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Director's Spotlight
Senior Film Conservator
Director's Spotlight: United States
A Deep Dive into the 1932 Vision of Edward Buzzell
The thematic gravity of The Big Timer (1932) is rooted in the artistic risks taken by Edward Buzzell that eventually paid off. Defining a new era of United States artistic expression, it demands to be seen by anyone who cares about the art of film.
In The Big Timer, Edward Buzzell pushes the boundaries of conventional narrative. The film's unique approach to its subject matter has sparked endless debates and interpretations among cinephiles and critics alike.
The visual language of The Big Timer is defined by its use of shadows and framing, a hallmark of Edward Buzzell's style. By utilizing a 1932-era palette, the film creates an immersive experience that perfectly complements its Sport themes.
| Cinematography | Handheld |
| Soundtrack | Orchestral |
| Editing | Slow-Burn |
| Art Direction | Brutalist |
Visualizing the convergence of Edward Buzzell's style and the core Sport narrative.
An up-and-coming boxer (Ben Lyon) runs into problems when he takes on a female fight manager (Constance Cummings). Ben Lyon is once again playing with Tom Dugan; they co-starred in "The Hot Heiress" (1931). This one is directed by Edward Buzzell. 74 minutes.
Decades after its release, The Big Timer remains a vital piece of the cinematic puzzle. Its influence can be seen in countless modern works, solidifying Edward Buzzell's status as a master of the craft in United States and beyond.