The End of the Road: Film Noir and Lolita

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

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|Categories: CINEMA|Tags: , , , |

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 [...]


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

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) – Review by Richard Combs

2020-10-18T19:28:37+01:00September 14th, 2017|Categories: CINEMA|Tags: , , , |

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.

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