IRON MAN (1951)

This eighty-two-minute film noir directed by Joseph Pevney is blessed with a strong cast starring Jeff Chandler, Evelyn Keyes, and Stephen McNally. Produced by Aaron Rosenberg and distributed by Universal Pictures, it is a few notches below the likes of "The Set-up" or “Champion,” both released previously, and in spite of the title, it is not a marvel. It will help to have an affinity for boxing, Hollywood style. Even so, this is simply another one from an extremely long list. Just enjoy watching these professionals perform.

The film is told in flashback through the eyes of Keyes who gets effectively watery by the end. Agonizingly watching her husband, Chandler, in the ring for perhaps the last time, the film soft-focuses to a “romantic” Pennsylvania coal town where we are introduced to the main cast. Among the hearty group of coal miners is James Arness in a small role. He is always bad-mouthing Chandler in the hopes of picking a fight. He apparently hates him because he seems smarter than himself. Not surprisingly, a cave-in occurs, but Chandler recovers. The other men trapped have an unknown future as we never see them again. Due to the speculative encouragement by the older brother, McNally, Chandler never returns to the "miner leagues." McNally has always envisioned a future boxing career for his kid brother.

McNally is a thick-headed deal maker, gambler and manipulator out to make a buck, ignoring any knowledgeable advice. He remembers Chandler's explosive temper as kids would laugh at him because of his towering height. That killer instinct signifies a champion to big brother. However, after a few practice matches, his face becomes quite intimate with the mat. Fans start laughing at him for a different reason. But Chandler goes into a rage, ripping into his opponent in a savage display of anger. A smiling McNally blurts out, “There it is!” Unfortunately, McNally knows no more about what makes a boxer than Jack Benny.

Winning his bouts with unsportsmanlike conduct has earned him a reputation as a lousy fighter and sportswriter, Jim Backus, says as much in his columns. He has no business being in the ring and the crowds agree. McNally still thinks his brother will eventually gain the respect so undeserved. In somewhat a surprise, Backus turns out to be an understanding mentor of sorts as he learns of Chandler’s backstory. Oddly, Keyes feels totally responsible for Chandler’s fighting fate, when it is clearly McNally's fault.

Rock Hudson, who desperately wants to be called “Speed” when his time comes to get into the ring, sounds as though he inhaled a slight dose of helium. He comes across well as a golly-gee-whiz naive kid who thinks Chandler is the epitome of a champion. It does not take long, however, when Chandler’s lousy attitude alienates everyone in his circle. At the badgering of McNally, Backus informs the trainer to let Chandler fight the young upstart, now “Mister Speed.” The title bout is pretty exciting with the best boxing choreography of the film, though it all looks familiar. To everyone’s surprise, Chandler fights legit and gets the tar beat out of him near the end of the match. The crowd’s boos turn to cheers out of respect and to the delight of the facially dented, nearly blind Chandler. He has used his face as a metaphor for obliterating his past.