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.
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
Although passed without cuts, Lolita was rated "X" by the British Board of Film Censors when released in 1962, meaning no one under 16 years of age was permitted to watch.
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 [...]
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 [...]
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.
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»
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).
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.