The Big Punch (1948) User Reviews

Sherry Shourds ro the rescue!

[JohnHowardReid · 6/10 · 2 June 2018]

Copyright 19 June 1948 by Warner Bros. Pictures, Inc. U.S. release: 26 June 1948. U.K. release: 23 August 1948. No New York opening. Never theatrically released in Australia. 80 minutes.

SYNOPSIS: A boxer is framed for murder and hides out with a newly-appointed clergyman (a former football star) in a small town.

COMMENT: A distinctly minor "B" melodrama. It opens unpromisingly with some mouldy and uninteresting stock football footage. Things perk up a bit during MacRae's boxing match which is quite convincingly staged; but so far as action is concerned, that is "the big punch" of the title. As might be expected, the promised action climax fails to materialize (we are fobbed off with a short, if slightly destructive, fistic encounter between the sub-hero and the deputy villain instead!). Needless to say, the film is fleshed out with plenty of talk and yaketty-yak, including a couple of sermons!

The photographer and director sometimes use deep focus compositions effectively and we like the dissolve from Warde's pistol into a train engine, but otherwise production credits are undistinguished and routine. The church interior is an attractive set, but the others are rather tatty. The acting is nothing to write home about, though the girls certainly have an edge over the boys (they are attractively costumed too). Neither Morris nor MacRae are convincing as the clergyman and the boxer, respectively (though admittedly they are hampered by some corny dialogue). Best performance in the film comes from Jimmy Ames as "Angel".

Production values are well below average for a Warner Brothers' "B".

OTHER VIEWS: The only film directed by one-time Warner's assistant director Sherry Shourds, this is a depressingly trite story about the minister who helps the prize fighter get straightened out. The acting, direction, screenplay and photography all lack any real inspiration. In fact, the quality the film so significantly lacks is that of the title - punch! - E.V.D.

The Director: Sherry Shourds was an assistant director who worked with Curtiz on at least 16 films (marked *). Shourds was assistant director on all following: 1935: Captain Blood *, A Midsummer Night's Dream. 1937: The Great Garrick. 1938: Four's A Crowd *, Four Daughters *, Angels With Dirty Faces *. 1939: Dodge City *, Daughters Courageous *, Private Lives of Elizabeth and Essex *, Four Wives *. 1940: Virginia City *. 1941: Dive Bomber *. 1942: Now, Voyager. 1943: Edge of Darkness. 1947: Possessed. 1948: Winter Meeting, June Bride. 1949: The Lady Takes A Sailor *. 1950: Bright Leaf *, The Breaking Point *. 1951: Jim Thorpe - All American *, Force Of Arms. 1952: The Story Of Will Rogers *. 1966: An American Dream, Chamber of Horrors. 1968: Chubasco. (Shourds was unit manager on these last two films).

A big punch bowl of genres

[AlsExGal · 6/10 · 18 December 2021]

This film has lots of Warner B film and post war themes in it. There is a successful college athlete (Wayne Morris) who will be an ordained minister after graduation, an almost unrecognizable Gordon McRae in his first film role as a mediocre fighter who looks for God and finds Tolstoy, and Lois Maxwell as a former WWII army nurse who saw so much death and injury that she has lost her faith in God and her desire to be a nurse, even in peacetime.

Morris is a young single man, going on his first assignment as minister to a small Pennsylvania town. He has a hard time winning acceptance at first in spite of his likeable demeanor because he doesn't look or act like any minister that this town has had before, or at least recently. They don't like that he still is an athlete. It is amusing how he wins them over. Little does he know that quoting Tolstoy in front of McRae's character gets him thinking and causes him to not throw a fight after he had agreed to do so. And the people that lose money because of him are not exactly the boy scouts. He makes a run to the small town where Morris is now a minister, and without telling him all of his troubles, winds up boarding with him. Complicating matters is that he and Morris both are falling for the former army nurse with a crisis of faith.

