The best punch trackers on the market
10th September 2020
By: BOXING GURU
Boxing and movies have gone hand-in-hand ever since audiences saw Bob Fitzsimmons KO Gentleman Jim Corbett with a blow to the solar plexus in 1897. High in drama and low in cost, boxing has been a staple subject for the movie industry, from Body and Soul to Requiem for a Heavyweight, from Rocky to Raging Bull. The movies I review, however, won’t be appearing on any Top 10 lists. Or any Top 50, for that matter. But what these B-movies lack in name recognition, they more than make up for with their blunt charisma, their quirks, and their unexpected cameos. These are the sometimes-forgotten pictures that shaped the genre we know today. Join me in rooting for these cinematic underdogs as we explore some of boxing’s Not Quite Classics.
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Kid Monk Baroni features a young, pre-Star Trek Leonard Nimoy in his first starring role. He plays Paul “Monk” Baroni who suffers from a facial disfigurement that leaves him emotionally sensitive but quick to anger. This unique character feature adds a layer of depth to the story, but the sometimes clunky storytelling has the movie tripping over itself.
The core plot is actually pretty run of the mill. A fighter from a poor background rises through the ranks only to learn that his toughest opponent is really himself. Kid Monk Baroni even uses the “central trio” of boxer, friend, and a female love interest. Except here is where it gets clunky: the movie starts doubling up the categories. Thankfully, they stick to just one boxer, but there are two friends from the old neighborhood, Angelo and Father Callahan. There are two love interests, the kind-hearted Emily and the gold-digging June. Then they add some “villains,” the unsympathetic manager Mr. Hellman and the more mysterious, vaguely criminal “syndicate.” Add to that mix the street kids of The Billy Goat Gang (reminiscent of the Dead End Kids from They Made Me a Criminal), plus storylines about plastic surgery, kleptomania, and a surprising amount of Italian church music. All that’s missing is the USS Enterprise.
The unique and enduring aspect of the movie is of course the main character, Paul Baroni. What is most compelling is that Baroni’s face is disfigured before he ever steps into the ring. Discussing his appearance, Fr. Callahan calls it “God’s dispensation.” While the movie does touch upon this metaphor-made-flesh, it isn’t handled too overbearingly. Rather, the state of Monk’s face makes an interesting and evolving counterpoint to his actions (and others’ reactions) in and out of the ring.
The movie opens with a gang of street-wise youths, The Billy Goat Gang cutting up a wooden staircase for firewood. Kindly priest Fr. Callahan invites them to his newly created – and steam-heated – gymnasium in the church basement. There, Fr. Callahan teaches Baroni to reign in the anger he feels and learns to box. He also introduces Monk to Emily, a beautiful and young member of the parish.
However, during a streetfight, Monk strikes Fr. Callahan accidentally. Fearing the worst, he flees along with Angelo, and the two get by on the meager winnings from Monk’s new career as a boxer. Monk is a killer in the ring, throwing punches as unsightly as his face (including lots of what they now call “hammer fists” in MMA). The crowd boos Monk even when he wins. The “syndicate” approaches Monk, saying they need an ugly and dirty fighter in their ranks. Just when Monk’s self-esteem seems lowest, he by chance bumps into Fr. Callahan who not only forgives him but invites him back to the parish.
Monk reconnects with Emily at a parish dance, and with her encouragement, gets plastic surgery on his face. His ego now fully inflated, Monk wants to sow his wild oats. He meets up with June, a flirtatious woman who sells cigars in a hotel lobby. With his new face and bankroll from winning those syndicate fights, June agrees to “spend some time” with Monk, so long as he’s paying. Monk’s behavior alienates Emily and Angelo, and soon, his dwindling bankroll sends June packing as well.
Monk returns to the ring, but eager to protect his new face, he fights defensively. The crowd who booed the disfigured Monk Baroni when he was winning now also boos the handsome Monk when he loses. The syndicate decides they can make one last big score with Monk, believing that he will return to his killer ways. However, on the night of the big fight against “the Seattle Wildcat,” Monk fights his own fight, clean. This pleases Emily and Fr. Callahan, who is in attendance. Afterward, Monk donates his loser’s purse to the church, and after Mass, Fr. Callahan announces that Emily and Monk have married.
THE BOXING GAME YOU HAVE ALL BEEN WAITING FOR!
If one were feeling generous, one might call the storyline layered, but a less charitable assessment would call it jumbled. There’s a lot going on, but the core story of Monk Baroni is a strong one, well-acted by Nimoy. The combination of sensitivity and aggression packs some power, and having a priest to confer with allows for a greater range of conversation. The connection of clergy and boxing would become a familiar trope (even Rocky opens on a church hall), but in Kid Monk Baroni the relationship feels honest and meaningful.
Written by Aben Kandel, a one-time boxer who wrote the novel City for Conquest (made into a movie starring James Cagney in 1940 ) and also adapted a Jack London story “The Mexican” into the movie The Fighter. Kandel would go on to write a string of low-budget horror movies, including I Was a Teenage Werewolf and Trog. Leonard Nimoy, of course, would go on years later to star as Dr. Spock in the original Star Trek series, though he had also played an alien in 1952’s classic Republic serial Zombies from the Stratosphere.
Layered or jumbled, Kid Monk Baroni stitches together run of the mill plot devices with inventive character development to create a compelling, if uneven, movie.
Watch the old school boxing movie below…
More ‘Not Quite Classic’ reviews:
Iron Man (1931)
They Never Come Back (1932)
The Prize Fighter and the Lady (1933)
They Made Me a Criminal (1939)
The Contender (1944)
Day of the Fight (1951)
Flesh and Fury (1952)
