Kid Galahad (1937) - IMDb IMDb 17 January 2017 4:34 PM, UTC NEWS There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error Fight promoter Nick Donati grooms a bellhop as a future champ, but has second thoughts when the 'kid' falls for his sister. Director: Seton I.

Miller (screen play), Francis Wallace (from the story by: Saturday Evening Post) Stars: From $2.99 (SD) on Amazon Video ON DISC a list of 25 titles created 18 May 2011 a list of 36 titles created 21 Jun 2011 a list of 29 titles created 03 Jan 2013 a list of 24 titles created 25 May 2014 a list of 43 titles created 01 Apr 2015 Search for " Kid Galahad " on Amazon.com Connect with IMDb Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. 1 win & 1 nomination. See more awards » Videos A crusading DA persuades a clip joint "party girl" to testify against her mobster boss after her innocent sister is accidentally murdered during one of his unsavory "parties".

Directors: Lloyd Bacon, Michael Curtiz Stars: Bette Davis, Humphrey Bogart, Lola Lane After Police Captain Dan McLaren becomes police commissioner former detective Johnny Blake knocks him down convincing rackets boss Al Kruger that Blake is sincere in his effort to join the ... See full summary » Director: William Keighley An army trainer becomes captain of the prison yard and in time, falls for the sister of a hardened inmate. Director: Lloyd Bacon When retired racket boss John Sarto tries to reclaim his place and former friends try to kill him, he finds solace in a monastery and reinvents himself as a pious monk. Director: Lloyd Bacon Black comedy about a brilliant Park Avenue doctor who becomes a criminal in order to do research into the criminal mind. Director: Anatole Litvak When Prohibition ends, a beer baron sees the writing on the wall, quits the rackets, and tries to break into California society. Director: Roy Del Ruth An ex-con who wants to go straight has difficulties trying to reintegrate into society while on parole. Director: Lloyd Bacon When a hard-working machinist loses a promotion to a Polish-born worker, he is seduced into joining the secretive Black Legion, which intimidates foreigners through violence.

Directors: Archie Mayo, Michael Curtiz Stars: Humphrey Bogart, Ann Sheridan, Dick Foran Brash hoodlum Tom Connors enters Sing Sing cocksure of himself and disrespectful toward authority, but his tough but compassionate warden changes him. Director: Michael Curtiz After the killing of her husband by friendly fire during a police raid, Dr. Carol Nelson tries to find gangster Joe Gurney to clear her name with the medical board. Director: Lewis Seiler Three ex-cons buy a luggage shop to tunnel into the bank vault next door. But despite all they can do, the shop prospers... Director: Lloyd Bacon A waitress, a hobo and a bank robber get mixed up at a lonely diner in the desert. Director: Archie Mayo Edit Storyline When a bellhop knocks out fighter Chuck McGraw, promoter Nick Donati realizes he's a potential champ. "Kid Galahad" justifies Nick's confidence, but Nick's mistress Fluff falls for him; in turn, the Kid falls for Nick's young sister. Now overprotective brother Nick turns against his new fighter, leading to a near- disastrous title fight and a murderous confrontation.

Written by Rod Crawford <puffinus@u.washington.edu> 29 May 1937 (USA) See more » Also Known As: The Battling Bellhop See more » Filming Locations: The movie was remade in 1962 with Elvis Presley playing the title character. See more » Goofs During the fights in the arenas, the crowd is painted on a backdrop in the balcony and after the sixth row in the mezzanine. See more » Quotes The Moon Is in Tears Tonight (1937) (uncredited) (Bradenton, Florida) – See all my reviews This was certainly not the most original movie made by Warner Brothers, but it was an excellent showcase for the talents of Edward G. Robinson and cast. It's a perfect example of the type of film this company made so well in the 1930s--a simple and predictable story combined with excellent dialog and acting and breezy direction. While this story will not change the world, it is well worth the watching. By the way, this story has been remade several times---such as THE WAGONS ROLL AT MIDNIGHT (with Humphrey Bogart taking on the Edward G.

Robineson part and Eddie Albert playing a lion tamer instead of a boxer) and KID GALAHAD (with Elvis). None of these films are quite as satisfying as this film. So my advice is, if you only want to see one, watch this one. 13 of 16 people found this review helpful. Was this review helpful to you? Yes "Kid Galahad". An in-depth look at the movie - Elvis Facts "Kid Galahad". An in-depth look at the movie A theatrically released film called "Kid Galahad" came out in 1937, based on a Frances Wallace story and directed by Michael Curtiz (who later directed the Elvis film "King Creole" in 1958). "Kid Galahad" starred Edward G. Robinson, Bette Davis and Humphrey Bogart. Wayne Morris played the role of Ward "Kid Galahad" Guisenberry a bellhop who unintentionally becomes a boxer and falls in love with his promoter's sister. When this movie aired on TV it was renamed "Battling Bellhop" to avoid confusion with the 1962 film "Kid Galahad" starring Elvis Presley.

Elvis' tenth movie was "Kid Galahad", filmed in 1962 for United Artists. The basic concept of the Wallace story was kept, but there were some alterations, such as changing the name and pre-boxing occupation of the title character. In this version he's Walter Gulick, a mechanic newly home from military service. David Weisbart produced the film. He had previously produced films such as "Rebel Without A Cause" and "April Love", as well as three Elvis films: "Love Me Tender", "Flaming Star" and "Follow That Dream". Weisbart went on to produce "The Pleasure Seekers" and "Valley of the Dolls". "Kid Galahad" was directed by Phil Karlson, who was a young law student when he got a job as a prop man at Universal Pictures. He soon took to the film business and pursued directing in such low budget projects as films starring the Bowery Boys, Charlie Chan and the comedy team of Abbott & Costello. He also directed "Hell to Eternity", "The Young Doctors", "Ben", and "Walking Tall".

He won a Directors Guild of America award in 1960 for his work on the TV film "The Scarface Mob". Gig Young played the fight promoter. Born Byron Barr, he developed a love of acting while growing up in his native Minnesota. He worked in such films as "Desk Set", "That Touch of Mink" and "Strange Bedfellows". He received Academy Award nominations as Best Supporting Actor for his work in the films "Come Fill the Cup" and "Teacher's Pet". He won both an Academy Award and a Golden Globe Award as Best Supporting Actor for his performance in the 1969 film "They Shoot Horses Don't They?". He was nominated for an Emmy Award for the 1970 TV production "The Neon Ceiling". Lola Albright played Dolly Fletcher, the promoter's girlfriend. She is probably best known for her Emmy nominated role of singer Edie Hart on the TV series "Peter Gunn". She acted in such films as "Easter Parade" and "Champion" and has numerous guest TV guest appearances among her credits. Joan Blackman played Elvis' love interest Rose Grogan, sister of the promoter.

She and Elvis had worked together the year before in "Blue Hawaii". Blackman's other credits include the films "Moonrunners" and "Macon County Line" and a number of TV guest appearances. Charles Bronson played trainer Lew Nyack in "Kid Galahad". Bronson was born Charles Buchinsky in Pennsylvania in 1921, one of 15 children born to Lithuanian immigrant parents. The only member of his family to complete high school, he worked the coal mines to help support his family. During World War II he served in the U.S. Army and afterwards used his G.I. Bill to study acting. His credits include hundreds of movies and TV programs as supporting actor and headlining star - usually in a craggy, tough guy role. His films include "The Magnificent Seven", "The Dirty Dozen", "The Valachi Papers", "Mr. Majestyk" and "Death Wish" (I, II, III, IV & V). He was nominated for an Emmy Award in 1961 for Outstanding Performance in a Supporting Role for his work in television's G.E. Theatre presentation "Memory in White".