It's interesting how this little film even manages to weave a gangster angle into this thing. Warner Brothers made a bunch of mediocre Bs in the 30s and 40s, but I'd say this seldom seen film is a hidden gem.

G-d Works In Mysterious Ways

[boblipton · 6/10 · 11 April 2020]

Wayne Morris is a former boxer turned minister. When he shows up at a local boxing match, his words impress pugilist Gordon Macrae. Macrae comes to Morris and asks for help starting a new life, which is given gladly. Macrae goes to work at the local bank, where Lois Maxwell, Morris' frustrated love interest, works. Macrae has a secret: he's hiding from a frame job as a murderer in New York. Nonetheless, things seem to be going well until Macrae's old manager and girlfriend show up and tell him that unless he helps them steal from the bank where he is working, they'll tell the cops where he is.

It's a very low-key movie, with hints of humor hiding in Morris' performance. I did not find it particularly compelling. Still, as I have noted in other reviews, I have no faith in any higher power, and so the vaguely religious and secular issues that a small-town pastor deals with are not of any great interest to me.

Gordon MacRae Film Debut

[robluvthebeach · 7/10 · 22 February 2014]

This is a boxing tale which has bits and pieces of Kid Galahad, They Made Me a Criminal and other 30's boxing movies a bit updated in post-war Warner Brothers movie. Gordon MacRae does a fine job in his debut as a boxer who gets enlightened by Wayne Morris and is ready to move on with his life. I saw this on TCM but it is also available to view online. Here is the storyline:

When New York City boxing promoter Con Festig offers college football player Chris Thorgenson a professional boxing contract, Chris turns him down, explaining that his goal is to become a minister. His dedication so impresses boxer Johnny Grant that rather than throw his next match, as Festig has ordered him to do, he wins. Festig then plots with his henchman, Angel Panzer, to get even with Johnny and get rid of nosy policeman Ryan at the same time. After Angel warns Johnny to get out of town, Festig kills Ryan and frames Johnny for the murder. When Johnny learns of the murder, he decides to hide out with Chris, who has just received his first appointment to a church in the small town of Longacre. First, Johnny telephones his girl friend, Midge Parker, and asks her to hire a private detective to help clear his name. When Chris arrives at his post, he practices his first sermon at the church, where he is overheard by Karen Long. Although Karen is not a regular member of the congregation, her boss, a church member, invites her to stay for the dinner they have planned to welcome Chris. Afterward, Karen tells Chris that she was a nurse during the war, but after that experience, was unable to return to nursing and now works in a bank. Late that night, Johnny arrives at Chris's home and tells him that he has left boxing, having refused to throw his last match. Chris agrees to let him stay at his house and gets him a job at the bank. One Sunday, after learning that some people in the congregation are upset by the fact that he is a former football player, Chris announces that his religion does not stop in the church, and so he intends to take his work into the town. Although Johnny has fallen in love with Karen, she makes it clear that she loves Chris. Some time later, Midge arrives in town with Milo Brown, the private detective whom she hired. Midge tells Johnny that she is now married to Milo and threatens to expose him unless he helps them rob the town bank. Rather than do so, Johnny prepares to run away, but is stopped by Chris. When Johnny tells Chris about the murder charge, Chris offers to go to New York with him and help him clear himself. Then police chief Ed Hardy arrives, having identified Johnny as the wanted killer. After Karen convinces Hardy to let them find the real murderer, she and Chris travel to New York. There Karen persuades Angel to help her blackmail Johnny into robbing the Longacre bank in hopes that he will be forced to reveal Ryan's murderer. Back in Longacre, Chris, who is worried that Karen's plan is too dangerous, tries to persuade Angel to name the real killer and, when Angel refuses, uses his boxing skills on the thug. Karen telephones Hardy for help, and he arrives in time to hear Chris reading the Bible to Angel, who has written out a confession naming Festig as Ryan's murderer. Now that his name is cleared, Johnny returns to New York, after divulging to Chris the real object of Karen's affections.

