Category Archives: Stanley Kubrick
Nine Weeks of Kubrick, Week Five – Andy Burns on Lolita
Another week, another delve into the incredible legacy that director Stanley Kubrick left the world (you can also check out previous entries on 2001: A Space Odyssey, A Clockwork Orange, The Shining and Eyes Wide Shut). I’m really glad that I set this Nine Weeks project up for the site, since it ensures that I continue to make my way through the Stanley Kubrick Limited Edition Blu-Ray box set. If you’re any sort of collector, I’m sure you’ve got lots of DVDs and books that you own but, for one reason or another, you just haven’t watched them all (I’m still finish Season 1 of the X-Files Complete Series set I have). Watching Kubrick’s work, it boggles my mind to see just how consistent the man was in his career. Five movies in and I haven’t watched a dud. On that note, here’s my take on the man’s controversial adaptation of that famous book by Nabokov.
LOLITA:
What the film is about: Lolita is the story of the title character, a 14 years old girl (Sue Lyon) who becomes the obsession of Professor Humbert Humbert (James Mason), a lodger living with the girl and her mother (Shelly Winters). When left in Humbert’s care, the duo eventually wind up in a relationship, part paternal/part sexual.
What I liked about Lolita: It’s been years since I read the original book and saw the purposely titillating Adrien Lynne adaptation, so I wasn’t entirely sure what I was going to be getting with this 1962 film. However, from the very first moment, Lolita knocked my socks off, all because of Peter Sellers as Claire Quilty, the writer who ultimately steals Lolita from Humbert. Sellers immediately owns the screen, veering from accents and stumbling around drunk as he is confronted by Mason’s Humbert. If you’re not ready for the scene, much like myself, you’re in for a real treat.
While Sellers is brilliant, the same goes for all the actors. Mason gives depth to Humbert, and manages to make a truly sick man somewhat sympathetic. Shelly Winters is perfect as Lolita’s mother, Charlotte, a great mix of desperation and loneliness. I’m most familiar with Winters from her role on Roseanne back in the late 80′s and 90′s so it was certainly interesting seeing her in a more serious (not too mention, younger) role.
As for the title character, Sue Lyon is quite amazing in her debut performance. It’s hard to believe that she was 14 at the time. She manages to be both sexual and naive; one moment sunbathing and giving come hither looks beneath her sunglasses, the next sipping a soda and chomping away at a bag of chips. While you never question Humbert’s lack of moral values, Lyon’s Lolita is hard for anybody to get out of there head.
Unlike later Kubrick films, Lolita isn’t particularly visually stunning. Instead, the strength is in the script and the performances from all involved.
What I didn’t like about the film: For the second week in a row, I have nothing negative to say about a Kubrick film. I tried to think of something just so that it wouldn’t appear that I’m pandering the man’s memory, but really, as far as dramas go, Lolita is one of the best I’ve ever seen.
Should you watch Lolita: That’s a tough question to answer. It really depends on how well you can digest the subject matter of what essentially amounts to a movie about a pedophile. While it’s not blatant and there’s nothing titillating when it comes to images, this is still a dark story (with a few comedic moments thrown in). Back in 1962, the film’s trailer was sold with the blatant tag line “How did they make a movie of Lolita?” – well, Kubrick managed to do it brilliantly.
Nine Weeks Of Kubrick, Week Four: Andy Burns on 2001: A Space Odyssey
I fell asleep.
What can I tell you – four weeks into Nine Weeks of Kubrick and I fell asleep during 2001: A Space Odyssey, the first film in the bunch that I’ve never seen. Here’s the thing – I blame the movie, and not because it’s boring or uninteresting – absolutely far from it. Rather, there are some amazingly hypnotic moments and sounds that lulled me into a really relaxed space. When I realized just how much I was drifting, I shut the movie off until I could watch it fully conscious. Now that you know where I was coming from, let’s get into my impression of what’s considered by many to be the greatest science-fiction film of all time.
2001: A SPACE ODYSSEY
What the film is about: In some ways, for the novice viewer like myself, it’s difficult to give a straight plot summary. But to keep it fairly simple and straightforward, this is the story of a space mission that goes terribly wrong thanks to the machinations of the Artificial Intelligence known as HAL. Oh, and there’s also a black monolith of unknown origin that shows up throughout the film, from the dawn of man to the far off future.