In 1972 he received a Golden Globe Award for Favorite Male World Film Actor. His most recent work has been a series of TV movies called "Family of Cops". Filming for Elvis' tenth movie,"Kid Galahad" was October 23, 1961 until December 20, 1961. Elvis had just acquired Scatter, a pet chimpanzee that amused Elvis and his entourage with his antics. Scatter often traveled to California with them and visited the set of Elvis' movies. This was Scatter's first trip to Hollywood. In "Kid Galahad" the story called for the fighters training camp to be set in the Catskills of New York in the summertime. However, the movie was filmed in the fall/winter season in Idlywild, California, a resort east of Los Angeles. In this higher elevation it was getting colder as winter temperatures do, even in sunny California. The actors have recalled having to wear summer wardrobe and smile while in fact they were freezing cold and trying not to have their breath show up on camera.

"Kid Galahad" was released in August 1962 and reached #9 on Variety's list of top-grossing films for that week. It was ranked at #37 for the year. David Lewis played Otto Danzig in "Kid Galahad". He also worked in such films as "The Apartment", "The Absent-Minded Professor" and "The Boston Strangler". However, he might be more recognized for his long running later role as the original Edward Quartermaine in the TV soap opera "General Hospital". Mr. Lewis was nominated five times for an Emmy Award for this role, winning one in 1982. Long time character actor Robert Emhardt played Maynard the cook, known for his corned beef. Mr. Emhardt often played sinister types in his movie career. You can also see him as the banker in Elvis' 1969 movie "Change of Habit". Ned Glass, another well known character actor, played Max Lieberman, owner of the Shangri-La where the film's character named Dolly used to sing. You might have recognized him from Elvis' 1958 movie "King Creole" in which he played a hotel desk clerk. Mr.

Lieberman was nominated for an Emmy in 1969 for his work in the TV series "Julia". Ed Asner played assistant district attorney Frank Gerson. It was only Mr. Asner's second movie role, having debuted just before "Kid Galahad" in the movie "The Murder Men". Later, he played a small role in the 1969 movie "Change of Habit", starring Elvis and Mary Tyler Moore. Soon after that, stardom came to Asner through television. He is best known for his long-running role as Lou Grant in "The Mary Tyler Moore Show" and the spin-off series "Lou Grant". Other TV credits include the mini-series "Roots" and "Rich Man, Poor Man". His accolades include 15 Emmy nominations (7 wins), 11 Golden Globe nominations (5 wins), and the2002 presentation of the Screen Actors Guild Life Achievement Award. Mushy Callahan, world champion junior welterweight boxer, served as Elvis' boxing coach for his boxing scenes. Mr.

Callahan also served as technical adviser/fight choreographer on such films as "Gentleman Jim", "From Here To Eternity" and "The Great White Hope". He was inducted into the World Boxing Hall of Fame in 1989. Also making the fight scenes more authentic was Orlando do la Fuente who played Sugarboy Romero. At the time he was an undefeated welterweight boxer. Jimmy Lennon, the fight announcer from the Olympic Auditorium in Los Angeles, added his voice as the fight announcer for "Kid Galahad". Mr. Lennon played the fight announcer in a number of other movies including "Raging Bull" and "Rocky III". Toronto Film Society - Kid Galahad William Haade (Chuck McGraw) Soledad Jimenez (Mrs. Donati) Columnists had predicted Davis would turn down the part of Fluff in Kid Galahad, fight-manager Robinson's mistress, who falls for the Kid but loses him to a younger girl (Jane Bryan) and walks off into the fog alone.

Davis surprised them by stating, "Kid Galahad, while not giving me much of a role in the artistic sense, has such a lot of good robust fight stuff in it that it is bound to appeal to a totally different cinema audience, an audience with which I nevertheless need to be kept in touch." As usual, Davis was right. Although her part was subordinate to the others, and the film concentrated on some unusually brutal boxing scenes, she gave her role such warmth and humor that she appeared to hold the story together. Her conciliatory scenes with the temperamental Robinson, her muted expressions of love for Morris, gave the character more depth than it deserved. Bette Davis by Jerry Vermilye In Kid Galahad, Robinson's Nick Donati has a problem with his sister (Jane Bryan). When a young fighter (Wayne Morris) whose career he's managing falls for his sister, Robinson bitterly turns against his protï¿½gï¿½. Until the last moment, when he has a characteristic change of heart, he threatens to fix the big fight against his man. Nick's reaction is extreme; he's overly protective, having moved his mother and sister to the country in order to shield them from big city corruption.

He thinks of women as being either virgins or whores, either pure (and therefore unable to contend with the world) or tough (like his mistress Fluff who can handle herself in a harsh, competitive man's world like the fight game). Robinson is once again edged out at the end; he's killed in a locker-room shoot-out with a nasty rival manager (Humphrey Bogart). As in Barbary Coast, his removal clears the way for romance. With the sour, disapproving Robinson character out of the way, the young lovers are freed. But Robinson did not think of Nick as one of his anti-romantic roles. In an interview with Regina Crewe for New York American on May 23, 1937 Robinson said: "It has softer moments, the romantic element is strongly stressed.there is an odd sort of romance between Nick and Fluff but it is warm and sincere, nevertheless." It's true that he and Fluff have a mature understanding, but their real passion is directed elsewhere-Robinson's, toward protecting his sister's virginity, Davis', toward the unattainable Kid Galahad.

Under Curtiz' direction, Robinson's performance as the oddly obsessed manager is tart, but for once he doesn't quite dominate a film. As the kind-hearted mistress who falls for the Kid, and who smothers her feelings in honour of young love, Bette plays with a warmth that claims the movie as hers. Kid Galahad was designed as a Robinson movie, but it turns out instead to be an uncharacteristic Davis film. Edward G. Robinson by Foster Hirsch When Bette was rushed into another gangster picture, she quailed when she heard Curtiz would direct it but there was nothing she could do. She was consoled by a tight, fast-moving script and by the cast-not by Bogey again, but by Robinson and her beloved Jane Bryan (who played her kid sister in Marked Woman). Already, in this second picture after her return (Warners had sued her for breach of contract), Bette had begun to assert a formidable degree of power. Irving Rapper, who later became director of two of her most famous pictures, Now, Voyager and Deception, recalls that Kid Galahad, on which he was dialogue director, offered his first chance to meet her.

He says, "I asked the script girl, 'What's Bette Davis like?' and the girl rolled her eyes toward heaven. "Oh, God, don't ask me!' she replied." Now Rapper asked Michael Curtiz for his comment. "Son of a bitch, don't ask me," he also said. "You'll see her when she comes in." Rapper's first sight of Davis was unforgettable: blue eyes wide, long neck stretched out, body thin and angular, she ran onto the set as though onto a tennis court, formidably geared for action. In the scene Robinson had to throw her bodily against a table. She struggled with him, then fell back. Curtiz screamed at her, "That's not the way to fight him, you goddamn bum!" And Bette screamed back, "You show me what you want me to do and I'll do it!" Curtiz, who had been a strongman in a circus, stood there while the tiny Robinson looked at him in terror. "It's okay, Eddie, throw me," Curtiz said.

"But if you struggle," Robinson wailed, "that's the end of me!" Bette had to laugh at the sight of the runtish actor trying to throw Curtiz's 195-pound body across the room. Everyone else broke up when Curtiz did a hilarious imitation of Bette, complete with swinging hips, snapped-out delivery, and frantically puffed cigarette. Robinson pushed him. Curtiz ricocheted off the table and almost knocked Robinson over. Then he said to Bette, "Goddamnit, bum, this is what I want!" She nodded and stood in position. Robinson pushed her with all the strength he had used on Curtiz. As a result, she ricocheted so violently that she flew clean across the set and into Irving Rapper's lap as he sat watching the scene. She screamed, "My God! Who are you?" He said, "I'm the dialogue director." And she replied, "Thank God you caught the ball!" And they burst out laughing and became good friends. Bette, The Life of Bette Davis by Charles Higham I guess I would be drawn and quartered if I passed Kid Galahad without telling you that its leading lady was Bette Davis.