The film comes full circle when you pay attention to Karen's character development

[Scorpio_65 · 7/10 · 18 January 2022]

'The Big Punch' (Sherry Shourds, 1948) concerns three principal characters: Chris Thorgenson (Wayne Morris), a self-assured college football player who's studying and training to become a minister; Karen Long (Lois Maxwell), a former World War II nurse who's going through the motions as a small-town bank clerk; and Johnny Grant (Gordon MacRae - looking very much like actor Matt LeBlanc in the 1990s), a boxer who's feeling trapped in his career and looking for independence.

Most of the plot and action of the film concerns Chris and Johnny. However, much of the story of the film belongs to Karen in her quest to help herself in order to help others, which was much of the purpose she found in her former career as a nurse. The war has caused her trauma and whenever she enters hospitals she now only sees 'army cots', as she describes it. In expressing this to Chris, she says, "What happens to you when you begin to tolerate your own misery?" which contrasts quite strongly against Chris' previous question referencing a Tolstoy story where he asks, "What would you do if you knew that tomorrow you must die?" Chris' theme focuses strongly on seizing the moment and Karen gradually becomes inspired by his influence to find purpose. She takes his lead by helping to train Johnny at his new job at the bank, as well as "robbing" Midge Parker (Mary Stuart) and Milo Brown (Marc Logan) of their opportunity to blackmail Johnny into helping them rob the bank. Karen even helps to make small-town Police Chief Ed Hardy (Eddie Dunn) understand how he can "show off" the city police to catch the real killer of Police Lt. Ryan (Monte Blue). There are definite themes of 'paying it forward' throughout the film and Karen is a strong example of this.

In addition to themes of 'seizing the moment' and 'paying it forward', religion is a central theme of the film through Chris' passion to become a minister. The screenplay largely avoids being self-righteous in tone in that it examines the hypocrisy of some members of the church. Chris receives criticism from those members who feel his experience as a college football player is "undignified". Expressing his frustration, Chris exclaims, "There's nothing in the Good Book that says a minister can't teach sportsmanship and fair play by going out and practicing those things himself."

As well as these themes, there are some film noir tones to the film, particularly peppered in some of the aforementioned soul-searching dialogue between Chris and Karen. There are also plot points that are typical of the film noir and crime genres including that of boxing promoter Con Festig (Anthony Warde) betting on Johnny's opponent and, thus, getting Johnny to throw the match to win money. As previously mentioned, a police officer is killed by Festig and a frameup is created to make it appear that Johnny did it. There's also the aforementioned blackmail attempt. There are times when the tone of the film becomes a bit cheesy, such as the sequence at the church supper involving Chris' interactions with the elderly ladies filling his plate with food as Chris returns for seconds and thirds. The following scene shows Karen and a queasy Chris leaving the church supper as slow, comedic-sounding horns start blaring out of nowhere courtesy of composer William Lava. Lava was the composer of many Warner Bros. Films, as well as the Warner Bros. Looney Tunes and Merrie Melodies. So, it's no coincidence if you're thinking the scene feels cartoonish. Thankfully, this moment doesn't last long, and the story picks up again as we continue to learn more about Karen in the following scene.

Films of this running time (eighty minutes) or less, require the viewer to pay attention to every word of dialogue to completely understand every action within the plot, unlike films with longer running times where you're permitted to mentally drift off occasionally. This is one of the reasons why this film is better appreciated with a second viewing. Although the first viewing of the film might make the ending seem tidied up too quickly, a second viewing of the film really emphasizes that it's Karen's story all along.

It starts off well but fizzles.

[planktonrules · 5/10 · 17 December 2021]

"The Big Punch" is a film which has a ration convoluted plot...one with many disparate story elements. The overall picture is okay...but could have been better.

When the story begins, you learn that the college sports hero, Chris Thorgenson (Wayne Morris), is graduating and will instead of going pro will become a minister. At the same time, Johnny Grant (Gordon MacRea), is a boxer who refuses to throw a fight...and so the gamblers who fixed the match kill a cop and make it look as if Johnny did it....and Johnny goes on the lam. Oddly, Johnny shows up in Chris' town and Chris takes him under his wing. Later, when Chris learns that Johnny is wanted for murder, he and a lady friend turn amateur detectives in order to solve the case.

