6.6/10
316
14 user 3 critic

Whiplash (1948)

Approved | | Drama, Film-Noir, Sport | 24 December 1948 (USA)
A struggling artist becomes a New York City prizefighter in an attempt to win the affection of the ring promoter's night club singing sister.

Director:

Lewis Seiler (as Lew Seiler)

Writers:

Maurice Geraghty (screenplay), Harriet Frank Jr. (screenplay) | 2 more credits »
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Horace Vendig shows himself to the world as a rich philanthropist. In fact, the history of his rise from his unhappy broken home shows this to be far from the case. After being taken in by ... See full summary »

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Cast

Cast overview:
Dane Clark ... Michael Gordon - aka Mike Angelo
Alexis Smith ... Laurie Durant
Zachary Scott ... Rex Durant
Eve Arden ... Chris Sherwood
Jeffrey Lynn ... Dr. Arnold Vincent
S.Z. Sakall ... Sam
Alan Hale ... Terrance O'Leary
Douglas Kennedy ... Costello
Ransom M. Sherman Ransom M. Sherman ... Tex Sanders (as Ransom Sherman)
Freddie Steele Freddie Steele ... Duke Carney (as Fred Steele)
Robert Lowell Robert Lowell ... Trask
Don McGuire ... Markus
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Storyline

A struggling artist becomes a New York City prizefighter in an attempt to win the affection of the ring promoter's night club singing sister.

Plot Summary | Add Synopsis

Genres:

Drama | Film-Noir | Sport

Certificate:

Approved | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

24 December 1948 (USA) See more »

Also Known As:

A Marca do Destino See more »

Company Credits

Production Co:

Warner Bros. See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (RCA Sound System)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

Nitrate prints of this film are held by the UCLA Film and Television Archives. See more »

Quotes

Michael Gordon - aka Mike Angelo: [we hear his thoughts as the referee counts him out] What's the matter with that guy? He's counting me out. He's got it all wrong. I can take it. Wait a minute, look chum, I'm getting up. Gotta get up. Wait.
[the bell rings]
Michael Gordon - aka Mike Angelo: .
Michael Gordon - aka Mike Angelo: [he continues on his stool in the corner] Listen to them, they're after blood. What am I doing here, waiting for the kiss-off? I'm not the boy that want. I'm a long way from home. I gotta tell 'em that. I'm not your boy, you hear me? I belong on a beach. A nice, quiet beach....
See more »

Connections

Referenced in Suspense: Dead Ernest (1949) See more »

Soundtracks

Just for Now
(uncredited)
Written by Dick Redmond
Played when Laurie first enters her bungalow and occasionally in the score
Played on piano and briefly sung by Alexis Smith at Sam's Cafe
Also performed by Alexis Smith (dubbed by Bobbie Canvin) at the Pelican Club
See more »

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User Reviews

 
Routine boxing melodrama stars Dane Clark as John Garfield wannabe
14 February 2003 | by bmacvSee all my reviews

Shake together John Garfield's roles as a violinist in Humoresque and a prizefighter in Body and Soul (hits of the previous couple of years), and out comes Dane Clark's character in Whiplash. He's a beach bum who daubs canvases in a coastal town near San Francisco. But when reclusive vacationer Alexis Smith buys one of his seascapes, she ignites a torch in him that won't sputter out. When she abruptly departs, he travels east and sets up a studio in New York while he tracks her down. It proves a bad career move.

He finds Smith singing in a nightclub, only to discover that she's married to Zachary Scott, its owner and a former middleweight champ now confined to a wheelchair. Scott, sadistic and embittered, lives the fight game vicariously – through the cohort of ex-boxers who keep his wife in place and through new talent he exploits then drops. In Clark, he sees a contender. Wanting to keep close to Smith (who keeps warning him off), Clark signs up for work on another kind of canvas....

In addition to the always welcome Alexis Smith, the movie boasts good supporting work from Eve Arden, a gal pal with a crush on Clark, and from Jeffrey Lynn, as Smith's alcoholic brother, a doctor working in Scott's gym. Scott himself brings nothing new to the kind of part he found himself typecast in: the effete, insinuating villain. That leaves Clark, who was plainly being groomed as the second-string Garfield but who never left much of an impression on the movies.

The direction, by the undistinguished Lewis Seiler, can only be graded adequate; he keeps things moving along but never tries for anything different or offbeat or striking. In this he's matched by a lackluster script (it was the late ‘40s; couldn't the dialogue have been a little more etched?). Nonetheless, Whiplash endures as a routine B-movie, with noirish coloration, that reflects the themes and plot-lines of post-war melodrama.


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