In any case, I may, of course, be drawn and quartered for what I'm about to say of her. Let me assure you, early on, that it is not what I had to say about Miriam Hopkins. On the contrary. Miss Davis was and is every inch a lady-polite, mannerly, gracious, even self-effacing. But by today's standards she could never have gotten a job in a high school production of East Lynne. I know it's goatish of me to say it, but Miss Davis was, when I played with her, not a very gifted amateur and employed any number of jarring mannerisms that she used to form an image. In her early period Miss Davis played the image, and not herself, and certainly not the character provided by the author. Though I cannot recall talking to her about this and thus having no personal knowledge of her feelings, I can only assume by reason of the difficulties she raised with Jack Warner that she was thoroughly aware of her problems. She was the victim of the movies' attitude toward women.

It was impossible for her to play a waif because there was too much steel in her; it was absurd for her to play a creature over whom men swooned because there was nothing about her to make you swoon. She was far too independent and self-assured to be a convincing whore, though she brilliantly played some unconvincing ones. The fact is she was not an ingï¿½nue or a comedienne or an inconstant wife when those were the roles reserved for actresses. Had she remained on the stage (and she had had some minimal experience there), I think her development would have been quite extraordinary. She was not unlike Pauline Lord in her own way, or even, to make no odious comparison, like Sarah Bernhardt. The unpretty woman of the stage required meaty roles, deep in emotion, and filled with scenes of frustration and despair. Katharine Hepburn was in the same boat, but she was either luckier or more determined than Miss Davis; she also had more humour. She also had the fortune of finding Spencer Tracy as a co-star, and romance between them in the movies seemed not only plausible but welcome. She grew and grew, and wonderful parts opened for her.

Then, of course, the same thing happened to Miss Davis. It began early on, I think with Jezebel, and came to flower in All About Eve. She deserted the mannerisms, laying them aside, I should think, with unbounded joy. Too late? For male actors it is possible, though not easy, to slip gradually from leading man into character roles. For me, it just came naturally, since I was never Tab Hunter; my unsymmetrical face grew more lined, and I was able to continue, the parts growing smaller, but the range (and, forgive me, the eminence) remaining. For a woman, it is extremely difficult. The day an actress agrees to play a mother is a turning point in her life. Where does she go from there? What does a pinup girl like Betty Grable do with the rest of her life? Or a Rita Hayworth? But they were simply sex pots. Bette Davis never was. You know what I think? I think her best days are ahead of her. I think she'll give up those horror movies (that she played simply, I would guess, to make a living) and turn to the classics.

To the Greeks and Ibsen and Lady MacBeth-to the classic parts where the role is ageless. When I played with her in Kid Galahad, I did not admire Bette Davis; I admire her now. All My Yesterdays, An Autobiography by Edward G. Robinson with Leonard Spigelgass My new picture was Kid Galahad. It was a story about prizefighters and a good one. Mr. Curtiz was again my director and I will never forget Wayne`s knocking out a fighter in a take. "Fake fight! Retake! Fake fight-awful!" Curtiz screamed-but it was difficult to redo because Wayne's opponent was unconscious. He had knocked him out cold. The Lonely Life by Bette Davis For her next 1937 "post reconciliation" picture, Davis found herself co-starring for the first time with Edward G. Robinson. They were hardly a mutual admiration society, and their relations during Kid Galahad were professionally correct but cool. In his autobiography, Robinson indicated that he found Davis callow, overly dependent on mannerisms, and insufficiently trained in technique and projection.

Davis in her autobiography made fun of Robinson, calling him a kind of male prima donna who protested to the director, during his final death scene, that Davis was doing too much weeping as she hovered over him. According to her, that was precisely the way the character would have behaved; according to him, she was overacting all over the place. In later years, Robinson's attitude toward Davis had not mellowed, despite her vastly increased fame and many awards. In 1968 he told me: "I guess she improved later, especially after Wyler and Goulding put some discipline into her. But I always felt she had her distinct limitations." Davis's attitude toward Robinson, circa 1962, was: "He always had a high opinion of himself, and last time I met him he had just as inflated a self-estimate as ever!" Nonetheless they acted well together. Inexplicably, Davis seemed to think well of Kid Galahad, though she has a knockabout role in a knockabout fight epic which, to be fair, Mike Curtiz directed for maximum excitement and melodramatic impact.

She gave out interviews to the press in early 1937 that sounded suspiciously like rationalizations for her appearance in what was essentially just another Warner actioner. In some of the interviews, she went on about the necessity of acting a variety of parts to exhibit her range and claimed that Kid Galahad was one of those pictures that won her audiences she might not otherwise have reached. But the unspoken question by interviewers and fans alike was, were these the audiences she was after at that point in her career? Davis never did offer a satisfactory answer to that. Humphrey Bogart, who never got along with her but understood her struggles to get better film fare, opined later that she was probably putting a brave face on the matter, trying to come out as a good sport and a team player-real-life roles unsuitable to the Bette Davis everyone was on to by that time. It is true that the role of Fluff is a sympathetic one, and that Davis has ample opportunity to demonstrate poignantly and winningly her "unrequited lover" persona.

She also may have been trying to cover up in another respect, because she gave an interview to a fan mag in which she said that if she appeared particularly convincing in her love scenes, it did not mean that she was necessarily in love with her onscreen partners. The interview cause snickers among those in the know, because it was obvious that Davis had developed a genuine temperature over handsome, muscular 23 year old Wayne Morris, who became a star after the release of Kid Galahad. Morris was perfect for the role, for he was a clean, decent kid off-screen who later became a WWII hero as a Navy aviator, earning four Distinguished Flying Crosses and two Air Medals. Discharged as a lieutenant commander, he went back to films but never recovered his initial flush of fame. In 1959, when he was just 45, he died of a heart attack while watching aerial manoeuvres from a carrier. But in 1937 Wayne was at the top of the movie heap with Galahad and had his pick of eager young ladies, on and off the studio lot. "Bette really fell for him," her friend Jerry Asher remembered.

"She was living her unrequited love off as well as on screen; it imparted a particular poignancy to her performance. Jack Warner always said Bette played love scenes best when she was actually in love, and she was overwhelmed by Wayne." Two things saved her, because he was obviously unaware of her feelings. First, she was 29 to his 23, and Wayne, as was well known, liked girls in their late teens or early 20s. Second, she was technically still a married woman (to first husband Ham Nelson), and fooling with other men's wives went against the young Wayne's code. Another factor was also a saving grace; when shooting was over they went on to other films. "And then the fact that she didn't have one kiss, not one clinch with him throughout Kid Galahad gave her no memories of what she was potentially missing," Jerry Asher laughed. Kid Galahad was to be the subject of no less than two unfortunate remakes.

One, The Wagons Roll at Night in 1941, (shown at our May seminar at Kempenfelt in 2009), had a circus rather than a boxing setting, with Bogart, this time as the Robinson character, Sylvia Sidney, Joan Leslie and Eddie Albert. The other, in 1962, inappropriately cast Elvis Presley as a singing fighter. Television retitled the 1937 picture The Battling Bellhop to avoid confusion with the indifferent but eventually more popular Presley version. In the reviews, Davis got singled out occasionally, but usually found herself congratulated en masse with Robinson, Morris and the others. The New York Times nailed down Kid Galahad aptly enough with the words: "a good little picture-lively, suspenseful and positively echoing with the bone-bruising thud of right hooks to the jaw." Fasten Your Seat Belts: The Passionate Life of Bette Davis by Lawrence J.

