SO’S YOUR AUNT EMMA! (1942)

This comedic American film stars ZaSu Pitts, and Roger Pryor, in his third of fifteen films, here, as a sports writer. Aunt Emma (Pitts) is a spinster living with her decidedly unmarried sisters. Life is very simple in their small town. Quiet, except for her caustic siblings. Pitts sees a newspaper headline about a boxing match that reminds her of a past love, a prize fighter. Turns out the headlined boxer is his son. After hearing radio comments about his lifestyle and lack of training, she feels compelled to visit him in New York City and give him some advice on what it takes to be a successful boxer. There is potential for a wacky screwball comedy, but there are few laughs in this dull, slow-paced waste of Pitts' talents. Her performance is so subtle one wonders if the director, Jean Yarbrough, had any input at all. Thankfully, the film runs just two ticks over an hour. Pitts could be quite funny as a timid character, with forlorn eyes, and a crestfallen delivery. This film did not capture most of those qualities.

There is kidnapping, murder, a postponed wedding for Pryor, and two dim-witted gangsters who jump to assumptions. They introduce the only remotely funny element—Pitts’ ever-present umbrella. The clincher for them is that she appears to be muscling in on the young boxer's handlers. She is immediately taken to be the infamous “Ma Parker” who was known to carry a gun under her own umbrella. Never mind that the real Parker died in 1935. The myriad of intertwined characters does not provide much clarity. Once Pitts finds out about their assumptions, she decides to learn how to talk tough and play the role—not very convincingly but she is courageous.

In the end, Pitts becomes the unlikely trainer for the wayward boxer back in her hometown. With her Ma Parker attitude, she puts her two nagging sisters in their place as well.

Note: The film's title might suggest this is one in a series of popular "Emma" adventures. In reality, it was based on the story, “Aunt Emma Paints the Town” by Harry Hervey. The screenplay was written by George Bricker and Edmond Kelso. It was produced by Lindsley Parsons and distributed by Monogram Pictures. The most notable of the supporting cast includes Warren Hymer, Dick Elliot, and B-movie stalwart, Tristam Coffin.

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 previously released, The Set-up or Champion, and despite 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 transitions 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 McNally. 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 of 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.

99 RIVER STREET (1953)

This time around, John Payne is a tough prizefighter in another film for director Phil Karlson. A familiar tale of a “man against the world.” George Zuckerman's story is pretty far-fetched, certainly not routine. If this Edward Small production falls short of being a great movie, the spot-on performances allow one to overlook any clichés. The budgeted studio sets with perpetually wet city streets were a standard device to give a city life. The painted or rear-projected buildings are present to add depth. There seems to be noticeably odd “processing” during the harbor climax scene, which looks like a stage scrim has been set up in front of cargo ships. 

Though Payne starred in a gritty, career-changing film before, he is believable as a guy beaten down inside and outside the ring. Payne is on a career roll, leaving behind his lighter characters. There is never a dull moment. The boxer's volatile temper, blunt dialogue, and realistic action catapult the film above the average film noir. I found the opening boxing scenes more believable than the over-the-top Rocky Balboa bouts. Though both films seem to use the same sound effect of punching a cardboard box with a throw pillow inside. Because of the potential permanent eye damage during his championship fight, Payne's heavyweight career comes to an end. Three years on, he is now a taxi driver with dreams of owning his own service station. His wife, Peggie Castle, is a nagging, unsympathetic woman who blames him for her lack of social importance and her personal career crusher. Owning a lowly gas station is the "last round" for her. Castle is already two-timing with a jewel thief, Brad Dexter. No secret to Payne. 

Jay Adler moonlights as a backroom jewel fence, incognito as a pet shop owner. He refuses to pay off Dexter for his latest jewel delivery, not only for killing the original owner but primarily because he brings Castle into the mix. Adler tells him there is no deal if a woman is involved. Emotional attachments have a way of altering the end game. Dexter takes his “advice,” and her cold body is found in the back of Payne's cab. Not exactly a typical fare.  

Playing an aspiring actress, Evelyn Keyes has two supporting roles with Payne. Besides being his co-star, she is a frequent taxi fare. When she finds out about his predicament, she wants to help but he is reluctant to get her involved. Keyes' attractiveness lies in her character portrayals more than in being naturally beautiful. It is of no concern whether her face is filmed from one side or the other. Jack Lambert, Adler's muscle, below, has a good turn as well. He has developed a sense of humor despite his line of work. Calls everyone at gunpoint, “kiddies.” His fight scene with Payne is worth noting. Suspecting he is in with Dexter, he slaps Payne around from behind, who is slowly coming to a full boil. Lambert becomes his punching bag. He completely did not anticipate the jackhammers hiding at the end of Payne's arms. Poor Lambert is repeatedly blasted over furniture and becomes wall décor, after a fashion. It is well-choreographed, vicious, and believable. 

Adler and crew are confused about Payne's supposed involvement in a jewel heist. He is picked up on 99 River Street and they need answers to a few questions. After the butt-end of a revolver from a revengeful Lambert, Payne tells Adler about his frame-up, then all bullets have Dexter's name on them. Continuing to hone her acting skills, Keyes' role-playing comes in handy as she lures Dexter out of the diner. Spotting Payne outside, Dexter makes a run for it, with Payne taking a bullet in one arm. One arm is plenty and Dexter is soon down for the count.