Errol Flynn’s own favourite of his movies and he rarely acted with such infectious enjoyment – he’s obviously having the time of his life in the title role, a part which obviously was close to his real life character): big headed, cocky, a bit of a prat (the sort of person who has himself paged all the time at a gym just for the thrill of hearing his name), but with a likeable sheen (I do have the feeling real-life Errol was a bit more of a prick).The whole film is made with a lot of love and affection – from the recreation of the “gay 90s” (Olympic Clubs, banks, fight scenes, boardwalks, etc) and the fights (all the fight sequences are excellent – some take place in gyms, tents, stadiums and one memorable one on a pontoon), the rich parade of character actors (Alan Hale as Flynn’s dad, Jack Carson as his mate, Ward Bond as John Sullivan and many more), funny lines.
Most of all there is Alexis Smith, looking like as Pauline Kael stated a ship in full sail; she’s feisty, smart and fun (up for a bit of nooky, too – watch how she gropes John L Sullivan’s muscles), Flynn’s best partner since de Havilland (I like Olivia D but she would have been too ninny like for this role).
Top notch script full of memorable one liners, clever exposition, and scenes (though why don’t we see the bit at the beginning where Errol talks the arrested fight fans out of trouble?). Best moments apart from the fights and the Smith-Flynn verbal jousting is the ending, where Ward Bond passes the belt over to Flynn and there is a moment of sadness, the end of an era inevitable in all sport (Danny Peary pointed out this is a rare pro-boxing film) – followed by the wonderful Smith-Flynn kiss with the line “in that case, I’m no lady”.
Aussie note – Peter Jackson, the boxer they talk about Corbett fighting in 61 rounds was an Aussie (a black man, originally from the Virgin Islands but who moved out here when he was six – Sullivan refused to fight him because he was black). Also Corbett went on to lose his title to a Kiwi.
The author of an Errol Flynn website wrote that after this film, the magic disappeared. I'd tend to agree: the rape trial happened just after this was shot - and afterwards Warners downplayed his image, putting him in more serious roles such as Edge of Darkness, Uncertain Glory and Objective, Burma! (these are good movies, but Errol doesn't swash and buckle so much). Only in a few random examples, such as The Adventures of Don Juan, did the old Errol come back. So that gives his appearance here extra resonance.
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