jackie Gleason – aided in no small measure by Arthur J. Ornitz's noir-ish lighting and Laurence Rosenthal's jazzy score, not to mention the appearance of real-life boxing pros such as Cassius Clay (playing himself as one of Quinn's ringside opponents) and Jack Dempsey. Ralph Nelson was an erratic director with pretensions: I've watched 8 of his films so far and a few more have been numerous times on TV – FATHER GOOSE (1964), ONCE A THIEF (1965), THE WRATH OF GOD (1972) – so I guess I should make an extra effort now to catch them the next time they're on; REQUIEM FOR A HEAVYWEIGHT, while actually his debut film, remains possibly his most satisfying work all round and deservedly earned him a nod from the Directors' Guild of America.

It's easy to pick out Jack Dempsey and Muhammed Ali, but there are many others in the cast. The movie fades in on a tracking shot running the length of a hotel bar, examining the faces of a bunch of retired boxers watching the Clay-Rivera fight on TV. In order of appearance: Alex Miteff (wearing a beret), Abe Simon (with an eyebrow bandage), Gus Lesnevich (holding a cigarette lighter), Steve Belloise (bald guy; he later plays the hotel bar desk clerk in a short exchange with Mickey Rooney), Rory Calhoun (black guy with a beer), Paolo Rossi (big Italian-looking guy with a beer), Willie Pep (wearing a fedora), and Barney Ross (the older guy in the suit, sweater, and tie).

DO NOT MISS THIS FILM! This film is a masterpiece which depicted the seamy side of low level boxing at St. Nichols or "St. Nicks" Arena in Brooklyn, NY. The old Stillman Gym shots show just how few ever made any money or fame before being destroyed by too many punches to the head. Jackie Gleason personified the low rent scum that rode any fighter to death. Rivera was so hopelessly trapped that Anthony Quinn caught the essence of the man and his slow descent into being a meal ticket for Gleason and a bad joke in the wrestling game. Harris was brilliant as the NY Social Worker and idealist. She caught the last glimmer of hope in Rivera and tried to help but was defeated when he turned out to be hopelessly owned by Gleason. Rooney was brilliant but I preferred Myron McCormick in the TV film a few years earlier. Having been to St. Knicks as a kid, I know the realness of this story because I saw them, smelled them and felt for some of the dying, which is what most of them were doing. All the stars in the world for this one.

Rod Serling, of Twilight Zone fame, deserves kudos for this wonderful screenplay about an over the hill fighter played by Anthony Quinn, whose life and legend are at the behest of his corrupt and cynical manager, Jackie Gleason. Trainer Mickey Rooney is the only person in cinematic history who can call Gleason a "fink" and make it sound authentic. When Quinn's character can't cut it any longer, he tries to find meaningful work. However, he's taken one too many blows to the head, and has offered his allegiance to someone willing to betray him for a hint of the glory of the old days. Quinn's performance as the punch drunk fighter is full of pathos and extremely well done -- his finest hour in my opinion. Serling has much to say about the human spirit, love, and friendship gone awry. Beautifully photographed in black and white, this film deserves multiple viewings.