The lettering and the background is as stylish as this one's going to get:
The shadows are psychological, because . . . well, no, they're not. He was sent to jail for killing a man while boxing, but seems rather chipper about life anyway. Because he's the hero! No, the shadows are the things that dog him when he's out, because he goes right back into boxing. The movie starts with a boxing match, and gives us this God's-eye view:
It's quite novel, and makes you think gee, I'll be Scorcese studied this one for "Raging Bull!" Then you realize that the most boring possible vantage point fr a boxing match is the top-down view. And we get a lot of it.
So, as I said, he goes back into boxing, and the underworld gets involved, etc. etc. At least we get to see his training regimen: this is what they wore in '36 for the daily 10-mile run. Really.
There's the obligatory final match at the old MSG:
This would be the one in Hell's Kitchen, now the site of one of my favorite 80s building, the button-down SOM "postmodern classic" tower, Worldwide Center.
Once inside, we see the sort of shots you always get in boxing movies:
How existential! But shouldn't there be, oh, what's the word, spectators?