"Look" magazine photographer and chess-player Stanley Kubrick teamed up with old school chum Alexander Singer to launch their filmmaking careers and that of their star with this short but sweet self-financed boxing documentary, based on the future legendary director's 1949 photo feature "Prizefighter", which after the original buyer went belly-up was sold to RKO for a cool $100 profit.
We follow the fan (short for fanatic as no-nonsense narrator Douglas Edwards informs us) to the places where matched pairs of men get up on a canvas covered platform and commit legal assault and lawful battery in an attempt to capture the primitive vicarious visceral thrill of seeing one animal overcome another with the science of hammering each other unconscious with upholstered fists.
Irish-American middleweight Walter Cartier is selected at random, with a little help from boxing historian Nat Fleischer, from the 6,000 professional prize fighters who more often than not fail to scrape a living in America to give us insight into the people the fan seldom sees and never considers behind the facts and figures and columns of cold statistics in the record books.
Walter Cartier makes an amiable enough presence at the centre of the action to be able to go on to a TV acting career as we see his daily routine transform him into arena man, with able support coming from his twin brother and manager Vincent Cartier and opponent Bobby James as well as a brief appearance from Nat Fleischer and the dulcet tones of news reader Douglas Edwards.
The filmmakers make a fine pairing as Kubrick ducks and dives with his hand-held camera getting up close and personal with Cartier both before and during the fight while Singer rises above it all with his camera on a tripod to catch an overview of the action which together with the debut score of another childhood friend Gerald Fried all comes together to make a strong first impression.
"No one ever told Walter to be a fighter..."
We follow the fan (short for fanatic as no-nonsense narrator Douglas Edwards informs us) to the places where matched pairs of men get up on a canvas covered platform and commit legal assault and lawful battery in an attempt to capture the primitive vicarious visceral thrill of seeing one animal overcome another with the science of hammering each other unconscious with upholstered fists.
Irish-American middleweight Walter Cartier is selected at random, with a little help from boxing historian Nat Fleischer, from the 6,000 professional prize fighters who more often than not fail to scrape a living in America to give us insight into the people the fan seldom sees and never considers behind the facts and figures and columns of cold statistics in the record books.
Walter Cartier makes an amiable enough presence at the centre of the action to be able to go on to a TV acting career as we see his daily routine transform him into arena man, with able support coming from his twin brother and manager Vincent Cartier and opponent Bobby James as well as a brief appearance from Nat Fleischer and the dulcet tones of news reader Douglas Edwards.
The filmmakers make a fine pairing as Kubrick ducks and dives with his hand-held camera getting up close and personal with Cartier both before and during the fight while Singer rises above it all with his camera on a tripod to catch an overview of the action which together with the debut score of another childhood friend Gerald Fried all comes together to make a strong first impression.
"No one ever told Walter to be a fighter..."