The Harder They Fall (1956) User Reviews

Bogart is truly brilliant in this.

[HarryLags · 9/10 · 15 February 2017]

Humphrey Bogart is truly brilliant in this, his last film. "The Harder They Fall" (1956) is a stunning indictment of the boxing profession. The film also marks Humphrey Bogart's final performance as a former sports writer turned publicist — and he's in good company. Bogie's scenes with Rod Steiger, Jan Sterling and Mike Lane (as the giant Argentinian boxer) are truly memorable.

In addition to Bogart's fantastic performance, Rod Steiger chews the scenery nicely as a corrupt manager. Their scenes together are really well done, and very well written. I particularly enjoyed the scene after the big fight where Bogart presses to find out how much their fighter will ultimately wind up for getting so badly beaten in the ring.

There are probably a good dozen very, very good fight films, and this belongs to their number. The tension in the film derives from the ultimate conflict between Bogart's inherent decency and Steiger's unmitigated exploitativeness. The two had great on screen chemistry in their scenes together. They employed very different acting styles, Steiger being one of the first Method actors to enjoy success in the movies. Bogart was strictly old school, but he not only held his own, he dominated their scenes together.

Humphrey Bogart's last movie was a triumph! His acting was terrific! Excellent movie!

The pen is mightier than the boxing glove.

[hitchcockthelegend · 8/10 · 5 November 2010]

Eddie Willis was once a top sports writer, but now he is down on his luck and searching for work. He gets a proposition from dodgy promoter Nick Benko, he is to write up sensationalist press for Benko's new discovery, the gigantic Toro Moreno. Trouble is is that Moreno is a poor boxer, powder puff punches and a glass jaw. But each fight is fixed by Benko and along with Eddie's press writings, this propels Moreno to being a household name, thus a crack at the heavyweight title is in the offering. However, Eddie starts to feel conflicted the more the story unfolds and just around the corner is a tragedy that will shape the destinies of everyone who is involved.

This was sadly to be the last film from the great Humphrey Bogart. He would pass away the following year, but thankfully this Mark Robson directed piece proves to be a fitting swansong. He puts depth to his portrayal of Willis and his face off scenes with Rod Steiger's Benko are a real acting joy to observe. The film itself {great scripting from Phillip Yordan} is a scathing and critical look at the boxing circuit, corruption, greed and a scant care for human life come bubbling to the surface, with Burnett Guffey's stark black & white photography adding grime to the nasty underbelly. Real life {and one time heavyweight champion of the world} boxer Primo Carnera sued {and lost} Columbia because The Harder They Fall's story was close enough to his own life story, that in itself makes this film's core story all the more interesting. 8/10

Bogart goes out with a bang

[blanche-2 · 8/10 · 23 August 2005]

What a wonderful way to end one of the all-time great careers. Bogart's last film, "The Harder They Fall" is a tough, uncompromising, cynical look at the fight world, and Bogart is magnificent as a down and out reporter who sells out to crooked boxing promoters.

One of the things so excellent about the film is that Bogie is surrounded by fantastic performances, particularly that of Rod Steiger as a vicious, greedy promoter, Mike Lane as the big dumb lug Steiger uses to accomplish his goals, and Max Baer as an egomaniacal champion.

"The Harder They Fall" spares us nothing - not the violence in the ring, the treatment of individuals like merchandise, the preying on the downtrodden. And it doesn't spare us Bogart's haggard looks, either. However, his energy is great and his characterization of a writer turned press rep, a man who looks the other way, is a powerful one.

There's a story often told about Bogart in his last days. Friends would come over to visit in the afternoon, and Bogart would climb into a dumbwaiter in order to get down to the first floor. He was that small (80 pounds) and that weak. But there was never anything weak about the mind, the will, or the persona.

Wonderful glimpse in the seedy boxing underworld

[Prof-Hieronymos-Grost · 9/10 · 10 July 2006]

Eddie Willis(Humphrey Bogart) is a down on his luck boxing critic who has just lost job when his newspaper goes bust. Nick Benko(Rod Steiger) a crooked boxing promoter hears of this and invites Eddie over to discuss some business,Benko wants him to use his press connections to promote his new boxer the Argentinian Toro Moreno,a brute of a man but with little or no talent for boxing.Eddie laughs off Moreno's chances in a ring with anyone, but as Benko later explains the fights are going to be fixed and Edie can have a percentage of the takings. A more hard hitting and gritty boxing drama you might find hard to find, the film really exposes the seedy under belly of the sport with all its corruption and vices. Its often been mooted that Bogart's last screen role was possibly his best and I can see why, there is a depth in his character that was not always there in some of his roles, Steiger too is phenomenal as in fact are the whole cast. Robson's direction is always assured and the pacing is nigh on perfect. A word too for Burnett Guffey's cinematography which captures the wonderful locations and fight scenes beautifully.A Swan song that delivers a fitting end for a legend.

