"This is a fight fan. Fan: short for fanatic" (first lines).
While Stanley Kubrick was working for Look Magazine back in the late '40s and early '50s, he came across a photo shoot of a boxing match involving a Walter Cartier. The article, entitled "Prizefighter," was published January 18th, 1949. A year later, Kubrick contacted Cartier, asking him if he would like to be in a short documentary for the declining RKO-Pathé. Cartier agreed, and Kubrick began, in 1950, with what would become his first film ever.
The story itself is told in three parts (much like the later Full Metal Jacket [1987]), which take up about 5 minutes apiece. The dialogue, spoken by veteran newsman Douglas Edwards, is very noir (example: "It's a living. For some, not much of a living.") The first part regards boxing and the fan. It portrays the walks of life boxing comes from. It ends when Natt Fleischer, a boxing historian, is shown looking through a book of boxing statistics. Kubrick's photojournalistic upbringing is showcased here; the framing of the book is done in a nice, storytelling style. Kubrick obviously knows what he's doing here. We then spotlight one particular boxer in this book: Walter Cartier. The second and third parts are dedicated to a single day in his life: the day of a middleweight fight (April 17th, 1950). The second part is his life leading up to the fight (from 6:00 A.M. to the arrival at the arena at 8:00 P.M.) It's a nice sequencing of events, beginning with a shot of a program attached to a pole advertising the fight (a shot we will see again in Killer's Kiss [1955]) and then showing Walter himself. It shows him waking up, going to communion ("in case something should go wrong tonight,") eating breakfast, undergoing his health examination, playing with his dog. As the fight draws near, we see the "long last look in the mirror" as Walter examines his face. The sequence will be perfectly transcribed to Killer's Kiss (1955) in a few years. The third part (from 8:00 P.M. to the fight at 10:00 P.M.), begins when Walter arrives at Laurel Gardens. The main focus is on the "big wait." We see the transformation Walter undergoes from normal man to fighting machine. We see his opponent, Bobby James, for a few seconds. When Walter finally goes to the ring, we reach the real action of the short. The fight (which is less than a round and was shot live) is brutal, and seems to be echoed repeatedly in Scorsese's Raging Bull (1980). If you look closely during the fight, you can see men standing at ringside with cameras. These are most likely Kubrick and assistant director Alexander Singer (who was later assistant producer for The Killing [1956]). As the fight reaches the KO, the camera focuses on crowd reaction (one shot is of Singer's fiancée, for whom Kubrick did wedding photography). When the fight is over, and all is said and done, the 16-minute short concludes with "For him, it's the end of a working day." Music swells, the end.
Everything that could go well about this film did. The story is excellently planned out, the narration is full of emotion and energy, the music is terrific (Gerald Fried, who met Kubrick through Singer, would go on to do the music for Kubrick's first four feature films) and Cartier and entourage are people with whom one can connect (although none of them, excepting the ring announcer, has a single line of dialogue). I have seen this film multiple times, and I plan on seeing it many, many more. I recommend this film to any fan of boxing, documentaries and expecially hardcore Kubrick fans (that is, if you can get your hands on it). This films gets a 10 out of 10.
While Stanley Kubrick was working for Look Magazine back in the late '40s and early '50s, he came across a photo shoot of a boxing match involving a Walter Cartier. The article, entitled "Prizefighter," was published January 18th, 1949. A year later, Kubrick contacted Cartier, asking him if he would like to be in a short documentary for the declining RKO-Pathé. Cartier agreed, and Kubrick began, in 1950, with what would become his first film ever.
The story itself is told in three parts (much like the later Full Metal Jacket [1987]), which take up about 5 minutes apiece. The dialogue, spoken by veteran newsman Douglas Edwards, is very noir (example: "It's a living. For some, not much of a living.") The first part regards boxing and the fan. It portrays the walks of life boxing comes from. It ends when Natt Fleischer, a boxing historian, is shown looking through a book of boxing statistics. Kubrick's photojournalistic upbringing is showcased here; the framing of the book is done in a nice, storytelling style. Kubrick obviously knows what he's doing here. We then spotlight one particular boxer in this book: Walter Cartier. The second and third parts are dedicated to a single day in his life: the day of a middleweight fight (April 17th, 1950). The second part is his life leading up to the fight (from 6:00 A.M. to the arrival at the arena at 8:00 P.M.) It's a nice sequencing of events, beginning with a shot of a program attached to a pole advertising the fight (a shot we will see again in Killer's Kiss [1955]) and then showing Walter himself. It shows him waking up, going to communion ("in case something should go wrong tonight,") eating breakfast, undergoing his health examination, playing with his dog. As the fight draws near, we see the "long last look in the mirror" as Walter examines his face. The sequence will be perfectly transcribed to Killer's Kiss (1955) in a few years. The third part (from 8:00 P.M. to the fight at 10:00 P.M.), begins when Walter arrives at Laurel Gardens. The main focus is on the "big wait." We see the transformation Walter undergoes from normal man to fighting machine. We see his opponent, Bobby James, for a few seconds. When Walter finally goes to the ring, we reach the real action of the short. The fight (which is less than a round and was shot live) is brutal, and seems to be echoed repeatedly in Scorsese's Raging Bull (1980). If you look closely during the fight, you can see men standing at ringside with cameras. These are most likely Kubrick and assistant director Alexander Singer (who was later assistant producer for The Killing [1956]). As the fight reaches the KO, the camera focuses on crowd reaction (one shot is of Singer's fiancée, for whom Kubrick did wedding photography). When the fight is over, and all is said and done, the 16-minute short concludes with "For him, it's the end of a working day." Music swells, the end.
Everything that could go well about this film did. The story is excellently planned out, the narration is full of emotion and energy, the music is terrific (Gerald Fried, who met Kubrick through Singer, would go on to do the music for Kubrick's first four feature films) and Cartier and entourage are people with whom one can connect (although none of them, excepting the ring announcer, has a single line of dialogue). I have seen this film multiple times, and I plan on seeing it many, many more. I recommend this film to any fan of boxing, documentaries and expecially hardcore Kubrick fans (that is, if you can get your hands on it). This films gets a 10 out of 10.