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Golden Boy (1939)

6.9
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Ratings: 6.9/10 from 1,115 users  
Reviews: 34 user | 13 critic

Despite his musical talent, Joe Bonaparte wants to be a boxer.

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(screenplay), (screenplay), 3 more credits »
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Title: Golden Boy (1939)

Golden Boy (1939) on IMDb 6.9/10

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Nominated for 1 Oscar. See more awards »
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Cast

Complete credited cast:
...
...
Tom Moody
...
Joe Bonaparte
...
Mr. Bonaparte
...
Eddie Fuseli
Sam Levene ...
Siggie
Edward Brophy ...
Roxy Lewis (as Edward S. Brophy)
Beatrice Blinn ...
Anna
William H. Strauss ...
Mr. Carp
...
Borneo
Rest of cast listed alphabetically:
Charles Halton ...
Newspaperman (scenes deleted)
Edit

Storyline

Joe Bonaparte's father wants him to pursue his musical talent; but Joe wants to be a boxer. Persuading near-bankrupt manager Tom Moody to give him a chance, Joe quickly rises in his new profession. When he has second thoughts Moody's girl Lorna uses feminine wiles to keep him boxing. But when tough gangster Eddie Fuseli wants to "buy a piece" of Joe, Lorna herself begins to have second thoughts...for that and other reasons. Is it too late? Written by Rod Crawford <puffinus@u.washington.edu>

Plot Summary | Plot Synopsis

Taglines:

BETRAYED...by misled ambition...reclaimed by a musician's heart! See more »

Genres:

Drama | Romance

Certificate:

Approved | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

5 September 1939 (USA)  »

Also Known As:

L'esclave aux mains d'or  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Mirrophonic Recording)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

William Holden was so grateful to Barbara Stanwyck for her insistence on casting him in Golden Boy (1939), his first big role, that he reportedly sent her flowers every year on the anniversary of the first day of the filming. See more »

Goofs

When Tom, Lorna and Joe leave Tom's office in the first scene, they leave the office door open. The office door gets closed in all the rest of the scenes in the film. See more »

Quotes

Mr. Carp: A man hits his wife, and it's the first step to fascism.
See more »

Connections

Featured in Barbara Stanwyck: Fire and Desire (1991) See more »

Soundtracks

Funiculi, Funicula
Traditional Italian song
Music by Luigi Denza
Lyrics by Peppino Turco
Played on piano by Beatrice Blinn
Sung by Lee J. Cobb, William H. Strauss, William Holden and others
See more »

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User Reviews

 
GOLDEN BOY (Rouben Mamoulian, 1939) ***
29 January 2009 | by (Naxxar, Malta) – See all my reviews

Notable for being William Holden's debut (he was just 21 and looks almost like a schoolboy!), this dated melodrama was adapted from a popular play by Clifford Odets dealing with a young man conflicted about which path to take in his life: a respected artistic career playing the violin and the more alluring celebrity (which also reaps instant monetary rewards) as a prizefighter. His Italian immigrant father (Lee J. Cobb, whose mannered performance has been especially criticized) obviously wants the boy to follow his musical instincts, but the pull of the ring is too great – more so because through it he meets and falls for Barbara Stanwyck, actually his manager (Adolphe Menjou)'s fiancée. Though initially acting under the latter's instructions, she eventually tries to dissuade him from fighting, particularly when gangster Joseph Calleia (another fine showcase for the Maltese character actor) takes Holden under his wing. The climax sees the hero winning the championship bout but at the cost of his black opponent's life and his own left hand; with the help of Stanwyck (realizing she really loves the boxer, Menjou relinquishes her) the "Golden Boy" stands up to his new boss – interestingly, Calleia lets him off rather too easily here when compared to similar films of later vintage! The film is pretty good (with equally solid support from Sam Levene as Holden's struggling cab driver brother-in-law) though betraying its stage origins by relegating the boxing matches to only a brief montage until the not very imaginatively handled finale; in hindsight, it's curious to find this cinematically lacking given the involvement of Mamoulian and his reputation as one of the most creative directors of the early Talkie era!


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