Ringside seat for the match

[jotix100 · 8/10 · 9 January 2006]

"The Harder They Fall", based on the brutally real novel by Budd Schulberg, presents us with an aspect of the boxing world that no one talked about in those days. The sport was dominated by the racket men that made tremendous profits at the expense of the young pugilists that came from poor backgrounds.

Mark Robson, the director, was a man that understood that underworld well. He had already directed the excellent "Champion", so he proved to be a natural for taking the helm of this movie. Mr. Robson, worked as an editor for Orson Welles and knew what worked in the cinema. Working with the cinematographer Burnett Guffey, a man who was one of the best in the business, Mr. Robson created a film that was a ground breaker. New York City in the fifties is the background for the story that was shot in real exteriors that added a drama to the film.

This was the last film in which Humphrey Bogart made. In fact, Mr. Bogart shows signs of the illness that would take his life after the film was completed. Humphrey Bogart's Eddie Willis is a man that clearly wants to be fair to the poor boxer, Toro, from Argentina, who is being manipulated by the bad guys under the evil Benko. This was one of the best appearances of Mr. Bogarts in the movies.

The other surprise in the film is the portrayal by Rod Steiger of the mob man that wants to use Toro for his own illegal gains. Rod Steiger stood in sharp contrast with Humphrey Bogart. Being a method actor, his technique was entirely different from the one of his co-star. Yet, when both men are seen on the same frame, one can sense two great actors doing what they did best.

The interesting cast put together for the film made it better than it could have been. Under Mark Robson's direction we see a lot of New York based actors in the background. One would have liked to see more of Jan Sterling, who plays Eddie's understanding wife Beth. Also in the cast, Nhemiah Persoff, Jack Albertson, Max Baer, Jersey Joe Walcott, Mike Lane, Carlos Montalban, make good contributions to the film.

The boxing sequences are masterfully staged by Mr. Robson, who gives us a ringside seat to watch the matches. This film shows the director at the top of his craft.

"He didn't have 5 guys in the ring with him."

[eadoe · 13 October 2007]

I just saw this film and now realize that Sly Stallone must have watched it about a hundred times before staging the fight scenes in Rocky – he even recreated the subtle touch when Toro's coach cuts his eyelid in the fight to release the built-up blood (except in this film, you only see him go for the eye with a scalpel but don't see him actually cut it as you do in Rocky). The final fight at the end of this movie is THE most gruesome fight ever filmed. Stallone tried to capture this in Rocky, but it has nowhere NEAR the realism of the fight in The Harder They Fall. This is partly because it is shot in black and white, which for some reason makes everything seem more gruesome than color; partly because of the foggy, staggering way it is shot, as if you are seeing the punches through the groggy boxer's eyes; and partly because the actor who played Toro was not a star like Stallone or DeNiro in Raging Bull – they could make him look like a true wreck, a distorted, disfigured wreck – without fear of diminishing his "star" quality handsomeness.

My favorite line in this movie is when Bogart angrily asks Steiger how he'd like to have his jaw broken like Toro's. Steiger's henchmen immediately start to converge on Bogart, who says, "He didn't have 5 guys in the ring with him." It's a great line that brings home how the powerful are protected from the very pain they inflict on others.

The movie's title, from the old saying, "the bigger they are, the harder they fall," is also very ironic, because the "big" guys – Steiger and the corrupt fight backers – actually never "fall" – it is only the "little" guys, like Toro, who fall the hardest.

By the way, it was really spooky seeing Max Baer himself re-create his historic fight with Primo Carnera in this film, which is based on Max Baer's historic fight with Primo Carnera! You can see a film of this 1934 fight online, in which Baer knocks Carnera down 11 times in 11 rounds. By round 2, Baer was actually chasing Carnera around the ring, and at least 3 times he knocked him down so hard that he actually fell on top of him!

Although Ill, Bogey Could Still Carry A Film

[ccthemovieman-1 · 7/10 · 30 September 2006]

This was an interesting story but not always enjoyable to watch, simply because it's a real downer in spots, and seeing an ill Humphrey Bogart was sad.

Bogart, as "Eddie Willis," plays a decent guy who knows he's doing the wrong thing so he's ornery for most of the film. His conscience is getting the best of him. Not many others in here are happy, either, for that matter, in this tale of crooked boxing. Boy, filmmakers in the '40s and '50s loved making crooked boxing stories.

