James J. Corbett's autobiography "The Roar of the Crowd" was the starting point of this lively and well-remembered fictionalized biography. The author was heavyweight champion of the world, succeeding John L. Sullivan, before the turn of the century. The events of the narrative depict Corbett as a brash but likable and intelligent young man whose conquest of the world of boxing and social prejudice in his time, when he was considered merely the son of Irish immigrants, a lowly bank teller and a nobody surprised everyone. It took him several hours of exciting and often amusing screen-time to prove his compeers were wrong. He is an bank teller when the film opens, but he somehow wangles an invitation to a sporting club for the well-to-do. He falls in love with a beautiful but snobbish girl, with whom he always seems to be quarreling, and he lives at home with a brawling clan of Corbetts who seem to fight with one another as often as with others. When he defeats the club's best and a professional fighter borough in to embarrass him, he finally decides to become famous by fighting. he sets out on the road with his friend, who acts as manager and trainer, and despite a few near setbacks, he wins all his bouts and attracts attention. Coming home to pursue his girl again, he contrives to annoy the Boston Strongboy, mighty John L. Sullivan, who enters bars and claims he can "lick any man in the world". Few believe he can win a bout against Sullivan, but Corbett, dubbed "Gentleman Jim" for his gracious manners and patrician appearance surprises everyone by moving, dancing out of range, and negating the furious Sullivan's power. The film's finest scene perhaps comes when a beaten Sullivan comes to congratulate Corbett. The new champion rises to the moment, tells Sullivan a few years before it might have been different, and shows him nothing but admiration and respect. He gets his girl as a result of his two performances, but by the end of the film, as they visit his s parents, his manager is able to tell the world, "The Corbetts are at it again". The films is attractive and has a consistent style without being flashy. The script was written by veteran Horace McCoy and Vincent Lawrence from the Corbett novel. Sidney Hickox did the cinematography, with period set decorations by Clarence Steensen and art direction by Ted Smith. Heinz Roemheld did the music and Milo Anderson the gowns. The film was ably directed by action-film specialist Raoul Walsh. Flynn also liked working with Walsh but did not care for the other director he worked for most often, Michael Curtiz. Among the cast,were Ward Bond as John L. Sullivan, in one of his best performances lovely Alexis Smith a bit spotty but intelligent as the girl Corbett loves and a very able Errol Flynn as Corbett, a young man he seemed to relish playing--he later said it was his favorite role from the period...Jack Carson was his manager, Alan Hale his charismatic father, John Loder a rich foe, with William Frawley, Minor Watson, Madeleine LeBeau, Rhys Williams, Arthur Shields, Dorothy Vaughn and Mike Mazurki along for the enjoyable proceedings. It is hard to say enough about the logic and light-hearted fun this movie's makers have generated; it is one of the best-liked of all sports biography films, and by my standards one of the most enjoyable as well.

Apparently, this is what happens when a director allows his 14-year old nephew to rewrite the dialogue on the set while he indulges himself alcoholically in the meantime; as I said earlier, although I've always wanted to catch one of Paul Naschy's werewolf pictures, this atrocity served as my introduction and, as awful as it most certainly is, I still intend to pursue other entries in the series, albeit very gradually.
Despite some high profile disappointments like Joe Dante's THE HOWLING (1981), I love werewolf pictures in general but, to be honest, I quickly lost interest in this film's "plot" and just stood there gazing at my TV screen counting its absurdities as it were. There were far too many to mention them here but I have to say two which struck me as particularly hilarious were the schizophrenic nature of the Werewolf persona (i.e. going from a raging beast in one shot to a dazed, zombie-like state in the very next one - as if he's on a casual midnight stroll in the countryside, and sporting an entirely different wardrobe to boot...and, yes, I did know the reasons for this beforehand), as well as the "Phantom Of The Opera" look of the Wolfstein character! But what do I know - perhaps the elusive full-length version of this mess could very well have been a bona-fide horror classic!