What I liked about the film: I seriously can’t believe this was the first time I’ve ever watched 2001: A Space Odyssey. I wish I could tell you I had a good reason for missing it for all these years, but the only reason that really stands out in my brain is because I was always under the impression that it was a very slow moving film. While Kubrick does take his time letting the movie unfold, that’s very different from being boring. In fact, that’s where the notion I mentioned earlier of the hypnotic nature comes into place. The use of music and sound is really brilliant – classical compositions compliment the still captivating visuals of space and spaceships, matched with the drone of machines working; even the silence is immersive. Kubrick knew there was no sound in space and didn’t ignore that fact – instead he used music and silence where necessary. It’s more proof that Kubrick was a master of creating tension.
Then there are the visuals. Keep in mind, 2001 is more than forty years old, and yet it looks absolutely stunning on Blu-Ray. The effects may be dated when compared with today’s overrun of CGI, but to me, it really looks so much more real than a lot of what is put on the screen in 2011. Oh, and I’m sure it’s already been acknowleged, but George Lucas totally stole the opening of Star Wars from various scenes in 2001. Also worth noting is the stellar performance of Keir Dullea as Dave Bowman. He’s really the only character we get to spend an extended period of time with and Dullea does a great job acting against HAL.
What I didn’t like about the film: Honestly, there was nothing I didn’t enjoy about 2001: A Space Odyssey. Watching it for the first time, I had my mind blown on multiple occasions. While other Kubrick films like The Shining and Eyes Wide Shut are personal favourites, I think that 2001 is likely Kubrick’s greatest overall achievement.
Should you watch 2001: A Space Odyssey: Goodness, yes. I hope you’re not like me and have already seen it multiple times. It truly is one of the most striking films I’ve ever watched. Whereas today’s sci-fi is all blow em up shots and frenetic editing, the visuals of 2001 are the definition of the word mesmerizing. Other than Close Encounters of the Third Kind and Blade Runner, I wonder if there are any other pure science fiction films that can hold a candle to 2001. I sort of doubt it. 2001: A Space Odyssey is an amazing achievement in filmmaking. I’m glad that I finally caught up to what so many others know.
Better late then never, right? Even if I did catch a couple of zzz’s while watching.
Nine Weeks Of Kubrick, Week Three: Andy Burns on A Clockwork Orange
We started Nine Weeks of Kubrick with two of my favourite films – Eyes Wide Shut and The Shining. Now, as I comb through the recently released Stanley Kubrick Limited Edition Blu-Ray Collection, I’m drifting into somewhat unfamiliar territory, since I haven’t seen all of the legendary director’s films before. Since the Queen and I still want to watch Full Metal Jacket and Barry Lyndon together, I skipped ahead (or back, if you will) to 1971 and what’s arguably the most controversial film in Kubrick’s canon.
A CLOCKWORK ORANGE
What the film is about: A disturbing and brutal two hours that’s permeated the culture’s consciousness, A Clockwork Orange is the adaptation of the Anthony Burgess novel of the same name. Set in a futuristic London, the movie’s focus is on Alex (Malcolm McDowell, a violent young man with a love of Ludwig Van Beethoven who rapes and steals and assaults random people until he is caught and undergoes experimental government therapy in search of a cure to make him “good”.
What I liked about the film: Prior to this weekend’s viewing, I’d only ever seen A Clockwork Orange once before and, to be honest, I don’t recall enjoying it on that first viewing. Then again, I don’t think it’s a movie you can actually enjoy too much. The first twenty minutes of the film are really quite disturbing, even if you know what’s coming. Some forty years after it was released, the scenes of physical and sexual violence are hard to take even today. However, if that’s all that was worth talking about when it comes to A Clockwork Orange, I doubt anybody would remember it. And really, there is so much to it – a dark sense of humour that manages to lighten the mood at times; the clever use of classical music that manages to compliment the antics of our lead character, not to mention the brilliant electronic music score by Walter/Wendy Carlos, Stanley Kubrick’s frequent collaborator. There’s also the amazingly nuanced performance by Malcolm McDowell. Watching him go from victimizer to victim is so compelling, and leaves you knowing that Alex and Malcolm were made for one another. I’m more familiar with McDowell in his older age (he is the guy who killed Captain Kirk, after all), so it’s really quite riveting to watch the younger actor pull out all the stops. In the three films I’ve watched on Blu-Ray so far, it’s clear Kubrick has an amazing knack of getting brilliant work out of his leading actors.
