Vic “The Bomber” Bealer is an amateur boxer who appears to be poised to escape from life in his dreary hometown. He is such a good fighter that he is on the verge of making the U.S. Olympic Team and he is so good-looking that everyone, from his teenage girlfriend (Anne Archer) to his gay manager (Ned Glass) to a woman he meets at a gas station, automatically falls in love with him. However, after his girlfriend tells him that she is pregnant, Vic abandons both her and boxing. When she leaves town to have an abortion, Vic starts boxing again but then he learns that she may not have actually had an abortion and Vic leaves for Los Angeles, to see both her and his son.
Sadly, there is something about boxing that has always brought out the pretentious side of some filmmakers and that is the case with The All-American Boy. This episodic film (which claims to portray “The Manly Art In Six Rounds”) tries to present Vic as being an anti-hero but mostly, he just seems to be vacant loser. Vic sulks through the entire film, despite not really having much to sulk about. When one of his conquests asks him what he is thinking, Vic replies, “I ain’t thinkin'” and the movie provides no reason to doubt him on this point. I was not surprised to learn that The All-American Boy was filmed in 1969 and was deemed unreleasable until the combined success of Midnight Cowboy and Deliverance made Voight into a star. On the plus side, when he made the film, Jon Voight looked like he could actually step inside the ring and throw a few punches. On the negative side, the boxing scenes go heavy on the slow motion which, when overused, just looks stupid. Raging Bull, this film is not.
When it comes to The All-American Boy, Duke has the right idea: