STANLEY KUBRICK ARCHIVE
The most complete online resource on Stanley Kubrick

Shining (1980) – di Enrico Ghezzi [Il Castoro Cinema]

2018-10-15T16:15:13+00:00October 15th, 2018|Categories: CINEMA|Tags: , , , , |

Vedere, rivedere, stravedere. Sarà possibile inventare uno «stravedere» come possibile ulteriore significato di «to overlook». In ogni caso, Shining è un film da vedere rivedere stravedere, portando la «stravisione» oltre l’intransitività dello «stravedere (per – qualcuno o qualcosa – )». Ed è un film che stravede il cinema e nel cinema, il futuro negli anni ’80.

2001: A Space Odyssey – Review by John Simon [The New Leader]

2018-08-07T13:17:06+00:00August 7th, 2018|Categories: CINEMA|Tags: , , , , |

2001: A Space Odyssey is fascinating when it concentrates on apes or machines, and dreadful when it deals with the in-betweens: humans. For all its lively visual and mechanical spectacle, this is a kind of space-Spartacus and, more pretentious still, a shaggy God story.

BARRY LYNDON – di Enrico Ghezzi [Il Castoro Cinema]

2018-05-10T09:10:27+00:00May 10th, 2018|Categories: CINEMA|Tags: , , , |

Barry Lyndon non ha bisogno di chiamarsi Settecento. Se il titolo in Bertolucci indica l’intenzione astratta di definire storicamente quello che – dalla schematica situazione iniziale – si è riproposto come un film dai personaggi classici e «umani»; un film in cui della grandezza e casualità della Storia c’è solo la fluvialità del tempo e l’ampiezza della produzione (la storia economica del film), in Kubrick il nome – come si accennava – deve definire lo sparuto soggetto che è protagonista.

THE PLUCK OF ‘BARRY LYNDON’ – Review by Jonathan Rosenbaum

2018-05-09T09:35:18+00:00May 9th, 2018|Categories: CINEMA|Tags: , , , , |

So Barry Lyndon is a failure. So what? How many “successes” have you seen lately that are half as interesting or accomplished, that are worth even ten minutes of thought after leaving them? By my own rough count, a smug little piece of engineering like A Clockwork Orange was worth about five. I’m reminded of what Jonas Mekas wrote about Zazie several years ago: “The fact that the film is a failure means nothing. Didn’t God create a failure, too?”

CIMINO, KUBRICK E IL GIOCO DELL’IDENTITÀ E DELLA DIFFERENZA – di Guido Barlozzetti

2018-04-22T13:30:42+00:00April 22nd, 2018|Categories: CINEMA|Tags: , , , , , , , |

Da Nang è lontana da Montelepre. La storia di Salvatore Giuliano e la guerra del Vietnam non si consumano sotto lo stesso cielo. Ma, forse, le traiettorie della "blindatissima" Full Metal Jacket e la parabola fatale del Siciliano attraversano lo "stesso" cinema.

2001: A SPACE ODYSSEY – Review by John Hofsess

2018-03-08T18:45:20+00:00March 8th, 2018|Categories: CINEMA|Tags: , , , , |

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]

2018-03-08T16:13:04+00:00March 8th, 2018|Categories: CINEMA|Tags: , , , |

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 – The Harvard Crimson Review

2018-03-06T08:50:12+00:00March 6th, 2018|Categories: CINEMA|Tags: , |

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.

2001: A SPACE ODYSSEY – THE PROLOGUE INTERVIEWS

2018-02-23T16:53:37+00:00February 23rd, 2018|Categories: CINEMA, INTERVIEWS|Tags: , |

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.

BEYOND THE STARS – by Jeremy Bernstein

2018-02-21T16:25:52+00:00February 21st, 2018|Categories: CINEMA, INTERVIEWS|Tags: , , , , |

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’

2018-05-22T22:51:38+00:00February 20th, 2018|Categories: CINEMA|Tags: , , |

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.”

STANLEY KUBRICK: LA SOGGETTIVA DEL CADAVERE – di Vito Zagarrio

2018-02-09T17:27:46+00:00February 9th, 2018|Categories: CINEMA|Tags: , , |

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

2018-02-08T16:06:39+00:00February 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»

IL DOTTOR STRANAMORE – di Enrico Ghezzi [Il Castoro Cinema]

2018-01-25T09:46:59+00:00January 25th, 2018|Categories: CINEMA|Tags: , , , , |

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).