Some things I didn’t enjoy: From a technical standpoint, I have to say I was disappointed with this fortieth anniversary edition of A Clockwork Orange. While it is visually striking on Blu-Ray, I found some real sound issues throughout the film, most specifically in the middle where the voices were noticeably quite, dropping in and out for a minute or two at a time. I’m going to have to investigate further, to see if it’s simply my copy or if there’s some issues with the version that was just released. Even if it’s my copy, I was also disappointed that the film didn’t have a more immersive sound experience. Everything seems to occur on this front speakers (this was the case Eyes Wide Shut and The Shining, so perhaps it’s an artistic decision by the estate).
Should you watch A Clockwork Orange: Seeing as the film is a certifiable classic, in some ways it’s almost inarguable that you should watch A Clockwork Orange at least once. However, unlike other classics such as The Godfather or Casablanca, this is definitely not a film for everyone. The scenes of violence are really hard to take, and that’s coming from someone who has enjoyed more than a few slasher films in his day. Maybe it’s the realism, maybe it’s the absolute glee that Alex and his droogs take in their anarchy; whatever the case, I know more than a few people won’t want to sit through images like that. If you can make it, you’re in for one of the all-time great cinematic performance with Malcolm McDowell’s Alex. The film also asks some serious moral questions of what makes someone “good” – are we born that way? If not, can we change? Should we be forced to? And what happens if we are? Forty years later, and in the face of hooligans in Canada running around a few weeks ago and the same time last year, A Clockwork Orange felt very timely and relevant to me.
That just might be the most disturbing thing about the film today.
Nine Weeks of Kubrick, Week Two: Andy Burns on The Shining
As I mentioned last week here in this spot, I recently picked up the Stanley Kubrick Limited Edition Blu-Ray collection. My plan was to go through each film in reverse chronological order, but as it turned out, The Queen was interested in watching what was supposed to be next on my list, 1987′s Full Metal Jacket, but because if our schedule this week we didn’t have time to sit and watch it together. So instead, I jumped ahead (or backwards, if you like) to watch what stands as my favorite horror film of all time.
THE SHINING:
What the film is about: Jack Torrence (Jack Nicholson), his wife Wendy (Shelley Duvall) and their son Danny (Danny Lloyd) move in to The Overlook Hotel, where Jack has been hired as the winter caretaker. Removed from society for five months, and with Danny’s ability to see things that may or may not be there, Jack begins a rapid descent into madness.
Why I like The Shining so much: What’s not to love? Kubrick’s 1979 adaptation of Stephen King’s novel is one of the creepiest films ever made, and features an incredibly frightening performance by Jack Nicholson. Virtually every piece of the film, from the performances and scenery, to the great Wendy Carlos score and hypnotic use of the Steadicam (the first time in a Kubrick movie), is perfect. I can’t count how many times I’ve seen The Shining, but what I do know is that with every viewing I manage to find something new – this time out, it was the way the cigarette burns beside Jack’s typewriter when he’s throwing the tennis ball against the wall. Not only does the film necessitate repeat viewings, it rewards them. Something to keep in mind, as well – while The Shining is one of the scariest films ever made, there’s minimal violence, unlike so many of today’s hack and slash releases.
Some things I didn’t enjoy this time out: If I’m being honest, the only criticism I can level at The Shining is one made by many, and it’s simply that Nicholson’s Jack Torrance seems ready to crack when we first meet him. There’s minimal build-up to him going completely unhinged; we see it coming within the first five minutes. a few more minutes of Jack as a tender family man would have made his undoing that much more powerful. On the technical front, I would have liked a more immersive surround sound experience from the soundtrack on the Blu-Ray. Everything seems to happen via the upfront speakers. which was a little disappointing.