Quirk Notes compiled by Caren Feldman Kid Galahad : United Artists 1962 : Elvis' Movies : : 'For Elvis Fans Only' Official Elvis Presley Fan Club Kid Galahad : United Artists 1962 By: For Elvis Fans Only Source: Elvis Australia Elvis' Movies Kid Galahad - 1962 Elvis Presley's tenth movie was 'Kid Galahad', filmed in 1962 for United Artists. Filming for 'Kid Galahad' was October 23, 1961 until December 20, 1961. 'Kid Galahad' was released in August 1962 and reached #9 on Variety's list of top-grossing films for that week. It was ranked at #37 for the year. A remake of the 1937 drama of the same title starring Edward G. Robinson and Humphrey Bogart, Kid Galahad features Elvis Presley as boxer Walter Gulick. Though not a great boxer, Walter has a powerful right hook and can take a lot of punches.

Gig Young costars as Willy Grogan, a down-and-out gambler who owns the training camp where Walter spars with other boxers. Willy decides to groom Walter to be a professional boxer, hoping to make enough money to pay off his gambling debts to gangster Otto Danzig, chillingly portrayed by character actor David Lewis. Willy's relationship with Walter changes when Walter fails in love with Willy's sister, Rose, played by Joan Blackman, Elvis's costar from Blue Hawaii. Willy does not want Rose to be involved with Walter, so he allows Walter to be overmatched for his next fight by a superior boxer. Just before the big fight, Willy realizes that he has compromised his moral integrity. He and Walter rid themselves of Danzig and Walter goes on to win the match. Gig Young played the fight promoter. Born Byron Barr, he developed a love of acting while growing up in his native Minnesota. He worked in such films as 'Desk Set', 'That Touch of Mink' and 'Strange Bedfellows'. He received Academy Award nominations as Best Supporting Actor for his work in the films 'Come Fill the Cup' and 'Teacher's Pet'.

He won both an Academy Award and a Golden Globe Award as Best Supporting Actor for his performance in the 1969 film 'They Shoot Horses Don't They?'. Kid Galahad - German Movie Poster. Kid Galahad - 1962 Charles Bronson played trainer Lew Nyack in 'Kid Galahad'. Bronson was born Charles Buchinsky in Pennsylvania in 1921, one of 15 children born to Lithuanian immigrant parents. The only member of his family to complete high school, he worked the coal mines to help support his family. During World War II he served in the U.S. Army and afterwards used his G.I. Bill to study acting. His credits include hundreds of movies and TV programs as supporting actor and headlining star - usually in a craggy, tough guy role. His films include 'The Magnificent Seven', 'The Dirty Dozen', 'The Valachi Papers', 'Mr. Majestyk' and 'Death Wish' (I, II, III, IV & V). He was nominated for an Emmy Award in 1961 for Outstanding Performance in a Supporting Role for his work in television's G.E. Theatre presentation 'Memory in White'.

In 1972 he received a Golden Globe Award for Favorite Male World Film Actor. His most recent work has been a series of TV movies called 'Family of Cops'. Gig Young, Charles Bronson and Elvis Presley in 'Kid Galahad'. Joan Blackman played Elvis' love interest Rose Grogan, sister of the promoter. She and Elvis had worked together the year before in ' Blue Hawaii '. Blackman's other credits include the films 'Moonrunners' and 'Macon County Line' and a number of TV guest appearances. Lola Albright played Dolly Fletcher, the promoter's girlfriend. She is probably best known for her Emmy nominated role of singer Edie Hart on the TV series 'Peter Gunn'. She acted in such films as 'Easter Parade' and 'Champion' and has numerous guest TV guest appearances among her credits. Elvis had just acquired Scatter, a pet chimpanzee that amused Elvis with his antics. Scatter often traveled to California with them and visited the set of Elvis' movies . This was Scatter's first trip to Hollywood. In 'Kid Galahad' the story called for the fighters training camp to be set in the Catskills of New York in the summertime.

However, the movie was filmed in the fall/winter season in Idlywild, California, a resort east of Los Angeles. In this higher elevation it was getting colder as winter temperatures do, even in sunny California. The actors have recalled having to wear summer wardrobe and smile while in fact they were freezing cold and trying not to have their breath show up on camera. David Lewis played Otto Danzig in 'Kid Galahad'. He also worked in such films as 'The Apartment', 'The Absent-Minded Professor' and 'The Boston Strangler'. However, he might be more recognized for his long running later role as the original Edward Quartermaine in the TV soap opera 'General Hospital'. Long time character actor Robert Emhardt played Maynard the cook, known for his corned beef. Mr. Emhardt often played sinister types in his movie career. You can also see him as the banker in Elvis' 1969 movie 'Change of Habit '. Ned Glass, another well known character actor, played Max Lieberman, owner of the Shangri-La where the film's character named Dolly used to sing.

You might have recognized him from Elvis' 1958 movie 'King Creole' in which he played a hotel desk clerk. Ed Asner played assistant district attorney Frank Gerson. It was only Mr. Asner's second movie role, having debuted just before 'Kid Galahad' in the movie 'The Murder Men'. Later, he played a small role in the 1969 movie 'Change of Habit', starring Elvis and Mary Tyler Moore. Soon after that, stardom came to Asner through television. He is best known for his long-running role as Lou Grant in 'The Mary Tyler Moore Show' and the spin-off series 'Lou Grant'. Other TV credits include the mini-series 'Roots' and 'Rich Man, Poor Man'. Mushy Callahan, world champion junior welterweight boxer, served as Elvis' boxing coach for his boxing scenes. Mr. Callahan also served as technical adviser/fight choreographer on such films as 'Gentleman Jim', 'From Here To Eternity' and 'The Great White Hope'. He was inducted into the World Boxing Hall of Fame in 1989.

Also making the fight scenes more authentic was Orlando do la Fuente who played Sugarboy Romero. At the time he was an undefeated welterweight boxer. Jimmy Lennon, the fight announcer from the Olympic Auditorium in Los Angeles, added his voice as the fight announcer for 'Kid Galahad'. Mr. Lennon played the fight announcer in a number of other movies. David Weisbart produced the film. He had previously produced films such as 'Rebel Without A Cause' and 'April Love', as well as three Elvis films: ' Love Me Tender ', ' Flaming Star ' and ' Follow That Dream '. Weisbart went on to produce 'The Pleasure Seekers' and 'Valley of the Dolls'. 'Kid Galahad' was directed by Phil Karlson, who was a young law student when he got a job as a prop man at Universal Pictures. He soon took to the film business and pursued directing in such low budget projects as films starring the Bowery Boys, Charlie Chan and the comedy team of Abbott & Costello. He also directed 'Hell to Eternity', 'The Young Doctors', 'Ben', and 'Walking Tall'.

A theatrically released film called 'Kid Galahad' came out in 1937, based on a Frances Wallace story and directed by Michael Curtiz (who later directed the Elvis film ' King Creole ' in 1958). 'Kid Galahad' starred Edward G. Robinson, Bette Davis and Humphrey Bogart. Wayne Morris played the role of Ward 'Kid Galahad' Guisenberry a bellhop who unintentionally becomes a boxer and falls in love with his promoter's sister. When this movie aired on TV it was renamed 'Battling Bellhop' to avoid confusion with the 1962 film 'Kid Galahad' starring Elvis Presley. Behind the Scenes of Kid Galahad For his role as boxer Walter Gulick, Elvis eagerly began training before the start of production. He prepared for his boxing scenes as a real fighter might prepare for a fight. He did road work, went on a strict protein diet, punched bags, sparred for hours with professionals, and lost 12 pounds in the process.

