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While he's gone, Maish takes Rivera out drinking, getting him drunk so as to sabotage his evening appointment with Mr. Reardon, who's hiring for the camp. In 1959 Dutch television adapted the story as Requiem voor een zwaargewicht. Requiem for a Heavyweight was a teleplay written by Rod Serling and produced for the live television show Playhouse 90 on 11 October 1956. [4] Michael Caine was featured in a small role in a new scene written by Rakoff. As a way out, he talks to sleazy wrestling promoter, PERELLI, who thinks Rivera would be great for exhibition wrestling. A fight doctor refuses to certify McClintock for further boxing, saying that another rough match could blind or even kill him. If you are already a subscriber sign up — registration is free! a TIME subscriber. Maish thanks him, but it's clear that his association with Rivera and Army, also in attendance, has forever been corrupted. A movie usher job doesn't pan out because he's too big for the uniforms. , It's just the way the industry works. She suggests that he apply for a job counseling boys at a summer camp, arranging an evening interview.In the meantime, Maish feels the heat concerning his debt to Ma Greeny. Ma Greeny walks in with her THUGS. Requiem for a Heavyweight: Role Players Ensemble dives into the underworld of pro boxing by transforming its Village Theatre home into - not … In 1974 Radio Television Belgrade adapted the story as Rekvijem za teškaša. Army (Rooney) arrives at the bar to remind Mountain about the appointment, but Rivera embarrasses himself at the hotel where the interview is to take place, behaving drunkenly in plain sight of the camp owners. In the film version, Maish responds forcefully and eloquently to Grace Miller's accusation that he's been over-controlling of Rivera, cares nothing for him, for his best interest or for his future. REQUIEM stars Jack Palance as a past his prime fighter. The two briefly become intimate with a kiss, but when Rivera begins to make love, she pulls away. Requiem for a Heavyweight was a teleplay written by Rod Serling and produced for the live television show Playhouse 90 on 11 October 1956. Further, the years of fights have left him disfigured and addled. Army's happy for him. Nelson and Serling won Emmy Awards for their work.[1][2]. BBC Television in the United Kingdom screened a version of the play, retitled Blood Money, in their regular Sunday Night Theatre anthology strand on March 31, 1957. He goes up to Reardon's floor, but can't remember the room number. "[5] This version has not survived,[6] although the discovery of a complete recording of the soundtrack was announced in 2014. Ralph Nelson also directed a film version in 1962 with Anthony Quinn in the role originated by Jack Palance, Jackie Gleason and Mickey Rooney in the parts portrayed on television by Keenan Wynn and his father Ed Wynn, and social worker Grace Miller was portrayed by Julie Harris. She tries to get him to believe in himself, but Rivera knows he's only fooling himself. Maish has troubles of his own, however: he owes money to the Mafia and tried to raise funds by betting that McClintock would be knocked out early (instead, by gamely and bravely taking a beating and refusing to go down, McClintock cost Maish a fortune). Kim Hunter portrayed Grace Carney, an employment agency worker who tries to help the boxer make a transition to a new career. [4], This production was reviewed in The Times newspaper the following day, which gave it a generally positive assessment, with some reservations. After this episode, Grace confronts Maish in tears, condemning him for controlling Mountain and ruining his chance to make a new life for himself. © 2019 TIME USA, LLC. McClintock is suffering from Dementia pugilistica or "punch drunk syndrome"—brain damage caused by his career. Sean Connery, five years before portraying James Bond, starred as McClintock,[3] while Alvin Rakoff produced and, with Serling's approval, also wrote some new material to cover costume changes that took place during commercial breaks on US television, but could not do so on the non-commercial BBC. Requiem for a Heavyweight was the beginning of what became one of the new medium's most successful creative teams, writer Rod Serling and director Ralph Nelson. Realizing he's late for the appointment, Rivera stumbles out of the bar.He reaches the ritzy hotel where Reardon is staying, but Rivera's so drunk he can barely walk. When it's clear to Rivera that they're going to kill Maish if Rivera walks, the big fighter agrees to go on. Army also objects.Maish agrees to forget about the wrestling idea, sending Army out for sandwiches. [4] Co-starring with Connery were Warren Mitchell and Rakoff's future wife Jacqueline Hill, who had recommended Connery for the leading part. Maish responds with a blast of cynicism.The first wrestling match goes on as planned. Rivera feels emboldened by his interview with Mrs. Miller. Just before he is scheduled to go into the wrestling ring in a humiliating mountain man costume, McClintock learns of Maish's betting against him, and parts ways with his manager and mentor. Requiem for a Heavyweight is Rod Serling’s ode to the also-rans and an indictment of the world that creates them. Maish blurts out that he bet against Mountain in the fight against Clay, and as Rivera attempts to leave the locker room, "Ma" Greeny and her thugs enter, threatening Maish. Because Serling and Palance were both experienced boxers, they brought a level of authenticity to Requiem for a Heavyweight, although there was very little boxing depicted in the broadcast. On October 11, 1956, CBS’s Playhouse 90 presented Rod Serling’s “Requiem for a Heavyweight” in a live telecast. And if your career is foundering -- needless to say, through absolutely no fault of your own -- you've got to find the suitably aggressive new handler who can persuade executives that your aura is undimmed. Once again, Jack Gould of the New York Times raved, "Requiem for a Heavyweight by Rod Serling, presented last night on Playhouse 90, was a play of overwhelming force and tenderness. Six years later, it was adapted as a 1962 feature film starring Anthony Quinn, Jackie Gleason and Mickey Rooney.. Maish had better pay up or else. Requiem for a Heavyweight Last updated December 15, 2019. He tells Grace that she must stop daydreaming and recognize that her idealized conception of Louis Rivera is as false and damaging to Rivera as is Maish's alleged mediocre management of Rivera's pro boxing career, and that her so-called "vision" for Rivera's post-boxing future as a counselor at a children's summer camp is as naïve and pathetic as it is improbable. The story's been done before, but this take has an odd and most sad ending.

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