Richard Combs

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.