Kid Galahad - 1962 To prepare for his role, Elvis trained with former junior welterweight champion Mushy Callahan.Coaching the young singer was Mushy Callahan, the junior welterweight champion from 1926 to 1930. Callahan had been plying his skills around Hollywood for some time, having coached actors Kirk Douglas, Errol Flynn, and others in boxing-related films. Callahan was always conscious of training an actor so that his boxing skills suited the character. Callahan praised Elvis for his natural athletic skills -- at least in the publicity for the film. 'He's got a good physique and excellent coordination', the old pro revealed in an interview.

'He never boxed before but he picked it up quick because of his karate training.' Soundtrack Movie Review - - Screen: A Ferocious Elvis Presley:Singer Enters the Ring in 'Kid Galahad' His Muscles and Acting Both found Wanting 'The War Lover' Jackie Gleason - NYTimes.com Movie Review March 7, 1963 Screen: A Ferocious Elvis Presley:Singer Enters the Ring in 'Kid Galahad' His Muscles and Acting Both found Wanting 'The War Lover' Jackie Gleason By BOSLEY CROWTHER Special to The New York Times. Published: March 7, 1963 The last thing you might think Elvis Presley is qualified to do is act a diffident amateur boxer who turns out to be a tiger in the professional ring. And you might well persist in that opinion after seeing him in "Kid Galahad," a sportive remake of an old Wayne Morris picture, which came to the Astor yesterday. Mr. Presley is certainly no model for a statue of Hercules, and his skill at projecting an illusion of ferocity is of very low degree.

The expanses of flesh that he exposes when he gets into boxing togs are a fair indication that most of his muscles have come from punching a guitar, and his pout when he clouts a rival bears no resemblance to a killer's slit-mouthed sneer. Furthermore, the proclivity assigned him by his genius and William Fay's script of expressing himself at odd moments in conspiciously un-pugnacious songs, brought up from what seems a ruptured larynx, does not endow him with a gladiatorial air. No, we'll have to agree that Mr. Presley does not make a very convincing pug. But somehow this clique-ridden picture, which has its origin in an ancient novel by Francis Wallace that has been drawn upon (or snitched from) for any number of Golden Boy films, makes a moderately genial entertainment. It's not explosive, but it has the cheerful top of a lightly romantic contrivance that ranges between comedy and spoof. For this we can thank the other actors who played their roles ardently and Phil Karlson, who has directed at a brisk and deceptive pace.

Gig Young is attractively wicked as a Catskill hotel-keeping heel who tries to lead the young boxer to slaughter so he himself may drink. Lola Albright is charmingly solicitious as Mr. Young's disillusioned girl and Joan Blackman is pretty and submissive as the last who falls for Mr. Presley's songs. Charles Bronson, Ned Glass and Robert Emhardt make good training-camp characters. For a film about a singing prize-fighter (which is silly enough) it will do. The Cast KID GALAHAD, Screenplay by William Fay, based on the story by Francis Wallace; directed by Phil Karlson and produced by David Weisbart for the Mirisch Company and United Artists. At the Astor, Broadway at 45th Street. Running time: 95 minutes. Walter Gurick . . . . . Elvis Presley Maynard the Chef . . . . . Robert Emhardt Otto Danzig . . . . . David Lewis Father Higgins . . . . . Liam Redmond Joie . . . . .

Michael Dante All of the old familiar details of those World War II aerial battle films, such as "One of Our Aircraft Is Missing," "The Memphis Belle," and "Twelve O'Clock High," have been ressurected and repeated as though they'd never been photographed in the film of John Hersey's, the "War Lover," which opened in Loew's neighborhood theaters yesterday. Here we are shown again those sights of bombers — these ace Air Force B-17's — riding from English airstrips, heading for Germany, with their tight-lipped crews at their positions and crew officers at their controls. Once more the enemy fighters flash in, machine-guns shatter in violent burst, explosions of flak fly over the targets and planes shudder as bombs are dropped. But the fellows who sit in the cockpit of the one plane on which the actions center are a dull pair and are rendered even duller by poor acting and weak direction. Steve McQueen, is the emotionally-mixed-up pilot who tries to steal his co-pilot's girl. Robert Wagner is the co-pilot and Shirley Anne Fields is the girl.

Altogether they make what at best is an average drama of love and jealousy into a small and tepid exposition of one man's absurd cantankerousness. The Cast THE WAR LOVER, Screenplay by Howard Koch, based on the novel by John Hersey; directed by Philip Leacock and produced by Arthur Hornblow Jr., for Columbia. At Loew's neighborhood theaters. Running time: 105 minutes. Buzz Rickson . . . . . Steve McQueen Handdown . . . . . Robert Easton Brindt . . . . . Bill Edwards We wouldn't know whether the character that Jackie Gleason plays in "Papa's Delicate Condition" in any way compares with the character of Corrine Griffith's father that he nostalgically portrayed in her biography bearing the same title on which the film is based. But we strongly suspect it doesn't, for it is hard to believe that anyone would choose to perpetuate a character as gaudy and gross — as stupid, boorish and unfunny — as Mr. Gleason makes the papa in this film.

It is not only that he looks subnormal, in loud clothes and waving a fat cigar, more in the manner of a cheap comedian than of the railroad superintendant he's supposed to be, but he definitely acts subnormal. When he is foolishly called upon by Jack Rose's script to show a father so crazy about his little girl that he buys a whole circus to get her a pony, Mr. Gleason makes the transaction appear nothing more than the moronic whimsy of a rank exhibitionist. And when he has to sing a sentimental ditty to a dressmaker's dummy while in his cups, he makes it so phoney and mawkish that it causes a sensitive soul to squirm. One suspects that the "delicate condition" of this character is not induced by booze but by a monstrous and un-amusing softness in somebody's head. Caught up in this bosh with Mr. Gleason is the elegantly English Glynis Johns, who makes the Texas wife of the hero as preposterous as the whole idea, and Charlie Ruggles as the latter's waspish father who makes a stock comic father-in-law.

The daughter — the object of affection of the father — is Linda Bruhl, a child who we hope will survive this, for she seems to have latent charm and skill. This item directed by George Marshall, is now at the Paramount and the Trans-Lux, Fifty-Second Street. The Cast PAPA'S DELICATE CONDITION, Screenplay by Jack Rose, based on a biography by Corinne Griffith1/8 directed by George Marshall and produced by Mr. Rose for Paramount. At the Paramount, Seventh Avenue at 43rd Street, the Trans-Lux, Fifty-Second Street, Lexington Avenue, and RKO neighborhood theaters. Running time: 98 minutes. Papa Griffith . . . . . Jackie Gleason 10 Producer - D. Weisbart/W. Mirisch Elvis Presley's tenth movie was 'Kid Galahad', filmed in 1962 for United Artists. Filming for 'Kid Galahad' was October 23, 1961 until December 20, 1961. 'Kid Galahad' was released in August 1962 and reached #9 on Variety's list of top-grossing films for that week.

It was ranked at #37 for the year. A remake of the 1937 drama of the same title starring Edward G. Robinson and Humphrey Bogart, Kid Galahad features Elvis Presley as boxer Walter Gulick. Though not a great boxer, Walter has a powerful right hook and can take a lot of punches. Gig Young costars as Willy Grogan, a down-and-out gambler who owns the training camp where Walter spars with other boxers. Willy decides to groom Walter to be a professional boxer, hoping to make enough money to pay off his gambling debts to gangster Otto Danzig, chillingly portrayed by character actor David Lewis. Willy's relationship with Walter changes when Walter fails in love with Willy's sister, Rose, played by Joan Blackman, Elvis's costar from Blue Hawaii. Willy does not want Rose to be involved with Walter, so he allows Walter to be overmatched for his next fight by a superior boxer. Just before the big fight, Willy realizes that he has compromised his moral integrity. He and Walter rid themselves of Danzig and Walter goes on to win the match. Gig Young played the fight promoter.

