Based on Kubrick's pictorial for Look Magazine (January 18, 1949) entitled "Prizefighter," "Day Of The Fight" tells of a day in the life of a middleweight Irish boxer named Walter Cartier, ... See full summary »
Two days in the life of priest Father Fred Stadtmuller whose New Mexico parish is so large he can only spread goodness and light among his flock with the aid of a monoplane. The priestly ... See full summary »
A New York City doctor, who is married to an art curator, pushes himself on a harrowing and dangerous night-long odyssey of sexual and moral discovery after his wife admits that she once almost cheated on him.
Prize-fighter Davy Gordon intervenes when private dancer Gloria Price is being attacked by her employer and lover Vincent Raphello. This brings the two together and they get involved with each other, which displeases Raphello. He sends men out to kill Davy, but they instead kill his friend. Gloria is soon kidnapped by Raphello and his men, and it is up to Davy to save her. Written by
Leon Wolters <wolters@strw.LeidenUniv.nl>
Stanley Kubrick: [breaking the 180-degree stageline] Kubrick often breaks the 180-degree stageline in this film. That is, characters are photographed from both sides of the stageline, making them appear to be (for instance) looking in the same direction, when they are supposed to be looking in opposite directions. Watch the Davey Gordon and Rapallo ax fight at the denouement for an example. See more »
Before Davy jumps through the loft window, he is wearing light socks and later dark socks. When he lands on the sidewalk, he is clearly wearing white socks. See more »
A young Stanley Kubrick's bare-budget film - perhaps his first "mainline" movie - shows him still in the minor leagues but very close to making it to the Major Leagues. In fact, he did so the following year with "The Killing," a film noir that still ranks among the best. At any rate, this is an opportunity to see Kubrick at work right before he "makes it" in the business.
With an almost-nothing budget you aren't going to draw too many professional actors, and that certainly was the case here, but still is worth watching. It's definitely a "B" noir that is more melodrama than crime until the ending when it gets very, very suspenseful featuring a chase over New York City rooftops and then into abandoned warehouses.
Jamie Smith and Irene Kane are the stars and if you've never heard of them, it's probably because they weren't exactly Humphey Bogart and Bette Davis, acting-wise. The other star, Frank Silvera, at least is a name I recognized.
Overall, the best feature may be the camera-work. It gives us a preview of the visual talents that Kubrick would bring to the big screen in following decade. On its own merits, if you are a film noir fan, you'll want this in your collection.
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