Should you watch it?: If you have even a remote interest in horror films and haven’t yet seen The Shining, I’d suggest stopping whatever it is you are doing and find yourself a copy, stat. If you can find one on Blu-Ray, all the better, because I’ve never seen the film look better. As well, the Blu-Ray features a ton of great bonus features, including the great fly-on-the-wall documentary Stanley Kubrick’s 17 year old daughter Vivian made while The Shining was being shot in England. You get to the witness Jack Nicholson prepare for the penultimate “Here’s Johnny” scene and the genuine friction between Kubrick and Shelley Duvall on set. It’s riveting stuff and shows a couple of masters at work.
Nine Weeks Of Kubrick, Week One: Andy Burns On Eyes Wide Shut
A few weeks back Warner released The Stanley Kubrick Limited Edition Collection on Blu-Ray, a 10 disc compilation of the celebrated director’s best known work along with a bonus disc that includes two feature length documentaries, one on the director himself and the other a look at A Clockwork Orange star Malcolm McDowell. I was considering holding off on this purchase until later in the year, but a stellar price point at HMV got me in the door right around release day.
Of all the films in the collection, I’ve only seen three of them all the way through (Dr. Strangelove, or How I Learned To Stop Worrying And Love The Bomb, The Shining and Eyes Wide Shut), with the latter two being two of my all time favourite films. With so much great cinema in store for me, I’ve decided that over the next 9 weeks I’ll watch one film from Kubrick a week and give you my take on it – what I like, what I don’t and why. Just because I was so eager to see Eyes Wide Shut again, I started with that film, so I figure I’m going to go reverse chronological, starting with what turned out to be Kubrick’s final film.
EYES WIDE SHUT
What the film is about: It’s Christmas time and married couple Bill (Tom Cruise) and Alice (Nicole Kidman) attend a party by an associate of Bill’s, Victor Ziegler (Sydney Pollack). While there, both have opportunities to cheat on the other. While neither act on these chances, these instances lead to a heated, drug-induced discussion where Alice confesses to having once thought of leaving her husband and daughter for the chance to be with another man. From there, the film becomes a sexually charged, dreamlike journey through the streets of New York while Bill deals with the emotional repercussions of his wife’s admission.
Why I like Eyes Wide Shut so much: I saw this film on opening night back in 1999 and was immediately engaged with what I was seeing (I can’t say the same about the girl I was with, who just kept telling me how weird the movie was over and over). Multiple viewings later and I still find it completely compelling. I love Kubrick’s use of the Steadicam. I love how the majority of the film takes place late at night, giving it a feel of emptiness and suspense around every corner. The score is often surreal and spooky, as are the supporting characters we meet. The performances from Tom Cruise and Nicole Kidman are absolutely brilliant, especially Kidman, who has a bravado scene where she reveals her hidden desire to her husband that makes you wonder how much she is actually acting. As for Cruise, I don’t think he’s taken on a more out of character role since. There is no action star here, no romantic leading role. In fact, Cruise is as far from cool in this film as you can be. There’s a suggestion online that when watching Eyes Wide Shut you should view Cruise as impotent and it’s one I totally agree with (as does my wife, who watched the film with me for the first time). It’s amusing to watch Cruise try to get laid and fail at every turn.
Some things I didn’t enjoy this time out: The Blu-Ray transfer of Eyes Wide Shut is far from perfect, which I did find aggravating while watching. There seemed to be a lot of dirt on the film (and I’m really not someone that picks up on this sort of stuff) and the sound was often erratic, leaving me turning the volume up and down a little frequently while watching. Eyes Wide Shut was shot beautifully and should be visually stunning in HD, but it does come up short on Blu-Ray. This version has been available since 2007, so it’s a shame that it couldn’t have been upgraded for the new box set.
Should you watch it?: The general view by many is that Eyes Wide Shut was a failure and that it’s not a great ending to Stanley Kubrick’s career. Some people expected it to be far more sexually titillating than it was, while others thought that at over two hours, the film was just too long. Personally, I think there was more than enough sex for a film with two mainstream stars – especially from the gorgeous Kidman. As for the length of the film, I do understand the critique. But slow-moving and thoughtful are hallmarks of Kubrick (at least in his later work) – you either go with it or you don’t. If you thought it was long in the theatre, watching it at home with the pause button might make it more enjoyable. I do think it’s a really compelling and thoughtful film that asks big questions about morality, fidelity and sexuality that are still relevant twelve years after its release.
Have you seen Eyes Wide Shut? What did you think of it?
