THRILLS OF THE RING

Evening Post, Volume CXXIV, Issue 68, 17 September 1937, Page 6

THRILLS OF THE RING

PARAMOUNT FIGHT FEATURE

" There have been scones of fight films, I many of them in which the hero, dancing prettily, taps his way to victory— often snatched at the gong—and still retains the features that have made him a hero. Miserably synthetic imitations of the real thing, most of them, creating comedy more than live interest. Which makes the arrival of "Kid Galahad," change of programme at the New Paramount Theatre, particularly interesting. It. is a first-rank boxing film, exciting without melodrama, and having not a single acting flaw. Acid-faced Edward G. Robinson, chewing the inevitable cigar, has numerous under-world characterisations, most of them unsavoury, to his credit, but the part of the tough fight promoter in "Kid Galahad" is one of his best. He is calculating, crooked at times, j and can lose his temper wholeheartedly [without being theatrical. He has developed that impression of an unfeeling machine complex to a remarkable degree; it is a quality that has made his name as actor-gunman and general gangster. He is in another racket this I time, but it is a gunless affair until the end, when things happen suddenly. For a picture of its type Kid Galahad" has a pleasing depth of plot, bach yard of film seems to have its thrill, Ibut the thuills are not just hashed together in a palpitating pie. The [climaxes are cunningly placed, and there is a healthy dash of roImance offset by a touch of pathos and tragedy. Robinson as a fight promoter was not in the field alone; the rival camp, holding the world champion, was an ever-present and unscrupulous itch. And it was Edward's ambition to find a man to lift the title. Fighter after fighter he had tried, but they were dumped as soon as they disobeyed orders. They had to fight to his plan or get out—and most of them got. Then along comes the shy, athletic "bell-hop" to wait at the threeday depression party staged by Edward after his last failure. Members of the other gang arrive, and one thing leads to another until the heavyweight champipn is floored by the waiter. A fight with the champion's brother is arranged so that the boy can take a hiding, but he punches the plans astray. From there on he doesn't look back, and the film works to a smashing finish. And the fighting is fighting; full-blooded rip and tear that would shame genuine boxing., Bette Davis is finely cast as Robinson's "companion," and it is from her that the pathos comes. Wayne Morris, the fighting "bell-hop," has the most difficult and most painful job, but his showing is splendid. Humphrey Bogart is the thoroughly detestable gangster, and he gets what is coming to him. Each of the many supporting items—except an entertaining musical cartoon—is of a sporting nature. Trick billiards, championship badminton, horse racing, and other sports have their place among "shorts" of unusual merit.