Lontano dal cinema di formule e procedimenti a cui rimanda soltanto per la sua mole produttiva, Barry Lyndon si situa in quella zona dove il cinema è invenzione, ricerca, esperimento. Ma dove tutti, coraggiosamente e confusamente, cercano, Stanley Kubrick trova. Non domanda, risponde.
We each began by deconstructing King’s novel separately, reducing it to essential scenes, comparing our lists of scenes, and winnowing them down to a hundred or so. I tore bits of exposition and dialogue out of a paperback copy of the novel and put them in little envelopes on which were written “# 1 The Arrival,” and so on.
The following conversation with writer Diane Johnson, excerpted from an extended interview conducted by Larry McCaffery, centers on her experience as the scriptwriter for Stanley Kubrick ‘s film The Shining.
Critical disappointment with Eyes Wide Shut was almost unanimous, and the complaint was always the same: not sexy. The national reviewers sounded like a bunch of middle-school kids who’d snuck in to see it and slunk out three hours later feeling horny, frustrated, and ripped off.
L’ironia di Kubrick resta sempre fredda, il suo umorismo sereno, forse perciò più toccante. Si limita a prospettare l’eccezionale come raggiunto e quindi divenuto usuale, quotidiano, fine a se stesso.
The best thing about Eyes Wide Shut may be its title, but anyone planning to see Stanley Kubrick’s long-awaited, posthumously released swan song is advised to go with their eyes open.
Full Metal Jacket is not cold. It is not bitter. It is not distanced from its subject. It does not suffer from too many retakes, nor from an excess of directorial control. It is moving. It is angry and fast. It is, at times, hilarious.
To be blunt about it, it’s impossible at this moment to separate thoughts and feelings about Stanley Kubrick’s Eyes Wide Shut from the fact of his death. Or to put it another way, Kubrick’s death is the closure that his final film, for better or worse, resists to the last.
How are we supposed to watch Eyes Wide Shut? Really, how are we supposed to watch any Stanley Kubrick movie? Apprehension of so many of them has shifted between initial reviewing and years of re-viewing, of reconsideration from the vantage of a culture changed, often as not, by the films themselves.
Let me report simply that A Clockwork Orange manifests itself on the screen as a painless, bloodless, and ultimately pointless futuristic fantasy.
If anybody is looking for a film which will embody and reinforce his worst moments of panic, it is available in Stanley Kubrick’s Clockwork Orange.
A Clockwork Orange has fallen heir to the same controversies regarding film violence that blossomed with Bonnie and Clyde and seem never to have withered. Arguments against the film have consistently been based on moral grounds.
The pretentiousness of 2001: A Space Odyssey has been a considerable obstacle to appreciating its status as masterpiece. The collaboration with Arthur C. Clarke and Kubrick’s own statements about the film have obviously obscured how deeply it connects to the rest of his work.
Traduzione italiana della celebre intervista rilasciata nel 1968 da Stanley Kubrick a Eric Nordern per la rivista Playboy
In this essay, Michael Klein elucidates the unique nature of Kubrick’s modernist perspective, as evinced in Barry Lyndon
Barry Lyndon is the loveliest of Stanley Kubrick’s films. Indeed, it’s the one Kubrick movie that could even invite that adjective (or epithet).
The essay discusses the Stoic philosophy which characterizes Kubrick’s early noir films, specifically in the way the protagonist from The Killing ultimately surrenders to the police, in spite of his best efforts to evade the Law.
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
Though The Killing is composed of familiar ingredients and it calls for fuller explanations, it evolves as a fairly diverting melodrama.
I kept my eyes wide open all through Eyes Wide Shut and saw more control-freak unreality than visual genius around the edges of the cluttered compositions.
Stanley Kubrick’s film Barry Lyndon, spectacular as it is, flies in the face of an audience’s usual expectations about “costume drama” as a cinematic form of historical fiction.
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