What's also different about this is the featured boxer: a 6-foot-8 Argentinian import named "Toro Moreno" (Mike Lane), a stiff who is being groomed for the heavyweight championship via a series of fixed fights, led by the crooked promoter played by Rod Steiger.

Along the way, it was interesting to see real-life fighters Max Baer and Jersey Joe Walcott.

Bogart died a little a little over a year after making this film. He looked haggard, which is understandable, but he still did his normal excellent job of acting and keeping the story interesting. Like him or not, Bogart always got your interest. He, along with James Cagney, were the best at dominating a film.

A decent boxing film, but nothing spectacular, to be honest. There are many, many better boxing movies, but this is still worth watching.

Special for a lot of reasons

[kenstallings-65346 · 9/10 · 14 July 2018]

Humphrey Bogart died about a year after this movie was completed. That alone would give the film poignancy. But, for Bogart, this final work was a grand coda indeed! In many respects, this was a brave effort in 1956 to expose the seedy side of boxing, and it did so in a most spectacularly effective manner, likely better than any other effort that came before or after it.

Near the end of the film, long after the swindle was known by the audience, as well as the protagonist (Bogart), the bookkeeper continued pouring over every tidbit of budget magic showing the details of how the boxer was skillfully swindled of his money. All of the expenses were taken out of his share, as the others in the heist took their money off the top.

Other movies would have made it a swift effort, but director Mark Robson knew that the details of the swindle is what made it seedy, and so he wanted the audience to see and hear it all. And it is the details that come after the brutality that make the conclusion all the more powerful.

Ultimately, the moral lesson is that the worst profession a person can undertake is one that profits off the bodies of other people.

Of special note are the number of actual boxers who acted parts in the film, including Jersey Joe Walcott, who was heavyweight champion from 1951-52, and who delivered one of the best lines of the movie, when asked why their boxer didn't protect himself like he was instructed, replied, "Some guys can sell out and other guys just can't. Goodnight!" There was a lot about this movie that was ahead of its time, including the meaningful roles of black actors such as Wolcott.

Max Baer was the other real world fighter who played an important role in the film. He was heavyweight champion from 1934-35, winning the title against Primo Carnera, an historical fact that was eerily paralleled in this movie. So well did Baer play the role of the bloodthirsty pugilist, that his reputation as an actual boxer was sullied by people who foolishly confused his actual boxing career with his performance in this film!

It should not go without notice that two real-world heavyweight boxing champions played prominent roles in this film, which very much exposed the corruption in the sport. Today, that corruption is well known, but this film was made in 1956, when most people took the sport as being clean.

Today, the film remains as relevant as ever, and Bogart's skill is a prime reason why. He expertly sells the movie with the kind of adroit and nuanced acting that was the hallmark of the legend's career. Few actors get to make such a strong statement in his final role!

"You wait around long enough and sooner or later everything falls right into your lap."

[classicsoncall · 7/10 · 28 May 2005]

Here's a fine gem from Columbia Pictures, offering Humphrey Bogart in his final film role. Much has been written of his failing health due to cancer of the esophagus, and in truth, Bogey does have a drawn and tired look around the eyes in this film, even though it rightly fits his characterization of sports publicist Eddie Willis. Eddie is drawn into the corrupt world of professional boxing when promoter Nick Benko (Rod Steiger) enlists his aid in trumping up phony stories about Nick's latest protégé, Argentine heavyweight Toro Moreno (Mike Layne). Toro is "strong as a bull but green as a cucumber", and is billed as the Wild Man of the Andes and the South American Heavyweight Champion.

The film builds on strong emotions and sentiment, as the down and out of work Eddie Willis shuns newspaper pay just to stay alive, preferring a bank account instead. Jan Sterling verbalizes Eddie's unspoken conscience as wife Beth, who understands her husband's frustrations, but wants him to do the right thing by the poor hulking brute of a boxer Toro.

Giving the film it's raw power and energy is Steiger's portrayal of corrupt promoter Benko, whose characterization approaches sheer villainy, building on the character he established in 1954's "On the Waterfront" as Charlie "The Gent" Molloy. Nick has no trouble agreeing to Eddie's squeeze for a written contract and a percentage of the take, knowing that he stands to make thousands with Toro's rise to contender status. Nick shouts out orders and expects no hesitation to his demands, and his henchmen jump when he says jump, so it's with all the patience he can muster that he tries to deal with Eddie's frequent bouts of conscience as he tries to look out for Toro.

