THE BATTLE OF THE CENTURY

Clyde Bruckman

F.: George Stevens. M.: Richard Currier. Int.: Stan Laurel (Canvasback Clump), Oliver Hardy (il manager), Noah Young (Thunderclap Callahan), Eugene Pallette (assicuratore), Gene Morgan (speaker), Sam Lufkin (arbitro). Prod.: Hal Roach per Hal Roach Studios. DCP. D.: 18’. Bn.

info_outline
T. it.: Italian title. T. int.: International title. T. alt.: Alternative title. Sog.: Story. Scen.: Screenplay. F.: Cinematography. M.: Editing. Scgf.: Set Design. Mus.: Music. Int.: Cast. Prod.: Production Company. L.: Length. D.: Running Time. f/s: Frames per second. Bn.: Black e White. Col.: Color. Da: Print source

Film Notes

I believe that all boxing films, whether comedies or not, are great. If one accepts this premise, then the first part of The Battle of the Century cannot fail. Stan is sent into the ring to face the inevitable Goliath and makes an excellent punching bag, albeit in his own unique way, retreating from the beating into a dream world. The second part features a different kind of ring (a busy urban street) and extends the combat as an ever-expanding group of people are drawn to the chaos. And the choice of weapon? A pie in the face. This was already a trite motif at the time, but the idea was to push it as far is it could go in order to create the “pie picture to end all pie pictures”. It is unclear who was counting, but apparently about 4,000 pies were thrown. Henry Miller had no doubts about the result, calling it “a masterpiece”. Trivia lovers, take note: the boxing match was inspired by the fight between Gene Tunney and Jack Dempsey on 22 September 1927, which history remembers as “The Battle of the Long Count”. Tunney ended up on the mat, but Dempsey continued to loiter around instead of retiring to his corner; consequently, there was a delay before the referee began his count, Tunney got up again, and ultimately took home the Champion’s Belt.

Andrea Meneghelli

Copy From

Restored in 2023 by Blackhawk Films. Reel 1 comes from a 35mm dupe negative preserved at Library of Congress (MoMA – The Museum of Modern Art Collection). A missing sequence at the end was reconstructed from two stills and newly produced titles to fill the narration gap. Reel 2 comes from a 16mm reduction print from the camera negative produced by Robert Youngson in 1957, now in the Jon Mirsalis collection, and a 35mm fine grain of the compilation film The Golden Age of Comedy, preserved at the Academy of Motion Pictures Arts and Sciences (Blackhawk Collection)