THE SHINING – Review by John Hofsess
08/03/2018
“The Shining” is not Kubrick’s greatest film or his greatest gamble, but it is his most ambitious attempt to connect with a mass audience.
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Stanley Kubrick
2001: A SPACE ODYSSEY – Review by John Hofsess
08/03/2018
2001 no less than Dr. Strangelove is an apocalyptic vision: it i is an alternate future but no less pessimistic. Beneath its austerely beautiful surface an alarm is sounded for us to examine a problem of which Dr. Strangelove was a pronounced symptom: the possibility that man is as much at the mercy of his own artifacts as ever he was of the forces of nature.
2001: A SPACE ODYSSEY – Reviews by Louise Sweeney and John Allen [The Christian Science Monitor]
08/03/2018
Louise Sweeney, New York-based film critic for The Christian Science Monitor, wrote a generally favorable review following the New York premiere of 2001: A Space Odyssey. Boston staff critic John Allen’s full-page review appeared in the Monitor a month later and M-G-M reprinted it as an ad in a Sunday edition of The New York Times.
2001: A SPACE ODYSSEY – Review by Charles Champlin [The Los Angeles Times]
08/03/2018
Any annoyance over the ending—if indeed it is widely felt—cannot really compromise Kubrick’s epic achievement, his mastery of the techniques of screen sight and screen sound to create impact and illusion.
2001: A SPACE ODYSSEY – The Harvard Crimson Review
06/03/2018
After we have seen a stewardess walk up a wall and across the ceiling early in the film, we no longer question similar amazements and accept Kubrick’s new world without question. The credibility of the special effects established, we can suspend disbelief, to use a justifiable cliche, and revel in the beauty and imagination of Kubrick/Clarke’s space.
Stephen King On The Big Screen: Stanley Kubrick’s ‘The Shining’ – by Mark Browning
03/03/2018
Far from showing an ignorance of horror, as King asserts, the film shows Kubrick’s depth of knowledge of film form and its possibilities.
Full Metal Jacket: Blank Cartridge – Review by Stanley Kauffmann
02/03/2018
Full Metal Jacket betrays Kubrick’s avant-garde admirers.
Spartacus (1960) – Recensione di Ernesto G. Laura
02/03/2018
Spartacus ha il pregio di inserire una voce autentica nella grande produzione di Hollywood e dunque di incidere sul gusto di milioni di spettatori e di dimostrare che incassi ed impegno d’arte non sono per forza in contraddizione fra loro.
2001: A Space Odyssey: Douglas Trumbull On Stanley Kubrick’s Science Fiction Epic – by Dan Persons
01/03/2018
With 2001, we learned the real depth and mass of space, and discovered that “The Ultimate Trip” was going to be a cold, lonely one—an adventure more daunting to the psyche than the body.
2001: A SPACE ODYSSEY – THE PROLOGUE INTERVIEWS
23/02/2018
Kubrick’s original plan was to open 2001 with a ten-minute prologue (35mm film, black and white) — edited interviews on extraterrestrial possibilities with experts on space, theology, chemistry, biology, astronomy.
Kubrick says that he decided after the first screening of 2001 for M-G-M executives, in Culver City, California, that it wasn’t a good idea to open 2001 with a prologue, and it was eliminated immediately.
STANLEY KUBRICK’S VISCERAL ‘BARRY LYNDON’- by Benjamin Ross
22/02/2018
Director Benjamin Ross, whose debut feature is The Young Poisoner’s Handbook, celebrates the drama of failure in Stanley Kubrick’s Barry Lyndon
BEYOND THE STARS – by Jeremy Bernstein
21/02/2018
We are happy to report, for the benefit of science-fiction buffs—who have long felt that, at its best, science fiction is a splendid medium for conveying the poetry and wonder of science—that there will soon be a movie for them. We have this from none other than the two authors of the movie, which is to be called Journey Beyond the Stars—Stanley Kubrick and Arthur C. Clarke.
From Domestic Nightmares to the Nightmare of History. Uncanny Eruptions of Violence in King’s and Kubrick’s Versions of ‘The Shining’
20/02/2018
The impact of past violence on the present is examined in the novel and film versions of The Shining. John Lutz’s essay pinpoints in these works three interrelated elements of what Freud called the “uncanny”—the domestic abuse story, “the postcolonial narrative of American expansion at the expense of nonwhite victims, and the desire for power and control that underlies commodification and the social hierarchies that reinforce it.”
SHINING: INCERTEZZA MORALE – di Giorgio Cremonini
19/02/2018
Il presente contributo di Giorgio Cremonini è inserito nel numero monografico intitolato “Quel che resta nella cornice”, dedicato alla descrizione di alcune tra le più suggestive inquadrature della storia del cinema.
JAMES B. HARRIS INTERVIEW (2002)
16/02/2018
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
A JEWISH AMERICAN MONSTER: STANLEY KUBRICK, ANTI-SEMITISM AND LOLITA (1962) – by Nathan Abrams
12/02/2018
This article presents a case study of the filmmaker Stanley Kubrick, considering how his films can be considered an emotional response to the Holocaust, the legacy of European anti-Semitism, and stereotypes of the Jewish American woman.
Stanley Kubrick: La Soggettiva Del Cadavere – di Vito Zagarrio
09/02/2018
La Storia, diceva ancora Baudrillard, è uno scenario rétro, è un “cadavere” che si può mettere in scena, un “fossile” che può essere rappresentato e “simulato”. «La Storia fa così il suo ingresso trionfale nel cinema a titolo postumo». Baudrillard notava come questa riapparizione della Storia non avesse un valore di presa di coscienza, ma di nostalgia di un referente perduto.
KUBRICK, FREUD E LA COAZIONE A RIPETERE – di Sandro Bernardi
08/02/2018
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»
2001: A Space Odyssey: Lost in the Stars – Review by Stanley Kauffmann
08/02/2018
Stanley Kubrick’s 2001: A Space Odyssey took five years and $10 million to make, and it’s easy to see where the time and the money have gone. It’s less easy to understand how, for five years, Kubrick managed to concentrate on his ingenuity and ignore his talent.
Il dr. Stranamore – di Enrico Ghezzi [Il Castoro Cinema]
25/01/2018
Per molti versi, il film più «erotico» di Kubrick è ‘Il dr. Stranamore’ (1963) (girato anch’esso in Inghilterra), che segna la fine della collaborazione con Harris (il quale vuol passare alla regia ed esordirà due anni dopo con ‘Stato d’allarme’, film che sembra essere la risposta «realistica» a Stranamore).
LOLITA (1962) – di Enrico Ghezzi [Il Castoro Cinema]
25/01/2018
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).