Giving the film additional credibility is the presence of two outstanding heavyweight boxers, Jersey Joe Walcott as Toro's trainer George, and Max Baer as World Heavyweight Champion Buddy Brannen, who threatens to butcher Toro in their championship match to prove the contender has been unfairly promoted.

I got a kick out of Toro's tour bus, a schlocky attraction as it travels Western fight towns from California to Chicago. As it pulls into New York City, the vista presented is a veritable treat for nostalgia fans, with glimpses of 1950's era city blocks, and storefronts promoting an array of products ranging from Maxwell House Coffee to Admiral TV and Whelan Drugs.

"Eddie, you are my friend, help me go home" is Toro's plea as Nick Benko's talons dig deeper into his troubled psyche. When Toro suffers a broken jaw in his final match with the champ, Eddie is brought back to his senses by Walcott's character - "Some guys just sell out, and other guys just can't" - referring to Toro's punishment at the hands of Buddy Brannen. Offering the boxer his own tainted share of Toro's winnings, Eddie boards him on a plane bound for Buenos Aires, so Toro can buy his mother a house and his father some new shoes. Benko's crooked financier Leo (Nehemiah Persoff) meticulously cooked the books to show that Toro's share of New York's million dollar gate amounted to a mere forty nine dollars.

The film ends with a somewhat unsatisfying conclusion as Nick confronts Eddie in his apartment, threatening him with bodily harm for sending Toro back home, after Nick sells the fighter's contract to fellow boxing club member Wyerhause (Edward Andrews). Eddie sets out with renewed purpose to fight corruption in the boxing game with his typewriter, the title of his expose - "The Harder They Fall".

By 1956, Humphrey Bogart was no stranger to movies about the world of sports. Besides this offering, Bogey teamed with Edward G. Robinson and Bette Davis in another boxing themed film as far back as 1937, with "Kid Galahad", later remade with Elvis Presley. But for a real offbeat Bogey performance, try to get your hands on a copy of 1938's "Swing Your Lady", in which he portrays the manager of a hillbilly wrestler, perhaps his goofiest role in a film that defies classification.

A Satisfying Conclusion to Humphrey Bogart's Career

[JAtheDJ · 8/10 · 11 May 2005]

The seamy side of the boxing world is the subject of this interesting film. A third-rate amateur boxer (Mike Lane) is brought from South America to New York and exploited by a corrupt promoter (Rod Steiger).

Steiger hires out-of-work columnist Bogart as a press agent for a big publicity build-up, fixing fights across the country and making a profit for Steiger and his "boxing club." The name of the game is money, and Bogart struggles with his conscience, ethics and the disapproval of his wife (Jan Sterling) as he promotes the young fighter, who is duped into thinking he is invincible.

Eventually, the fighter faces the match that can't be fixed in New York with (real-life) boxing champ Max Baer. Lane is told about the previous fixed fights and knows he'll be decimated, but decides to fight Baer anyway to save face. Out of guilt and in sympathy, Bogart gives Lane his share of the purse (after he finds out that Lane has been fleeced out of his winnings), then puts him on a plane back to South America.

Sadly, Bogart was diagnosed with cancer of the esophagus during filming; reportedly, some of his lines had to be dubbed by others in post-production.

Despite his illness, he gave an impressive performance, together with some wonderful character actors such as Edward Andrews, Nehemiah Persoff and Herbie Faye.

Rod Steiger's versatility is well demonstrated here, as his role as the corrupt promoter sharply contrasts the gentle soul he portrayed in the TV version of "Marty" two years earlier.

The fight scenes with Max Baer are also very well done, and the on-location shots of 1955 Manhattan and downtown Chicago add stark realism.

The Harder They Fall is a film definitely worth viewing.

Bogie's last....

[jazza923 · 7/10 · 22 March 2010]

This is Humphrey Bogart's last film, and it's pretty obvious he was ill when it was being filmed. But in spite of that, he delivers a biting and memorable performance. He went out in style, that's for sure. The use of former boxers in the cast (Jersey Joe Walcott, Max Baer and Joe Greb) was a fascinating and effective touch. Joe Greb was particularly memorable as skid row bum being interviewed. Great story and thought provoking, good supporting performance by Rod Steiger. The stark black and white cinematography is very potent. The score is excellent. Apparently Humphrey Bogart was not to fond of Rod Steiger's style of acting, if so, it sure didn't show in the final production.

A Load of Bull...

