
The 2005 film Cinderella Man, directed by Ron Howard and starring Russell Crowe, paints a triumphant portrait of James J. Braddock—a down-on-his-luck boxer who, amid the Great Depression, rose from poverty to become the heavyweight champion of the world. It’s a compelling underdog story, filled with emotional depth, working-class pride, and redemption. But like many Hollywood retellings, it smooths over the rough edges of reality. In truth, Braddock’s journey, while remarkable, was deeply entwined with murky dealings, ruthless ambition, and the shadowy figures who controlled boxing during its most mob-infested era.
James J. Braddock was indeed a legitimate working-class hero. Born in 1905 in New York City and raised in New Jersey, he turned pro in 1926 and compiled a strong early record. However, a string of losses and a series of hand injuries derailed his career. By the early 1930s, he was scraping by on dock work and welfare—until an improbable comeback culminated in his shocking upset of Max Baer in 1935.
The movie captures Braddock’s grit and resolve, but it omits or softens several key realities—most notably, the roles of his manager Joe Gould and the behind-the-scenes political maneuvering that shaped Braddock’s rise and legacy.
In Cinderella Man, Paul Giamatti portrays Joe Gould as a fiercely loyal and morally upright manager who stuck by Braddock during his darkest times. The real Joe Gould, however, was a far more complicated and controversial figure.
While it’s true that Gould stayed involved with Braddock during the boxer’s decline, his motives were often self-serving. Gould was known in boxing circles as shrewd, manipulative, and not above bending the rules or cozying up to underworld figures if it benefited his standing. His most dubious maneuver came after Braddock’s shocking victory over Max Baer, when Gould managed to secure a deal that gave him a cut of Joe Louis’s purses for years—despite Braddock never defending his title against anyone except Louis.
When Braddock won the heavyweight crown in 1935, Joe Louis was already a rising star and widely considered the heir apparent. Promoters, mobsters, and managers jockeyed for position to control Louis’s inevitable ascent. Joe Gould and Braddock’s team struck a behind-the-scenes deal with Mike Jacobs, Louis’s promoter, that gave Braddock a massive payday and a percentage of Louis’s future earnings, simply in exchange for giving Louis a shot at the title.
This deal infuriated many in the boxing world. Not only was it seen as a blatant cash grab, but it also tied Louis—a proud Black fighter from Detroit—to a structure that funneled his wealth to a fading white champion and his dubious manager. Gould ensured he would benefit from Louis’s superstardom for years, a move that many historians now view as exploitative, if not outright unethical.
Perhaps the most controversial aspect of the Braddock-Baer story centers around Max Baer himself and the possibility that he threw the fight—or at the very least, was influenced not to win.
Baer, often vilified in the film as a callous killer because of the deaths of two fighters he had previously faced (Frankie Campbell and Ernie Schaaf), was in fact a flamboyant, good-natured, and reluctant brawler. He took no pleasure in those tragedies and donated money to Campbell’s family. Yet in Cinderella Man, he’s depicted as a cruel brute—likely for dramatic effect and to paint Braddock as a saintly underdog.
The reality is murkier. Baer was under the influence of Owney Madden, a powerful New York mobster known as the “Killer” who controlled a large chunk of the boxing world during the 1930s. Madden had interests in Max Baer’s earnings and was closely connected with the underworld’s manipulative role in fight outcomes.
Braddock was a less lucrative champion than Baer. So why would the mob allow him to win? One theory is that Madden and Jacobs saw more long-term money in a Louis-Braddock matchup. Louis was a box-office phenomenon, and by maneuvering Braddock into a one-off title defense (and cutting him out afterward), the promoters could seize greater control of the division—and of Louis himself.
Baer, for his part, fought listlessly against Braddock. Despite being a 10-to-1 favorite, he didn’t press his advantages. Many boxing historians speculate he was under pressure not to knock Braddock out—if not outright ordered to “carry” him. Others believe Baer, already distracted by Hollywood fame and women, simply didn’t train seriously or respect his opponent. Either way, his performance raised eyebrows even at the time.
Braddock lost his only title defense to Joe Louis in 1937—by knockout in the 8th round—but walked away with $300,000 (equivalent to over $6 million today) and never fought again. Gould, thanks to the backroom deal, continued earning off Joe Louis’s success until at least most of the 1940s.
Max Baer remained a popular figure in film and public life, but he never regained the championship. Joe Louis went on to become perhaps the greatest heavyweight of all time, but his financial earnings were siphoned off by various handlers—including Gould—during much of his career.
Cinderella Man is a compelling film, but it sanitizes the darker aspects of boxing in the 1930s—a time when mobsters controlled fighters, promoters engineered results, and champions were often pawns. James Braddock was a courageous and capable fighter who earned his title shot, but his story was shaped as much by opportunistic figures like Joe Gould and shadowy deals with the mob as it was by grit and heart.
The myth of Braddock as a Depression-era hero remains powerful, but the truth is layered, filled with compromised characters and questions that still linger nearly a century later.
Sources and Suggested Reading:
“Cinderella Man: James J. Braddock, Max Baer, and the Greatest Upset in Boxing History” by Jeremy Schaap
“Joe Louis: Hard Times Man” by Randy Roberts
“The Sweet Science” by A.J. Liebling
Various archives from The Ring magazine, 1935–1940
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