Flesh and Fury (1952)

A deaf boxer is exploited by a gold-digging blonde.

Director:

Joseph Pevney

Writers:

William Alland (story), Bernard Gordon

Stars:

Tony Curtis, Jan Sterling, Mona Freeman

Cast

Complete credited cast:
Tony Curtis	...	Paul Callan
Jan Sterling	...	Sonya Bartow
Mona Freeman	...	Ann Hollis
Wallace Ford	...	Jack 'Pop' Richardson
Connie Gilchrist	...	Mrs. Richardson
Katherine Locke	...	Mrs. Hollis
Harry Shannon	...	Mike Callan (father)
Louis Jean Heydt	...	Whitey
Tom Powers	...	Andy Randolph
Nella Walker	...	Mrs. Hackett
Harry Guardino	...	Lou Callan (brother)
Joe Gray	...	Cliff
Harry Raven	...	Murphy
Ted Stanhope	...	Maris (butler)

Storyline

Deaf boxer Paul Callan captures the interest of gold-digging blonde Sonya Bartow and retired fight manager 'Pop' Richardson. For a time, Sonya has the upper hand with Paul, but ultimately a rival appears in the shape of upper-crust reporter Ann Hollis. With a 3-way fight under way for influence over Paul, he takes matters into his own hands, but learns that getting what he wanted isn't necessarily a happy ending.

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Plot Keywords:

boxing | deafness

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Taglines:

"YOU CAN'T TAME A GUY LIKE TONY...WITH JUST A KISS!" A Champion's Fury in His Fists...a Naked Longing in His Heart!

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Genres:

Drama

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Details

Country:

USA

Language:

English American Sign Language

Release Date:

27 March 1952 (USA)

Also Known As:

Hear No Evil

Filming Locations:

Universal Studios - 100 Universal City Plaza, Universal City, California, USA

Company Credits

Production Co:

Universal International Pictures (UI)

Technical Specs

Runtime:

83 min

Sound Mix:

Mono (Western Electric Recording)

Color:

Black and White

Aspect Ratio:

1.37 : 1

Did You Know?

Quotes

Sonya Bartow: I love you too, Paul... in my own funny way.

User Reviews

Curtis, Sterling shine in Joseph Pevney's solid boxing story

No other sport has given rise to as many superior movies as our most barbaric one, prizefighting. Joseph Pevney's Flesh and Fury may fall short of superior, but it's well above average and shows its principal actors in the most flattering light: Tony Curtis does proud in one of his first starring roles, while Jan Sterling contributes possibly her finest performance.

Curtis (in the pouty fulsomeness of his young manhood) boxes for $25 purses when he catches the eye of Sterling, a bloodthirsty and avaricious ringside habitué. The only catch is that Curtis is deaf and dumb, but that suits Sterling just swell - his disability makes him more vulnerable to her control. She pushes his career forward too fast for the liking of his manager (Wallace Ford), but Curtis seems all but unstoppable.

Enter Mona Freeman, reporter from Panorama magazine, to do a feature on the hearing-impaired welterweight. It's her kind of story; her father, a wealthy Long Island architect, was deaf, too, so she learned how to sign - a skill Curtis has let lapse as it calls attention to his shortcoming. But exposed to a world of greater possibilities, Curtis undergoes an operation that restores his hearing.

There's the inevitable canker, however. Curtis' self-assurance in the ring came in part from his obliviousness to the din of the crowd. What's more, the pretentious babble he hears at a party in Freeman's posh mansion convinces him that he has more in common with the strident Sterling than with the privileged Freeman (the William Alland/Bernard Gordon script shows a firm grasp of class frictions). He decides to return to boxing, even though his doctor has warned him that he risks losing his newly regained hearing....

Joesph Pevney remains an overlooked director. He started out as an actor (he debuted in Nocturne as the peripatetic piano player) but soon moved behind the camera, helming a number of offbeat and compulsively watchable movies in and around the noir cycle: Shakedown, Iron Man, Meet Danny Wilson, Female on the Beach, The Midnight Story. In the late '50s, he made the move to television, directing a number of classic series. Not everybody who ended up working for the small screen did so because of mediocrity; some, like Pevney, were in demand because of their solid track record - because of movies like Flesh and Fury.