[Xstal · 8/10 · 9 September 2023]

Here's a film that tries to deal with corruption, of how the fighting game is built around construction, of the ways results are fixed, all the lies and all the tricks, as the boxers follow mostly, their instructions. The performances of all is quite top drawer, Toro Moreno by Mike Lane makes quite a score, Rod Steiger's crooked Nick, is aggressive and so slick, but Humphrey Bogart is the one you just adore. So if you're looking for a film that works today, that's packed with cheats, and layered with foul play, that marks the ending of a story, an actor's sublime oratory, light a cigarette, but do find an ashtray.

Boxing is not a subtle sport and this is not a subtle movie

[bandw · 7/10 · 28 April 2007]

This is the story of an out-of-work sportswriter (Humphry Bogart) who, in desperation, makes a compact with a boxing promoter (Rod Steiger) to mount a fraudulent public relations campaign to present a third-rate fighter as world class - indeed as a potential contender for the world heavyweight championship.

If there is truth to this tale, then boxing is as brutal behind the scenes as it is in the ring. The boxers exist only as tools to make money for the promoters. The sport is more of a business than a sport and the bottom line is profit. In that sense this movie foreshadows the fate of all professional sports some fifty years on - they are run strictly as businesses. But let us hope that not all sports are as corrupt as what is presented in this movie. However, whenever there is a large pot of money to be had, corruption is almost surely to follow. "The Harder They Fall" presents a bleak image of boxing but it is hard to know how much of that is to be believed about the sport in general. The movie would have it that perhaps boxing should go the way of professional wrestling and just produce staged events. The fact that two professional boxers appear in this movie does give its message some credibility; why else would they participate in an effort to paint their sport black other than to expose some of its wrongdoings?

Filming this shadowy tale in black and white was only appropriate. Some of the scenes in the ring are difficult to watch. The scenes where the pretender to the championship takes some hard hits in the final fight and a shower of sweat sprays the air call to mind similar savage scenes from "Raging Bull."

The ending is predictable - Bogart's character is a writer and a decent guy, how else to resolve his moral dilemma than by having him write an exposé. The main fun is in watching Bogart and Steiger play off each other. Steiger reprises his role in "On the Waterfront" and gives it his best effort and Bogart is Bogart. Yet for me the impact of this film is a couple of rungs below that of "Waterfront." What "Waterfront" has that this film does not is the emotional intensity of Marlon Brando, greater and more complex interpersonal conflicts, more subtle moral choices, and Leonard Bernstein's incredible score.

This movie is all jabs, it doesn't have a knockout punch and forgets to work the gut.

[Ham_and_Egger · 5/10 · 5 August 2005]

It's really sort of a shame that, being Humphrey Bogart's last film, this tepid boxing drama isn't any better than it is. It wouldn't have taken all that much to improve it, corruption in boxing was topical in 1956 and being based on a novel by Budd Schulberg it must have seemed like another muck-raking hit in the mold of 'On the Waterfront.' But Bogart isn't at his best and the writing just doesn't pass muster. Frankly the corruption seems a little too extreme, the boxers too stupid, the promoter too venal. It might work at a lower echelon boxing but the film falls in with the boxing movie cliché of the "title shot." I find the idea that anyone would ever go to see this mug fight for the Heavyweight Champeenship of the World flatly ridiculous.

Bogart plays Eddie Willis, a down and out sportswriter looking to cash in. Rod Steiger is Nick Benko, an apparently mob-connected fight promoter who isn't burdened by a single scruple. They collaborate to quickly turn a soft-punching, glass-jawed, South American giant (played by 6'8" pro wrestler Mike Lane) into a heavyweight contender.

If 'The Harder They Fall' has a redeeming factor, it's Rod Steiger's performance. Nick Benko should be on top of the world but Steiger gives him a manic desperation. Bogart is adequate but his character is never really developed and is ultimately as unbelievable as the rest of the film.

Bogie's last

[SnoopyStyle · 8/10 · 14 February 2015]

Respected sports writer Eddie Willis (Humphrey Bogart) is jobless when his newspaper folds. Fight promoter Nick Benko (Rod Steiger) wants to hire him as the press agent for his new heavyweight fighter Toro Moreno. The problem is that Toro is a big dumb giant stiff. Benko schemes to rig Toro's fights with nobodies building up his resume and get him a fight with the heavyweight champion Buddy Brannen.

Bogart is terrific as the morally conflicted Eddie. It's impressive considering he was unwell and this is his last film. He still carries the movie. Steiger is incredible as the bombastic croaked promoter. It's also a fine morality tale. The fight game has always been corrupted and this takes it to the extreme.

Outstanding

[jjclark611 · 9/10 · 29 June 2004]

Bogart is excellent as usual in this his last performance. There are times when his eyes are puddled up and it really makes you wonder: was he in pain or really that good? My answer is "yes" to both questions. Cancer would claim him within 15 months of this movie. He has a look of weariness here and it fits the character well. A first rate ending to a distinguished career. This movie is a perfect timecapsule for the 1950's and one of the better boxing movies of the period (Check out Body and Soul also). Although the ending seems a bit too convenient the performances are all first rate and this is worth a rental or purchase if you love Bogie.

1956 Bogart's Final Motion Picture Playing Eddie Willis, Plus Brief Bio

[semioticz · 19 October 2007]

Eddie Willis (Humphrey Bogart at 56yo) is hired as a sportswriter by a boxing manager, Nick Benko (Rod Steiger), who wants to promote his protégé. Willis has been out of work, so he takes the assignment to put a story together to promote Toto Moreno (Mike Lane), an Argentinean boxer.

From the start, Willis is eager to write a memorable story. However, during his journalistic investigation, Willis finds out that Benko has been taking advantage of the naive, younger, foreign boxer. It seems that Benko is relying upon Willis' outstanding status in the boxing arena to cover up that fact that he's fixed a series of fights in order to get the 'glass jawed' Moreno into the championship ring with a vengeful champion, Buddy Brannen (Max Baer); a true sadist who resents the publicity Willis has be writing about Toro. So, Brannen is bent upon getting his revenge when he fights Toro for the championship. Willis knows the scoop & has to choose if he's going to warn Toro. After Willis decides to write a story that exposes the racketeers, he becomes a hunted man.

It seems fitting to write a brief bio of Humphrey Bogart here because he died within a year after filming t/his final flick. According to who we believe, Bogart was either born (claims Warner Brothers) at the end of the 19th century, on December 25th, 1899; or according to 2 US Census Bureau reports, at the beginning of the 20th century, on January 23rd, 1899, in Manhattan, to an opium addicted surgeon (father). Bogart began acting, instead of going to medical college, to pay off his father's considerable debts.

Bogart was 37yo before he had his breakthrough key role as Duke Mantee with Bette Davis in Warner Brothers' "The Petrified Forest (1936). The 5'8" 'Bogie' went on to play in 28 films in 20 years! During one of those films, Bogart starred & fell madly in love with Lauren Bacall, who'd also been born in Manhattan, on September 16th, 1924: a considerable 25 years after Bogey. When she was just 19yo, the 5'8.5" Bacall was given her 1st key role as Marie Browning in, "To Have and Have Not" (1944); a thriller whose leading man was (by then) a great actor, Humphrey Bogart. Her performance with Bogey set the stage for the rest of her still fabulous career, one of Hollywood's greatest love stories & marriages (in 1945), and it was the first of many acclaimed Bogey & Bacall films. The Bogarts have 2 children, son Stephen, born January 6, 1949 (named after Bogey's character in "To Have and Have Not," & daughter Leslie, born August 23, 1952 (named after Leslie Howard who insisted that Bogey be given the key role in "The Petrified Forest").

Humphrey Bogart is a screen legend who graced it in major roles for only 20 years until he died of throat cancer, at the age of 57, on January 14th, 1957; when his son was 8yo, daughter was 4yo & wife was 32yo. 53 years later, Lauren Bacall is now 83yo & still playing leading roles in a wide variety of film genres. Her screen career is 64 years long, at this writing in 2007. Bacall has another son, actor Sam Robards, born December 16th, 1961, with second (ex)husband, actor Jason Robards. Bacall's long-time friend & 4 time Oscar winner, Katharine Hepburn (May 12th, 1907-June 29th, 2003), was his godmother for 42 years, until she died at 96yo.

Here's one statement Lauren Bacall made about Bogey: "Was he tough? In a word, no. Bogey was truly a gentle soul." Hope you enjoy this brief bio~

Gripping film

[gridoon · 7/10 · 25 September 2001]

"The Harder They Fall" is a historically significant film, because it's Humphrey Bogart's acting swan song, but it's pretty good on its own, anyway. An unsubtle ("prizefighters aren't humans!") but undeniably realistic portrait of the corruption in the boxing business, this may be an unexceptional affair, but it's gripping and fast-paced. Bogart plays a cynical, disillusioned character that seems to fit him perfectly, and the rest of the cast is also good - except for Bogart's all-too-virtuous wife. (***)

No secret...

