StunnaKrypto Self-important, over-dramatic, uninspired.

Livestonth I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

Aneesa Wardle The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

Yash Wade Close shines in drama with strong language, adult themes.

Dalbert Pringle Meet the pugilist who packs the perfect punch.... Boxing and gangsters.... Gangsters and boxing.... You know, I really wonder how often that this particular scenario was used as a film's story-line back in the 1930's.... I'll bet you that it was probably more common than we realize.Anyway - I seem to be in a pretty good mood today - And because of that I'm actually going to give 1937's "Kid Galahad" a 6-star rating.... Yeah. I'm in such a good mood that even though I strongly dislike actress Bette Davis (I really do) - In this particular picture about boxing and gangsters, I actually didn't mind her presence so much (for a change).And, even though Kid Galahad's story about gangsters and boxing was clearly on the predictable and, yes, corny side - And the inevitable elements of revenge and double-cross soon became the sole focus of the action - This picture about boxing and gangsters and gangsters and boxing was OK, in my books.

Edgar Allan Pooh This review will contain information that some may perceive as "spoilers" for both the original KID GALAHAD, from 1937, and the Elvis Presley remake, from 1962. Probably few world reviewers have watched every minute of both of these flicks in the past month, so these comparisons are fresher in my mind than many. Mr. Morris makes a more convincing contender for the world heavyweight boxing championship than Mr. Presley. (Score one for Wayne.) Mr. Morris does not try to sing; what boxer WOULD?! (Score another for Wayne.) Before the Chippendales, the women of America went Ga-Ga over Mr. Morris' version of the Kid. (Score a third for Wayne on originality, as the initial American Sex King.) Mr. Morris' corner men and antagonists were played by Edward G. Robinson and Humphrey Bogart; playing these roles in the remake were Gig Young and David Lewis. (Score 97 for Wayne.) As you can see, there's no danger of a split decision here. Wayne Morris captures the title as the preeminent KID GALAHAD, 100-0!

secondtake Kid Galahad (1937)A strong boxing world drama with Bette Davis and Edward G. Robinson? This can hardly go wrong, and it doesn't. It's also directed by the dependable Michael Curtiz, and has a smaller but strong role for Humphrey Bogart. The result if a full blown and rather complex drama going far beyond fixing fights and a boxer's improbable rise to the top.Davis in particular blows me away, playing both the sophisticated and wise wife of the great promoter, but also a sweet kid torn by love, a "dizzy fool." Her performance alone makes the movie a gem. I only wish she was in it more. Robinson is his dependable self, the nuanced strong guy with doubts and a big heart. Bogart, for those following him, plays a role he almost got typecast in, the tough guy criminal, and he's really good, if not very well-rounded type. Curtiz, of course, gets a different kind of admiration here, making the movie great, avoiding some clichés that were begging to be reused in any boxing story. He even gets the boxer, played with the emotion of a tree stump by Wayne Morris, to hold up his innocent simplicity well enough to fit into the rest of it. The crossed affections of the main characters is more convincing than it needed to be. It's good stuff. Watch how Curtiz, as always, complex scenes with amazing fluidity (an odd but amazing example is the series of scenes after the last fight in the back rooms).The one thing I can't judge is how convincing the boxing is, but it looks good to me, and since there is a bit of time spent watching the fighting in the ring this matters. The idea of the "good" fighter unwilling to throw a fight he can win fairly is built up here to the key climax, and Bogart and Robinson clash in the end in classic style. For the adventurous, this was remade in 1962 as an Elvis Presley vehicle. (And a sidebar trivia —the best Elvis movie is the 1970 "King Creole" directed by, yes, Michael Curtiz.)But back in 1937 came this feisty, complex, richly envisioned drama around the boxing world of the Great Depression, and it's a terrific one.

vincentlynch-moonoi I admired Edward G. Robinson's acting when he was in films other than the standard gangster stories. Although this one does have some ties to gangsters (after all the boxing game wasn't any too clean back in the day), several aspects of this film put it a step above most boxing pictures.First, this film has heart. Not the gritty heart you might expect in a boxing film (although that is here, too), but the heart one feels seeing Robinson with his mother on the farm. From Florida to New York to White Plains, this film has a broader scope than most from the mid-1930s.Second, the fight scenes are relatively realistic. In the big fight toward the end of the film, watch for the rope burns on the hero's back.Third, while a cut above most films of the genre, this is still a morality play -- good versus evil.Fourth, the acting here is quite good. This is one of Edward G. Robinson's best pictures, from my perspective. He treads the fine line between good brother and son, and slightly dirty fight promoter very well. Despite some dirty dealings, you are able to maintain a liking of his character...until the close of the picture. Bette Davis is very good here, as well. She is treading a fine line as well -- in love with two men, and her depiction of the triangle is quite good. Humphrey Bogart is pretty dapper and quite handsome here, but make no mistake, for this story he's the real bad guy. Wayne Morris -- never high on my list of supporting actors -- plays the boxer who just wants to buy a farm just perfectly. And, he really looks as if he could be a boxer. Though it's not a large part, one of my very favorite character actors is here -- Harry Carey, as the cut man and trainer.As the film progresses, it's clear someone is going to die at the climax. Will it be Kid Galahad who dies in the ring? Will it be Edward G. Robinson who has walked the tightrope between honesty and evil? Will it be Humphrey Bogart who is the film's real bad guy.The choice of the closing scene is an interesting one.This is probably one for the DVD shelf.