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.
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 mono-plane. The priestly ... See full summary »
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>
In one scene Irene Kane was supposed to walk across 42nd Street, but a truck driver repeatedly blocked the way with his vehicle. The driver agreed to clear the area only if Kane would later meet him for a drink. She agreed and the scene was shot, but to this day no one knows if the rendezvous actually took place. See more »
When Vinnie drives Davy to the loft, they take a lift up to at least the second floor. However, when Davy jumps through the loft window, he falls only one story. See more »
It's crazy how you can get yourself in a mess sometimes and not even be able to think about it with any sense-and yet not be able to think about anything else. You get so you're no good for anything or anybody. Maybe it begins by taking life too serious. Anyway, I think that's the way it began for me. Just before my fight with Rodriguez three days ago...
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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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