[aidosh94 · 10/10 · 18 November 2007]

There is no secret that Bogart made a lot of bad movies throughout his career, such as, oh, lets say "Sirocco". He said it himself! But there is also no secret that he is one of the greatest actors ever in history of film and that he made his share of unforgettable and great films like "Casablanca" or even the ones less famous, such as "In A Lonely Place". He is my favorite actor ever. And I am so happy that his last film was well acted and had an awesome story. Rod Steiger was also good in this historical boxing picture, with the large Mike Lane and some of the other less famous actors. But no matter what, Bogart owns this film, just as he seems to own all the other films he ever played in. Except from "The Raging Bull" (which I saw years ago!) this is the best boxing film I've seen! The fights were really well made and the "injuries" were believable and it really looked like they were bleeding or that they were really bad injured. I would say that this has about everything a great film needs, that includes Bogart. Once again, so glad this film, his last, was one of his absolute best!

Bogart's Last Is Steiger's Best

[utgard14 · 6/10 · 9 May 2003]

Strong performances from everyone in this, Bogart's last movie. Rod Steiger gives what I think is the best performance of his often overrated career. This is early Steiger, before he started doing whatever the hell he calls his acting in his later works.

Bogie's last film stays with you

[AlsExGal · 8/10 · 10 September 2020]

I have seen "The Harder They Fall" and always enjoyed it but it's interesting seeing it with the short clips Turner Classic Movies was showing on corruption in boxing. This is a good example of the 1950's noir theme of examining corruption in politics, society, and in business. Here the gangsters that were involved with "standard" gangster activities such as robbery were replaced by ones that hid in the shadows of businesses - in this case boxing. It also touches on everyday people being drawn into doing corrupt things to " keep up with the Joneses". The shadowy effects used in the boxing ring, locker rooms, travel bus etc mirrors shady dealings that were happening throughout the movie while the realism approach added to it relevance. I love the great pivotal lines delivered by George ( Jersey Joe Walcott) "Some guys can sell that other guys just can't."

It's Humphrey Bogart's last movie so it's always a little hard to watch. But it is a great one. Rod Steiger always does such a wonderful job. It seems to me when he's trying to explain why he's doing corrupt things he has this underlying tone of saying "Why are you so upset that I'm taking advantage of you?!" Which makes his character even more despicable. It's also interesting to compare Steiger's and Bogart's style of acting since they came from two different schools.

Sleazy promoter wheels and deals his way to big money

[helpless_dancer · 7/10 · 15 August 1999]

An out of work sports columnist takes a job building up the reputation of a boxer who has no talent. His boss, a ruthless promoter, pits the pugilist against better athletes, but has the contests rigged in favor of his own fighter. This is a tense, well acted picture which gives a graphic portrayal of the seedy side of sports.

The Pen Is Mightier Than The Sword

[mmallon4 · 8/10 · 20 October 2014]

It's unique to see Humphrey Bogart in a more contemporary, neo-realist 1950's film in the form of The Harder They Fall. From the Saul Bass-inspired opening credits which help set up the plot (rather than just a series of static title cards) to the punchy music score, I imagine if Bogart lived longer and stared in movies for at least a few more years they would have been aesthetically in a similar vein to The Harder They Fall.

The Harder They Fall deals with corruption and fixing in boxing and how promoters exploit athletes regardless of their health or well being, providing an in-depth look at corruption in boxing as to who pulls the strings and how. The fight scenes themselves don't suffer from the dilemma of old boxing films having dodgy looking bouts with sped-up footage or obviously fake punches, partially due to the fact that the fights within the film are staged and of poor quality fight tactics. Likewise, the grime and sweatiness of boxing arenas and training gyms never fail as effective subjects to capture on film, especially in black and white. Also, what's the deal with that bus with the cardboard cutouts attached to it? It's almost like a character in itself.

More so than any other Bogart film do we see such a striking generational clash with Bogart coming from the old school style of theatrical acting and Rod Steiger from the Marlon Brandon, method school style of acting. However, I've always found Bogart to be a very adaptable actor and he is able to seamlessly play of Steiger despite their acting styles being worlds apart. Bogart's role as washed up columnist, Eddie Willis is one of the most interesting heroic performances of his career which combines Bogart's trademarks of both world-weary cynicism but also, a sense of righteous morality as he deals with his moral and ethical conscience throughout the film. Eddie can draw up fake publicity for the not so talented, big lug Toro Moreno (Mike Lane), writing articles stating he is the heavyweight champion of South America, undefeated in 39 fights and largely get away with it - that's the pre-internet world for you ("Nobody reads these west coast papers in the east").

Eddie may take part in the world of boxing corruption but he never fully believes in what he is doing and tries to make the outfit as unscrupulous as possible. Not to mention he is the only person in the racket who genuinely cares about the gargantuan Toro, whereas the rest of the men couldn't care less about him. Rod Steiger on the other hand as corrupt sports promoter Nick Benko is an impulsive, brash character who has no moral or ethical conscience - you have to ask does he actually believe in what he is doing is justified in his mind. Steiger chews the scenery throughout the film in a very shouty, loud-mouthed performance which has shades of DeNiro or Pacino coming through.

