BY LEE PFEIFFER
The Warner Archive has released a Blu-ray edition of its previously issued DVD of "The Set-Up". The acclaimed 1949 film noir was directed by Robert Wise at the end of his contract with RKO, where he was championed by Val Lewton and made a name as a very capable editor ("Citizen Kane" was among his credits.) When Wise graduated to directing, he felt hampered by RKO's low budgets and production values and yearned to work for the major studios. Ironically, it was the low budget and production values that enhanced "The Set-Up". Wise may have been handed some lemons but he knew how to turn them into lemonade. The film has all the earmarks of a great film noir experience: a fine cast, dark, moody atmosphere, crisp black-and-white cinematography that emphasizes the shadows and a cast of roughneck characters that ring all too believable, especially if you grew up in an inner city. Wise, working with a fine screenplay by Art Cohn that was, perhaps improbably, based on a poem by Joseph Moncure March.
Possibly because of the abbreviated running time of only 73 minutes, the story is simple and the stakes are laid out quickly. The film opens in a seedy hotel in a honky tonk area of an undefined city. Stoker Thompson (Robert Ryan), an aging boxer who is past his sell date, prepares to cross the street to an arena where he will compete in one of several boxing matches on the card. Stoker is no longer a big draw and his bout is considered to be an added attraction. He's fighting a brash young up-and-comer, Tiger Nelson (Hal Baylor). What he doesn't know is that his manager has agreed to insure that Stoker throws the fight in the third round in return for a bribe from a local crime lord. The manager assumes that Stoker wouldn't agree to toss the fight and gambles on the premise that he will lose anyway and the crime boss will be none the wiser. Stoker is comforted as he heads out by his devoted by long-suffering wife Julie (Audrey Totter), who begs him to give up boxing. But Stoker wants another shot at the brass ring in the hopes of winning a large enough purse to retire from the sport and open a cigar shop with Julie. He feels in his bones he can beat his younger opponent. Much to his disdain, Julie refuses to attend the fight on the premise that she can no longer witness the beatings he has been taking. In the ring, however, the brutal match finds Stoker in better form than anyone could have imagined. Despite the severe punishment he takes, he delivers a spirited performance...as his manager sweats over the prospect that he might win. The outcome of the bout has serious implications for the well-being of everyone involved. Wise ensures that that the production is appropriately gritty, with sweat-drenched locker rooms and an arena packed with street-wise dames and fat, bellowing men sucking on thick cigars. He turns the lack of financial resources into an asset, presenting the events in real time and eschewing a musical score. The boxing bouts are so fast-paced they don't allow for a minute of rest
for the combatants, something that would be a physical impossibility in
real life. However, it adds to the building tension and excitement. It must be said that the performances are uniformly excellent, with Ryan (who was the Dartmouth College boxing champ for four years in a row), in particularly fine form as the down-but-not-out would-be champ.
The Warner Archive Blu-ray looks superb, allowing the viewer to appreciate the excellent cinematography of Milton R. Krasner. There is only one bonus feature, but it's impressive: the original commentary track recorded by Robert Wise and Martin Scorsese for the previous DVD release. Prior to his passing in 2005, Wise had enthusiastically embraced the idea of participating in such tracks. Thanks to his foresight, we now have numerous commentaries for several of his best films that allow us to hear his personal memories of making them. In this track, Scorsese recalls being impressed by the movie when he first saw it as a film student. He also points out that "there isn't a wasted frame". Some viewers might be annoyed that the duo allow long gaps without speaking but stick with it, because this is a golden opportunity to enjoy two great directors of succeeding generations celebrate the art of filmmaking. Highly recommended.
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