Among my top three passions in life are sports, theater, and playing the violin. Thus, it was somewhat surprising to discover a classic play that intertwines all three elements, yet I had never encountered it before. Admittedly, “Golden Boy” has not been staged in the UK for over 40 years, which may explain its obscurity.
Written in 1937, the play centers on a talented young violinist during the Great Depression in America who also excels in boxing. He is tempted to abandon his musical aspirations in favor of the fame and wealth offered by the boxing world. In the current London production, the role is portrayed by Josh O’Connor, known to fans of “Knives Out” for his portrayal of a boxer-turned-priest. O’Connor delivers a compelling performance on stage, showcasing his physicality as he strikes a heavy bag with such intensity that one worries for the safety of his hands. His impressive physique is not solely the result of makeup artistry.
The narrative, which explores the tragic decision between a life as a struggling musician or a ruthless fighter, may seem far-fetched but resonates deeply in the theater. Playwright Clifford Odets, a significant figure in American theater, captures an era marked by despair and limited opportunities, where boxing represents a fleeting escape from poverty. The story also serves as an allegory; as the protagonist grows more adept in the ring, he sacrifices his gentler nature and the possibility of a more peaceful existence.
Boxing has long been a rich source of inspiration for narratives in both theater and film. There are more cinematic portrayals of boxing than any other sport. This enduring interest persists despite the prevailing notion, echoed in Odets’s work, that an artistic spirit is often at odds with physical brutality. Perhaps part of the allure lies in the way a boxer’s struggle mirrors the hero’s journey in Greek tragedy, a character confronted by fate and the constraints of free will. Additionally, the choreography of boxing—where fighters dodge, weave, and collide—offers compelling visual storytelling.
Regardless of the reasons, boxing narratives can be infused with diverse subtext, psychological depth, and significant themes. Odets’s play, set against the bleak backdrop of the 1930s boxing scene, critiques capitalism and the perilous allure of the American Dream, while contrasting with Ron Howard’s “Cinderella Man.” In this 2005 film, Russell Crowe’s portrayal of real-life boxer James J. Braddock transforms the same setting into an uplifting tale of resilience and faith.
What is it about the boxing world’s intricate, sometimes conflicting ethics that continues to captivate playwrights and filmmakers? Alfred Hitchcock, known for his suspenseful storytelling and moral complexity, had a deep appreciation for boxing. His only self-written film, “The Ring,” released nearly a century ago, is notable for its realistic fight sequences and innovative use of point-of-view camerawork.
In the 1940s, numerous film noirs utilized boxing as a backdrop for stories steeped in vice and brutality, with titles like “Body and Soul,” “Champion,” and “The Set-Up.” Stanley Kubrick’s “Killer’s Kiss” follows in this tradition, featuring a tagline that doesn’t shy away from its dark themes. Martin Scorsese’s “Raging Bull,” widely regarded as a pinnacle of boxing cinema, presents a raw depiction of Jake LaMotta, showcasing the character as a deeply flawed antihero. Initially reluctant to direct the film, Scorsese was inspired by his friend Robert De Niro’s fascination with LaMotta’s tumultuous life and the physical transformation required for the role.
The challenge boxing poses for actors significantly contributes to its enduring presence in drama. It is nearly impossible to convincingly portray a boxer’s physique without rigorous training. Renowned actors like Daniel Day-Lewis, Jake Gyllenhaal, Will Smith, and Hilary Swank have undergone extensive physical preparation, demonstrating their commitment to authenticity. Mark Wahlberg, a boxing enthusiast, even constructed a ring in his home and trained for five years before filming “The Fighter,” though it was his co-star Christian Bale who ultimately won the Oscar.
Michael B. Jordan, known for his role in the “Creed” series, describes the filmmaking process as therapeutic, allowing him to immerse himself fully in his character. “I enjoy living and training like a fighter,” he remarked, acknowledging the physical toll it takes. Meanwhile, Sylvester Stallone’s contributions to the boxing genre have secured him a place in its international hall of fame.
The reciprocal relationship between boxing and its fictional portrayals is evident in the history of the genre. Stallone’s iconic 1976 screenplay for “Rocky” was inspired by the famous fight between Chuck Wepner and Muhammad Ali, which later found its way into the 2016 arthouse biopic “The Bleeder,” featuring Liev Schreiber as Wepner. Next month, audiences will witness the story on screen again in Stallone’s own biopic, “I Pla…”