Born Byron Barr, he developed a love of acting while growing up in his native Minnesota. He worked in such films as 'Desk Set', 'That Touch of Mink' and 'Strange Bedfellows'. He received Academy Award nominations as Best Supporting Actor for his work in the films 'Come Fill the Cup' and 'Teacher's Pet'. He won both an Academy Award and a Golden Globe Award as Best Supporting Actor for his performance in the 1969 film 'They Shoot Horses Don't They?'. Charles Bronson played trainer Lew Nyack in 'Kid Galahad'. Bronson was born Charles Buchinsky in Pennsylvania in 1921, one of 15 children born to Lithuanian immigrant parents. The only member of his family to complete high school, he worked the coal mines to help support his family. During World War II he served in the U.S. Army and afterwards used his G.I. Bill to study acting. His credits include hundreds of movies and TV programs as supporting actor and headlining star - usually in a craggy, tough guy role. His films include 'The Magnificent Seven', 'The Dirty Dozen', 'The Valachi Papers', 'Mr.

Majestyk' and 'Death Wish' (I, II, III, IV & V). He was nominated for an Emmy Award in 1961 for Outstanding Performance in a Supporting Role for his work in television's G.E. Theatre presentation 'Memory in White'. In 1972 he received a Golden Globe Award for Favorite Male World Film Actor. His most recent work has been a series of TV movies called 'Family of Cops'. Joan Blackman played Elvis' love interest Rose Grogan, sister of the promoter. She and Elvis had worked together the year before in Blue Hawaii. Blackman's other credits include the films 'Moonrunners' and 'Macon County Line' and a number of TV guest appearances. Lola Albright played Dolly Fletcher, the promoter's girlfriend. She is probably best known for her Emmy nominated role of singer Edie Hart on the TV series 'Peter Gunn'. She acted in such films as 'Easter Parade' and 'Champion' and has numerous guest TV guest appearances among her credits. Elvis had just acquired Scatter, a pet chimpanzee that amused Elvis with his antics. Scatter often traveled to California with them and visited the set of Elvis' movies.

This was Scatter's first trip to Hollywood. In 'Kid Galahad' the story called for the fighters training camp to be set in the Catskills of New York in the summertime. However, the movie was filmed in the fall/winter season in Idlywild, California, a resort east of Los Angeles. In this higher elevation it was getting colder as winter temperatures do, even in sunny California. The actors have recalled having to wear summer wardrobe and smile while in fact they were freezing cold and trying not to have their breath show up on camera. David Lewis played Otto Danzig in 'Kid Galahad'. He also worked in such films as 'The Apartment', 'The Absent-Minded Professor' and 'The Boston Strangler'. However, he might be more recognized for his long running later role as the original Edward Quartermaine in the TV soap opera 'General Hospital'. Long time character actor Robert Emhardt played Maynard the cook, known for his corned beef. Mr. Emhardt often played sinister types in his movie career. You can also see him as the banker in Elvis' 1969 movie Change Of Habit.

Ned Glass, another well known character actor, played Max Lieberman, owner of the Shangri-La where the film's character named Dolly used to sing. You might have recognized him from Elvis' 1958 movie 'King Creole' in which he played a hotel desk clerk. Ed Asner played assistant district attorney Frank Gerson. It was only Mr. Asner's second movie role, having debuted just before 'Kid Galahad' in the movie 'The Murder Men'. Later, he played a small role in the 1969 movie 'Change of Habit', starring Elvis and Mary Tyler Moore. Soon after that, stardom came to Asner through television. He is best known for his long-running role as Lou Grant in 'The Mary Tyler Moore Show' and the spin-off series 'Lou Grant'. Other TV credits include the mini-series 'Roots' and 'Rich Man, Poor Man'. Mushy Callahan, world champion junior welterweight boxer, served as Elvis' boxing coach for his boxing scenes. Mr. Callahan also served as technical adviser/fight choreographer on such films as 'Gentleman Jim', 'From Here To Eternity' and 'The Great White Hope'.

He was inducted into the World Boxing Hall of Fame in 1989. Also making the fight scenes more authentic was Orlando do la Fuente who played Sugarboy Romero. At the time he was an undefeated welterweight boxer. Jimmy Lennon, the fight announcer from the Olympic Auditorium in Los Angeles, added his voice as the fight announcer for 'Kid Galahad'. Mr. Lennon played the fight announcer in a number of other movies. David Weisbart produced the film. He had previously produced films such as 'Rebel Without A Cause' and 'April Love', as well as three Elvis films: Love Me Tender, Flaming Star and Follow That Dream. Weisbart went on to produce 'The Pleasure Seekers' and 'Valley of the Dolls'. 'Kid Galahad' was directed by Phil Karlson, who was a young law student when he got a job as a prop man at Universal Pictures. He soon took to the film business and pursued directing in such low budget projects as films starring the Bowery Boys, Charlie Chan and the comedy team of Abbott & Costello. He also directed 'Hell to Eternity', 'The Young Doctors', 'Ben', and 'Walking Tall'.

A theatrically released film called 'Kid Galahad' came out in 1937, based on a Frances Wallace story and directed by Michael Curtiz (who later directed the Elvis film KingCreole in 1958). 'Kid Galahad' starred Edward G. Robinson, Bette Davis and Humphrey Bogart. Wayne Morris played the role of Ward 'Kid Galahad' Guisenberry a bellhop who unintentionally becomes a boxer and falls in love with his promoter's sister. When this movie aired on TV it was renamed 'Battling Bellhop' to avoid confusion with the 1962 film 'Kid Galahad' starring Elvis Presley. Behind the Scenes of Kid Galahad For his role as boxer Walter Gulick, Elvis eagerly began training before the start of production. He prepared for his boxing scenes as a real fighter might prepare for a fight. He did road work, went on a strict protein diet, punched bags, sparred for hours with professionals, and lost 12 pounds in the process.

To prepare for his role, Elvis trained with former junior welterweight champion Mushy Callahan.Coaching the young singer was Mushy Callahan, the junior welterweight champion from 1926 to 1930. Callahan had been plying his skills around Hollywood for some time, having coached actors Kirk Douglas, Errol Flynn, and others in boxing-related films. Callahan was always conscious of training an actor so that his boxing skills suited the character. Callahan praised Elvis for his natural athletic skills, at least in the publicity for the film. 'He's got a good physique and excellent coordination', the old pro revealed in an interview. 'He never boxed before but he picked it up quick because of his karate training. • Elvis Presley Pedia - ï¿½ Copyright ï¿½ Elvis, Elvis Presley and Heartbreak Hotel are registered trademarks of Elvis Presley Enterprises. Kid Galahad Reviews & Ratings - IMDb IMDb 17 January 2017 8:34 AM, PST NEWS 14 out of 16 people found the following review useful: The battling grease monkey -- King Of The Whole Wide World...

from Las Vegas, NV 2 July 2002 I've never seen this movie until now. I've been an Elvis fan since I first found out about the dude a year before his 1977 death, I have hundreds of hours of concert and studio recordings and concert videos, I've even seen the robe that he wore in "Kid Galahad," and yet somehow I never managed to see this 1962 movie (shot in late '61). Was it worth the wait? Well, yes...of course. Is it a classic movie, apart from its inherent cult-classic value as an Elvis film? Well, no, but it's one of his better 1960s movie and I enjoyed it.

