Now that its title has been changed from Bed of Fear (as it was called when I wrote about Stanley Kubrick’s last picture in Sight and Sound) to The Killing, one need really have no reservations at all. This shrewd, engrossing, complete-in-itself melodrama is the kind of film one had begun to think was no longer possible to make in Hollywood.
Protected: Eyes Wide Shut at 20
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The young writer-director-photographer-editor of this unpromisingly titled film has a good deal of talent. He made Killer’s Kiss a year or so ago in New York—on location and in a small studio—and later sold it to United Artists for distribution. He has now directed his first Hollywood film, a melodrama called (also unpromisingly) Bed of Fear.
Lolita has everything it needed to be as brilliant and beautiful as the novel, except great direction. Vladimir Nabokov’s screenplay is a model of adaptation—resourceful, economical, light-bodied.
Kubrick’s films should be ‘read’ as opposed to ‘viewed’. Too often, the notion of film as something we view rather than read results in a great loss of riches that film by directors such as Kubrick have to offer.