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Flesh and Fury (1952)

 -  Drama  -  27 March 1952 (USA)
6.8
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Ratings: 6.8/10 from 155 users  
Reviews: 2 user | 5 critic

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

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Cast

Complete credited cast:
...
Paul Callan
...
Sonya Bartow
Mona Freeman ...
Ann Hollis
Wallace Ford ...
Jack 'Pop' Richardson
Connie Gilchrist ...
Mrs. Richardson
Katherine Locke ...
Mrs. Hollis
Harry Shannon ...
Mike Callan - Paul's Father
Louis Jean Heydt ...
Whitey
Tom Powers ...
Andy Randolph
...
Mrs. Hackett
...
Lou Callan - Paul's Brother
...
Cliff
Harry Raven ...
Murphy
Ted Stanhope ...
Maris - the Butler
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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. Written by Rod Crawford <puffinus@u.washington.edu>

Plot Summary | Add Synopsis

Taglines:

FURY IN HIS FISTS!...two kinds of women in his arms! See more »

Genres:

Drama

Certificate:

See all certifications »
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Details

Country:

Release Date:

27 March 1952 (USA)  »

Also Known As:

Hear No Evil  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

In the climactic boxing match, Tony Curtis's weight is announced as 146 and a half pounds, his opponent's as 147 pounds. See more »

Quotes

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

Connections

Referenced in Four Star Playhouse: Man in the Box (1953) See more »

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User Reviews

 
Curtis, Sterling shine in Joseph Pevney's solid boxing story
18 May 2003 | by (Western New York) – See all my reviews

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.


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