I had a sense of melancholy during the movie's closing shots knowing this was the last time Bogart appeared on screen. Bogart was in poor health during the film's production, suffering from lung cancer (although ironically it doesn't stop him from lighting up during the movie). In the film's conclusion, The Harder They Fall celebrates the power of writing as a force to fight wrong and enforce positive social change - proving once again the pen is mightier than the sword, or should I say boxing glove. In the powerful final shot, Eddie begins typing an article on boxing corruption and reformation for the sport, an aspiring sight for any budding non-fiction writers.

"The boxing business must rid itself of the evil influence of racketeers and crooked managers, even if it takes an Act of Congress to do it."

God's in Bogie's Corner Tonight.

[rmax304823 · 6/10 · 28 February 2009]

Humphrey Bogart is a sports writer who is hired as a publicity agent for the Argentinian behemoth, Toro Moreno, a new boxer being promoted by the greedy, unfeeling, and corrupt Rod Steiger and his squad of thugs.

Bogart needs the money and does the job. Moreno is not too quick on the uptake. He thinks he's as good as the newspapers say. What he doesn't know, but everyone else does, is that all of his fights are fixed or set ups with broken down, aging brawlers. Moreno himself cannot hit a lick nor take one.

The night before the championship fight in New York, with Moreno filled with guilt thinking wrongly that he killed his last opponent, Bogart introduces him to the facts, with the aid of Jersey Joe Walcott. Moreno now knows that he can't fight, yet he is facing the world champion (Max Baer) who fully intends to butcher him.

Does Moreno give up? Does he take his dinero and run back to Argentina? Does he chicken out and stay away from Baer, and cling to him to shield himself, in the ring? Are you kidding? The point of the movie is that boxing is a brutal sport, fought by men with no future and managed by crooks. How dare they make such an argument? Why boxing is a clean sport, run according to the strictest code of ethics. Ask anybody. Ask Don King.

It's a decent movie for its period. It's not really as shocking as it once must have been, but everyone was about as empty headed as Toro Moreno in the 1950s. It takes a lot to shock us nowadays. But, in the spirit of the times, everything is spelled out for the viewer -- who corrupts the game and how. Maybe it's just as well because there are a lot of non-boxing fans out there who need those instructions.

Rod Steiger is a standout in the role of the corrupt manager. His character is named Nick Benko. Could a person with such a name ever be any good. My God, he overacts outrageously. He whines, pleads, threatens, sweats constantly, wiping his face with a soggy hankie. Bogart looks pained throughout. He was seriously ill and died soon after the movie was released. Toro Moreno is played by somebody with the unlikely name of Mike Lane. He was evidently born in Washington, DC, but gives a first-rate impression of a clumsy mammoth from Argentina. During his fixed fights, his technique is to pound his opponent into the canvas with descending blows on the head and shoulders, like a child using a hammer. He can't act but doesn't have to. He's a walking cartoon, a pituitary gland run amok, about eight feel tall and built like a cistern. His ears are huge and in the ring they flap like those of an elephant. Jan Sterling is the stalwart and supportive wife.

Not very sophisticated movie making but not bad either.

Mainstream Without Ambiguity

[TheFearmakers · 5/10 · 30 October 2023]

The legendary Humphrey Bogart's last movie, during the mid-1950's when the big message could become more important than the characters, which is the opposite of ON THE WATERFRONT that Mark Robson's boxing scandal expose THE HARDER THEY FALL attempts the suspenseful, brawny big city edginess of... armed gangsters ruling over muscular everymen... but in a passive mainstream fashion...

A shame since the boxing sequences - where has-been sports-writer Bogart and his seedy promoter boss Rod Steiger have ringside seats - are filmed with brutal realism... both making sure the opponents of their mediocre gigantic upstart takes the same kind of fall that could have made Marlon Brando a contender....

The main problem are the bad guys - all short of sporting menacing little mustaches - lacking intriguingly vicious bravado that'd make them worth rooting against... and Steiger can be a lot of fun to hate, like in AL CAPONE with the same tough yet vulnerable sidekick in Nehemiah Persoff...

While Bogart, despite starting-out reluctantly alongside Steiger in the con-game before predictably coming around, lacks the enigmatic moral ambiguity that underlined his early game-changing film noirs... characters bordering on crooked and dependable... here seeming more a passenger along for the ride: somewhat having to do with his illness but mostly caused by the bland, middling screenplay.