Famous motor-racing champion Joe Greer returns to his hometown to compete in a local race. He discovers his younger brother has aspirations to become a racing champion and during the race ... See full summary »
Lee Sheridan's ego has always been stoked by his newspaper publisher father, Dan Sheridan, who is willing to "hold the presses" solely to print Lee's many sporting accomplishments as they ... See full summary »
Arnold Boult is determined to make his son a success at all costs. He commits arson, causes two suicides, and bribes people. His wife, unable to leave him, becomes alcoholic and dies. His ... See full summary »
It starts in 1844 in Maryland, where R.Taylor, owner a plantation with slaves, is forced by debts to sell his estate ad his people. Then he leaves for Cumberland, looking for a job (first ... See full summary »
W.S. Van Dyke
According to Robert Taylor's biographers, his mother walked out in the middle of this movie, upset by all the punishment her son was apparently receiving during the boxing scenes. She asked her son why stand-ins couldn't have been used. See more »
Maureen O'Sullivan is credited onscreen as "Sheila Carson", but her car license is made out to "Shelia Carson", which is also the way she signs her name. See more »
Why, Tommy's right has the kick of a Missouri mule, the speed of a striking cobra, and the aim of William Tell.
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MGM had once used ad-lines which proclaimed "Garbo talks!" and "Garbo laughs!" For this movie they might have used "Robert Taylor strips!" Female fans had always swooned over the romantically handsome Taylor but men supposedly found him too much of a "pretty boy" who too often appeared in soapy costume dramas. Anxious to increase his appeal, and with Taylor's enthusiastic consent, MGM decided to toughen up their rising star's image by casting him as a prizefighter with a dark edge in a gritty (by MGM standards) boxing movie. First, the movie teases its audience by an opening twelve-and-a-half minute sequence detailing the childhood of its protagonist. (Gene Reynolds plays the young Robert Taylor). Then, ta-dah!, we see the adult protagonist, introduced with a shot of his bare, sweaty back as he works out in a boxing gym. Wait, there's more! The camera moves position and we now see Taylor's bare chest, also sweaty, complete with an inverted triangle of chest hair beginning at the collarbones and extending down to the sternum. (One imagines a make-up team carefully trimming and combing this hair to give it just the right effect.) For the next seven minutes Taylor appears bare-chested -- working out at a punching bag, retiring to a dressing room, taking a shower, appearing with a towel tied around his waist. Later in the movie he's shown soaking in a bathtub, (while reading "The Decline and Fall of the Roman Empire"), and then there are various boxing matches full of sweaty, face-punching action. All this "beefcake," showcased in a slick, satisfying, well-cast package, apparently did the trick because Taylor soon emerged as one of MGM's brightest and most durable stars. Curiously, Taylor rarely again took off his shirt, so if you want to see his nipples showcased in all their Hollywood glory, you better watch "The Crowd Roars."
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