The movie came hard on the heels of another atypical film from Elvis, "Follow That Dream," that was in turn preceded by the 1961 box-office giant, "Blue Hawaii." "Blue Hawaii" continued the family-film travelogue kind of movie (set by 1960's "GI Blues") that would set the style for most of Elvis' '60s movie output and that would eventually lead to a downward spiral in Elvis' professional life and job fulfillment that lasted almost 'til decade's end. Elvis as race-car driver. Elvis as boat racer. Elvis as whatever. As Elvis said, after his 1969 return to the stage, it was like they made the same movie a bunch of times and just changed the backdrops. Between "GI Blues" and "Blue Hawaii" came two 'serious' films ("Wild In The Country" and "Flaming Star," both shot in 1960) that couldn't hope to match the commercial success of those glossy musicals but that showed Elvis' potential as a dramatic actor.

Both "Kid Galahad" and "Follow That Dream" were also somewhat a departure from the "GI Blues"/"Blue Hawaii" formula, though less so than the two 1960 films that Elvis did for Fox, and each were pretty sparse on songs and much more generous on storyline and characterizations. "Kid Galahad" was an interesting role for Elvis. The producers threw in a few interesting songs to cater to the fans who'd flock to the film and they're all pleasant and of a high standard -- my favorite's always been the song that opens the movie ("King Of The Whole Wide World") though the excessive overdubbing over the film version waters down much of its magnificence. As was true of Elvis' other better films, this one profits from having a very strong supporting cast, including the likes of Gig Young, Charles Bronson, Lola Albright, and many others. There's even Ed Asner, in his second film role -- Mr Asner played another law-enforcement representative, a policeman, in 1969's "Change Of Habit" (Elvis' last scripted movie).

Joan Blackman, Elvis' co-star in "Blue Hawaii," has a less solid role than does Lola Albright but she does it just fine and is certainly a beautiful young woman. Lola Albright is great in her role and Gig Young is lazily perfect for his -- though he seems almost as if he's happily drunk throughout...which, apparently, he was. Chucky Bronson is good in this film even though he's supposedly embarrassed by it. You'd think that a man who inflicted all of those terrible '80s violence movies on the world would find it hard to be embarrassed by anything, but there apparently was friction on the set between him and the easy-going Elvis. Regardless, the on-screen interaction between them is fine. Elvis actually looks like he put on some weight about this time -- also evident in "Follow That Dream" -- but his shirtless scenes reveal that he's pretty solid and he'd lost whatever extra weight he was carrying by the time he started shooting his next film a few months later.

This film was shot on location in Idyllwild, California, which is kind of a kick for me because when I lived in Palm Springs I'd often ride my motorcycle up there and I've since been there with my wife and with my parents. It's a great little town, tucked away in the shadow of Mount San Jacinto, and -- even though I first visited it in 1987 -- I vaguely recognize some of the landmarks. San Jacinto itself certainly looks the same now as in 1961. The boxing scenes looked pretty convincing to me and are actually quite riveting. People who are expecting to see "Rocky" might be disappointed but, like Mr Balboa, Elvis' Galahad shows convincingly that he can take a brutal series of blows and keep on keeping on. This film came about 18 months after Elvis earned his black belt (from a real hard-case...the grading lasted several hours and involved fighting up to five black-belt opponents) and Elvis had what it took to both take punishment and to learn the physical skills necessary for his role.

His well-publicized scuffles back in 1956 showed that he had a lot of heart and an effective self-defense capability, and legendary boxer and coach Mushy Callahan (brought in to train Elvis) was filled with praise for his charge. Charles Bronson didn't agree, but I guess you can't please everybody. As a whole, the movie's shot every nicely and it's well acted throughout, including by Elvis. I think that he was somewhat better in "Follow That Dream," but that's perhaps only because his character took full advantage of Elvis' considerable comic skills. In "Kid Galahad" another of Elvis' acting strengths -- anger, at which he's particularly convincing -- comes to the fore during a confrontation with Gig Young. For a moment there's a bit of a flashback -- was for me, anyway -- to the way in which he perfected that kind of scene in films like 1957's "Jailhouse Rock," 1958's "King Creole," and "Flaming Star." This a lighter movie than any of those but it has its moments. I'm glad that I finally saw this film.

It's less frenetic and more involved than Elvis' typical '60s movie fare and is worth a look. The "I'm a grease monkey that don't slide too easily" line is pretty classic, too. Was the above review useful to you? 12 out of 13 people found the following review useful: Kid Galahad Packs A Punch from United States 9 April 2005 As a big fan of Elvis Presley, Gig Young, and Charles Bronson, as well as the sport of boxing, I enjoyed this movie for those reasons alone. Elvis gives a decent performance, but is stereotyped by the script as a goofy, goo-natured, lug-head, who has a natural gift of a cast-iron chin and one-punch knockout power. Half the movie Elvis looks in a daze with his mouth open catching flies! Charles Bronson has a surprise role as a trainer. Not once does his show off his impressive muscular build and even gets both his hands broken by gangsters. A truly different role for him. He too is stereotyped as the ex-boxer walking on his heels.

Gig Young gives his usual out-standing performance, but there is nothing to like at all about his character; he's a liar, a user, aback-stabber, and an over-all jerk. The fight scenes are poorly done and considering they were advised by former World Light-welterweight boxing great Mushy Callahan, a big disappointment. However, if you like Elvis, this will be an enjoyable film. Was the above review useful to you? 10 out of 11 people found the following review useful: One of my favorites! from Las Vegas, NV 19 November 2004 OK. So it's not "Gone with the Wind," but "Kid Galahad" is well written, fun, and lightly sprinkled with some very good songs (catch the twisting "I Got Lucky" and the front porch "This is Living" scenes.) "Kid Galahad" also boasts a strong supporting cast (look for a young Ed Asner in one his first screen roles;) Academy-Award winner Gig Young, Charles Bronson, and Lola Albright, in a surprisingly emotive role, add "punch" to what, on the surface, appears to be just another Presley vehicle.

"Kid Galahad" also had the blessing of being completed before they counted the receipts of "Blue Hawaii." When the studio saw how much money they made off of "Blue Hawaii," the dye was cast; Elvis would be stuck doing "14 song travelogues" for another 7 years. "Kid Galahad" catches Elvis in good humor, shape, and voice; he was having fun...You will too. Was the above review useful to you? 8 out of 8 people found the following review useful: Elvis In The Ring from Buffalo, New York 30 November 2008 The old Warner Brothers classic boxing story Kid Galahad was dusted off and rewritten to suit the Sixties and the talents of Elvis Presley. The man that's named Kid Galahad for the ring not only throws a mean punch, but he sings pretty good too. Elvis is a soldier fresh out of the army and broke and arrives at Gig Young's training camp looking for any kind of work. The only work that Young has available is for a sparring partner and Elvis does more than spar. He flattens a heavyweight contender and Young's found himself a new prospect.

He needs one because he's into the bookies big time. And a couple of syndicate torpedoes working for gangster David Lewis have taken up residence at the camp. All this is dismaying girlfriend Lola Albright and sister Joan Blackman who Elvis takes a fancy to. As is usual with Elvis films, manager Colonel Tom Parker got the best talent he could to support the King. Besides those names Robert Emhardt plays the camp cook and up and coming movie legend Charles Bronson plays Elvis's trainer. And you'll see a lot of familiar Hollywood faces as you do in all his films. Not only the cast, but director Phil Karlson one of the best directors of noir ever, took charge. The scenes with the gangsters show Karlson's steady hand. Oddly enough Elvis had no real hit songs come out of Kid Galahad, but makes up for it with one of his best acting jobs on screen. For fans of the King. Was the above review useful to you? 10 out of 12 people found the following review useful: Good fight musical from United States 14 January 2006 This was an Elvis movie with some drama, some comedy, some music.

