The End of the Road: Film Noir and Lolita

2019-12-27T10:12:13+00:00December 23rd, 2019|CINEMA|

The most evocative aural and visual descriptions in Lolita are in the manner of classic Forties films noirs, with their oppressive rain-washed nightscapes and their desperate, driven men—seemingly decent people who have irreparably committed themselves to their dreams, passions, or obsessions, and are suddenly crimina

Lolita (1962) – Review by Dwight Macdonald

2019-12-02T08:50:40+00:00December 2nd, 2019|CINEMA|

by Dwight Macdonald Lolita is a good movie which might have been much better. For the title role, Stanley Kubrick discovered a teen-age television actress named Sue Lyon whose moods, accent, facial expressions, and body movements seem to me remarkably authentic—quite different from the cliches we usually get in such [...]

JAMES B. HARRIS INTERVIEW (2002)

2018-02-16T12:48:41+00:00February 16th, 2018|CINEMA|

The Five-O Interview James B. Harris: When Kubrick and I finished Paths Of Glory, Marlon Brando called us up and said I want to make pictures with you guys. I've seen "The james b. harrisKilling" and now Paths Of Glory and I think we should be in business. Let's plan [...]

KUBRICK, FREUD E LA COAZIONE A RIPETERE – di Sandro Bernardi

2020-04-27T21:32:27+01:00February 8th, 2018|CINEMA|

Che Kubrick conoscesse Freud è fuor di dubbio; lo si ricava da tutta la sua opera, ma basterebbe anche solo quell’accenno al Perturbante che il regista lascia cadere nell’intervista con Michel Ciment, a proposito del film The Shining: «Nel suo scritto sul perturbante Freud affermò che il per­turbante costituisce l’unica sensazione che si provi con maggior forza sia nell’arte che nella vita»

LOLITA (1962) – di Enrico Ghezzi [Il Castoro Cinema]

2018-01-25T13:29:01+00:00January 25th, 2018|CINEMA|

Che Kubrick punti molto di più sull’ossessione in sé che sul suo oggetto (Lolita), è dimostrato già dal principale spostamento operato rispetto al romanzo: l’insediamento all’inizio della sequenza dell’uccisione di Quilty, che vedremo ripetuta in coda (come è nel romanzo).

Lolita (1962) – Review by Richard Combs

2018-09-14T17:00:18+01:00September 14th, 2017|CINEMA|

The base of Kubrick's fiction is pure abstraction, back-projection or studio mock-up, and the only reality is invested in the comedy-drama of the characters. His Lolita is a film of 'solid' performances - high-key lighting and unstressed direction indeed - particularly in the first half, chez Charlotte Haze, where in long, placid takes the camera observes Humbert's efforts to avoid Charlotte's mating dance while guiltily courting Lolita.