STANLEY KUBRICK ARCHIVE

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BARRY LYNDON: NARRATIVE AND DISCOURSE IN KUBRICK’S MODERN TRAGEDY – Essay by Michael Klein

2017-12-17T14:21:12-08:00 December 17th, 2017|Categories: STANLEY KUBRICK|Tags: , |

by Michael Klein Even inept films sometimes carry with them a certain mesmerizing authority. Stanley Kubrick's Barry Lyndon, a flawed work based upon a rather uninspiring novel, can be enjoyed, for instance, for its visual effects: sheer photography. And the background music is superb.1 The music offputtingly classical under the [...]

RAPINA A MANO ARMATA (THE KILLING, 1956) – di Enrico Ghezzi

2017-12-12T17:45:57-08:00 December 12th, 2017|Categories: STANLEY KUBRICK|Tags: , , |

Sappiamo che Kubrick rifiuta un contratto della stessa casa [la United Artists] per produrre filmetti di seconda serie: non gli interessa arrivare in qualche modo a fare comunque del cinema. In parte, proprio la chiarezza con cui dal suo comportarsi si delinea l’esistenza di un progetto di cinema rende oscuro [...]

THE SHINING: A NEW DEFINITION FOR “ULTIMATE HORROR” – by Jim Wynorski [Fangoria]

2017-12-12T12:24:34-08:00 December 9th, 2017|Categories: CINEMA, STANLEY KUBRICK|Tags: , , |

Both Kubrick and King merit congratulations for making The Shining one of the most overpowering experiences of horror ever committed to celluloid. It manages to treat intangible, elusive subjects—ghosts, demons, spirits and the like—as if they were as real as this morning's headlines.