It was a little more than the formula movies and had some good fights. Mushy Callahan a boxing coach who coached all the big stars into the 60s for fight movies said of all the actors he coached " Elvis was best, quick hands, knew karate and judo...."Great so-stars and scenery. If its not Rocky or even Rocky 5 its an enjoyable escape. The few songs are pleasant including "I Got Lucky" and "A Whistling Tune" Reportedly Charles Bronson was not very friendly to Elvis. Joan Blackman also made "Blue Hawaii" with Elvis. If you want a diversion on a rainy Sunday this is a possibility. Was the above review useful to you? 7 out of 8 people found the following review useful: One of Elvis' Best from United States 17 September 2006 A very different Elvis movie. Only a very few, but quite good songs can be found in this one. Elvis as a recently discharged G.I. is looking for work, but ends up as a fighter after taking a job as a sparring partner for an up and coming fighter.

This movie has a lot of heart and features a number of great actors including Charles Bronson and Oscar winner Gig Young. It also features Joan Blackman, Elvis' co-star in BLUE HAWAII. She is totally gorgeous and very sexy in this movie. A very earthy movie for its times, especially for Elvis. I have seen it plenty of times over the years but always remember sitting in my local theater in 1962 with some of my buddies watching it on a summer afternoon. At that time, it was only the second Elvis movie I had ever seen. A very good movie. Watch it whether you are an Elvis fan or not. Elvis shows some real acting chops in this one. Was the above review useful to you? 6 out of 7 people found the following review useful: All American boy becomes boxing champion. from Muskogee OK 21 October 1999 Fresh from the military, Walter Gulick (Elvis) takes a job at a boxing training camp. Gig Young is the greedy gambler that owns the camp. The vivacious Joan Blackman plays his sister, Rose. Walter goes from being a punching bag to becoming the champ.

Charles Bronson plays a stoic, but good hearted trainer. Ed Asner would make one of his first movie appearances. One of my all time favorite Elvis movie scenes is when Walter and Rose do a slow version of the twist as Walter sings "I Got Lucky". Elvis did his own boxing scenes. No way can this version of "Kid Galahad" be compared to Humphrey Bogart's classic. Was the above review useful to you? 7 out of 9 people found the following review useful: Enjoyable, and a little more than just fluff Author: vchimpanzee 28 March 2006 At the start, Walter is fresh from the army and hitchhiking on the back of a moving van (not something anyone should attempt in real life, but it looks good here). And he's singing! Walter arrives in the small scenic New York community of Cream Valley, where he was born. After his parents died he was raised by an aunt in Kentucky (which explains the accent). In the army he worked in the motor pool, and he loves restoring cars, so he hopes to get a job as a mechanic.

Unfortunately, the only job available is sparring partner for one of several boxers training in the community. At least Walter boxed in the army. He isn't that good, until ... Willy runs Grogan's Gaelic Gardens, which is trying to compete with Lieberman's Shangri-La as a tourist attraction. But Willy has a gambling problem, and Otto and his goons constantly remind him he needs to pay up. Dolly, who used to sing at Lieberman's, is Willy's impatient fiancée, and she helps take care of the place. And Rose is Willy's younger sister and business partner. The minute Walter sees Rose, we all know what's going to happen with them. Of course, Willy turns out to be quite overprotective. Walter's boxing talent just may turn out to be the solution for Willy's problems. The usual formula for movies like this applies, though, and it won't be that easy. I haven't seen but a few Elvis Presley movies. But I didn't know what I was missing. Even Elvis admitted (as portrayed on TV by Jonathan Rhys Meyers) that his movies were fluff, but this one was just a little more.

Elvis gives us his usual impeccably polite all-American boy, and shows his singing talent in a few scenes (though this is not what I would call a musical). He is also good at looking tough in the boxing ring, and he really seems to be able to take a punch or two or three. But in the scenes where he loses his temper (because women shouldn't be treated that way), it becomes clear Elvis was hired for his popularity, not his acting ability. What makes this film more than ordinary is the talent surrounding the King. Lola Albright as Dolly, Robert Emhardt as Maynard, and David Lewis as Otto in particular. I wasn't that impressed with Gig Young as Willy, but he was easy to like. And I have to single out Charles Bronson as boxing trainer Lew. When he was in pain in one scene, it was truly disturbing. And that's what put this movie over the top and made it more than just the usual. Ed Asner (from the Manhattan district attorney's office) had a bald spot even way back then! I've liked him for years. I didn't see much from him here to be impressed with, though.

I did like the music, and the classic cars, which of course were brand new or only a few years old. Walter himself liked the vintage car he restored better than I did. I would call this good, clean family fun, but of course Elvis does get beat up a lot and he does bleed. And there is some violence even outside the boxing ring. But in the early 60s, violence wasn't as big a concern as it is today. If you like Elvis, this is certainly one to watch. Was the above review useful to you? 8 out of 11 people found the following review useful: One of Elvis' most mellower movies from Bakersfield, California USA 8 January 2001 This is about one of the coolest and mellowest movies Elvis Presley ever made. The music that Elvis performs is as mellow as the background music in the movie. It's packed with love, romance, and action. 3 important elements that makes a real good Elvis movie. I'm watching it right now and I just saw the part where Elvis polishes of the two hooldlums that busted Charles Bronson's hands.

Now Galahad (Elvis) is up for the big fight of the season against Sugar Boy Romero. Who do you think shall win? I can only hope Elvis Galahad does. Was the above review useful to you? 4 out of 4 people found the following review useful: "Don't push me Willy, I'm a grease monkey that won't slide so easily." 13 September 2006 *** This review may contain spoilers *** Comparisons to the 1937 version of "Kid Galahad" are pointless, the only similarity between the two films is the nickname of the title character. It probably suits Elvis Presley a bit better than Wayne Morris, the knight in shining armor who at the film's opening touts his reputation in song as 'King of the Whole Wide World'. The movie's trailer calls it a 'honey of a picture', and for his fans back in the day, maybe so. Events in the story conspire to turn Presley's character Walter Gulick from an ex-GI mechanic into a successful local boxer, thereby earning him a paycheck and the heart of Rose Grogan (Joan Blackman), kid sis of Willy (Gig Young).

Together they own the Grogan Gaelic Gardens, an upstate New York resort that can't turn a profit because Willy Grogan is a gambling lush in hock to local hoods. You'd be hard pressed to call this a boxing movie though, Elvis takes turns as a punching bag in virtually every ring scene until he finds the magnetic wonder punch to knock his opponent out. The dramatic set up for Cream Valley's Labor Day extravaganza includes Grogan's encounter with the bad boys who hope to make a killing with bets on the fight. Kid Galahad comes through, but you knew that, this is the King's movie. There are some interesting casting surprises here, highlighted by Charles Bronson's turn as Galahad's trainer, and a very early film appearance by the uncredited Ed Asner. Gig Young is generally competent as Grogan, while female leads Lola Albright and Joan Blackman don't have a lot to do except play off their respective boyfriends. Albright's Dolly Fletcher gets to fire off an effective one liner defending Elvis' character when she starts to lose patience for Grogan's marriage delays.

Every now and then you'll catch an art deco tease with vivid reds, yellow and blues interspersed with Presley's songs. All are fairly mellow tunes; the "I Got Lucky" number brought a chuckle as I imagined it being performed in a corn field instead of by the side of a lake. You know, the slow twist accompaniment seemed a bit, well, corny. Hey, it's not a bad little flick and a better way to remember Elvis by than the bloated self destructive image he came to bear in the years before his death. A bit of escapist entertainment that in it's way echoes Dolly Fletcher's sentiment early in the film - "Thanks Galahad". Was the above review useful to you? Page 1 of 3:

Question: If Wayne Morris played Kid Galahad in 1937, who played him in the 1962 remake?
Answer: Elvis Presley