The second half of film was pretty limp. Like many 1930s and 40s films, it features private folks solving crimes...a silly cliche. This is where the film loses momentum. The actors try their best...but the story just seemed strange and hard to believe.

Solid enough "B" crime drama marred by awkward climax

[Turfseer · 6/10 · 4 January 2022]

I thoroughly enjoyed watching the 1948 "B" crime drama, The Big Punch, although I must admit that the climax left much to be desired. Despite that, the film managed to hold my interest throughout. It was particularly intriguing to see Gordon McRae, known primarily for his strong baritone voice and musical performances, in his film debut, where he portrayed a crooked boxer turned straight.

The story revolves around McRae's character, Johnny Grant, a boxer who is framed for the murder of a police officer by the gangster Con Festig, played by Anthony Warde. This happens after Grant refuses to throw a fight in which Festig has heavily invested. To escape the clutches of the law, Grant flees to a small Pennsylvania town, seeking the help of Pastor Chris Thorgenson, portrayed by Wayne Morris. Thorgenson, a former football player and pugilist who turned to the ministry, rejected Festig's offer to become a professional fighter.

Both Grant and Thorgenson find themselves as fish out of water in the conservative town, with Thorgenson facing the additional challenge of gaining the trust and approval of the skeptical congregation. Along the way, they both become involved with Karen Long, played by Lois Maxwell, who is troubled due to her experiences as a nurse during the war. However, the romantic dynamics between Karen and the two potential suitors, Thorgenson and Grant, remain somewhat underdeveloped.

As the plot unfolds, Grant faces a pivotal moment when his ex-girlfriend, Midge (Mary Stuart), attempts to blackmail him into robbing the bank where he now works. Eventually, Grant is discovered by the small-town police chief for the cop's murder in New York City. However, Thorgenson and Karen devise a scheme to prove Grant's innocence. They bring Festig's associate, Angel Panzer (Jimmy Ames), to town, intending to arrest him for participating in the bank robbery and then pressuring him to confess that Festig was responsible for the cop's murder.

Karen goes to great lengths, traveling all the way to NYC, to convince Angel to take part in their plan. Meanwhile, Thorgenson becomes hesitant about the scheme, fearing for Karen's safety. Surprisingly, he decides to confront Angel at his own house, resorting to physical violence to force a confession. This turn of events aims to showcase Thorgenson's underlying toughness, although I found it somewhat implausible that his "big punch" would lead Angel to confess so readily.

Wayne Morris delivers a sincere performance as the upright pastor, Thorgenson, but it is Lois Maxwell who truly shines as the troubled bank employee turned amateur sleuth, Karen. Despite the film's solid "B" genre elements, I was disappointed with the way the screenwriters concluded the story. Nevertheless, if one can overlook the unconvincing climax, The Big Punch remains an enjoyable watch.

A psychological and spiritual sucker punch.

[mark.waltz · 6/10 · 19 September 2023]

Framed killer Gordon MacRae is searching for evidence to clear himself of the killing of a cop, but femme fatale Mary Stuart is hoping to stop that search by having him involved in a bank robbery. The future star of "Search For Tomorrow" (1951-1986) is as far from her apron wearing, folk singing, much married heroine Joanne Tate etc al as Gordon MacRae is from those singing romantic heroes who serenaded Doris Day and Shirley Jones. These two dark characters are not destined for happiness, and MacRae turns to minister Wayne Morris for guidance.

Once a college football star, Morris has gone from pigskin to alter robes, and his character vows to reach deep into the community to really help those in need of spiritual help, and boy, does MacRae need it. Along the way he befriends the reformed Lois Maxwell, the third subplot showing a changed life. Only Stuart's character remains hard boiled and unrepentant, so this film noir is quite different. Not great, with more than its share of preachy moments, but very well acted.