BARRY LYNDON: SETTECENTO – Recensione di Enzo Ungari

2018-01-23T12:32:08+00:00January 23rd, 2018|Categories: CINEMA|Tags: , , , , |

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.

WRITING ‘THE SHINING’ – by Diane Johnson

2018-02-02T08:46:56+00:00January 8th, 2018|Categories: CINEMA|Tags: , , |

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.

EYES WIDE SHUT: GHOST SONATA – By Richard T. Jameson [Film Comment]

2017-12-30T14:23:17+00:00December 30th, 2017|Categories: Uncategorised|Tags: , , , |

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.

BARRY LYNDON: NARRATIVE AND DISCOURSE IN KUBRICK’S MODERN TRAGEDY – Essay by Michael Klein

2018-02-15T20:56:33+00:00December 17th, 2017|Categories: CINEMA|Tags: , , , |

by Michael Klein Even inept films sometimes carry with them a certain mesmerizing authority. Stanley Kubrick's Barry Lyndon, a flawed work based upon a rather uninspiring novel, can be enjoyed, for instance, for its visual effects: sheer photography. And the background music is superb.1 The music offputtingly classical under the [...]

RAPINA A MANO ARMATA (THE KILLING, 1956) – di Enrico Ghezzi

2017-12-12T17:45:57+00:00December 12th, 2017|Categories: Uncategorised|Tags: , , , |

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 a fare comunque del cinema. In parte, proprio la chiarezza con cui dal suo comportarsi si delinea l’esistenza di un progetto di cinema rende oscuro [...]

THE SHINING: A NEW DEFINITION FOR “ULTIMATE HORROR” – by Jim Wynorski [Fangoria]

2017-12-12T12:24:34+00:00December 9th, 2017|Categories: CINEMA|Tags: , , , |

Both Kubrick and King merit congratulations for making The Shining one of the most overpowering experiences of horror ever committed to celluloid. It manages to treat intangible, elusive subjects—ghosts, demons, spirits and the like—as if they were as real as this morning's headlines.

DR. STRANGELOVE: OR HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB – Review by Penelope Gilliatt

2017-11-16T15:25:17+00:00November 16th, 2017|Categories: CINEMA|Tags: , , , |

The key of the brilliant comic tone of the film is in the title. What makes the picture so funny, terrifying and horribly believable is that everyone in the film really has learned to stop worrying, as smokers do about lung cancer after living with the statistics for a bit.

STANLEY KUBRICK’S THE SHINING – Review by Flo Leibowitz and Lynn Jeffress [Film Quarterly]

2017-09-16T13:13:43+00:00September 16th, 2017|Categories: CINEMA|Tags: , , , |

by Flo Leibowitz and Lynn Jeffress To all appearances, The Shining is simply a hope­lessly clichéd gothic horror film. Can this be ser­ious? A lonely house on a hill haunted by ancestral ghosts that curse successive generations and force them to re-enact the original horror. It is not even redeemed [...]

Lolita (1962) – Review by Richard Combs

2018-09-14T17:00:18+00:00September 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.

‘SPARTACUS’: HAILED IN FAREWELL (1960) – by Eugene Archer

2017-12-18T16:31:27+00:00August 30th, 2017|Categories: CINEMA, INTERVIEWS|Tags: , , , , |

by Eugene Archer Critics have always debated the correct way to apportion the credit for a multi-million-dollar production among producers, writers, actors and corps of technicians, but Stanley Kubrick, the youthful director of Spartacus, has no such doubts. If any critical bouquets are available after the elaborate costume spectacle opens [...]

SPARTACUS (1960) and THE GUNS OF NAVARONE (1961) – The Guardian Review

2017-08-30T08:36:37+00:00August 30th, 2017|Categories: CINEMA|Tags: , , , , |

EPIC FILMS ANCIENT AND MODERN A week of epics. It is true that neither Spartacus (Gaumont) nor The Guns of Navarone (Regal) conform to Bible thumping traditions but as both last for over three hours, including intermissions for the audience to recuperate on orange squash, and are littered with stars, [...]

STANLEY KUBRICK: AT A DISTANCE – Interview by Lloyd Rose

2017-10-07T08:43:56+00:00August 28th, 2017|Categories: CINEMA, INTERVIEWS|Tags: , , , |

by Lloyd Rose PINEWOOD GREEN, ENGLAND – The board room at Pinewood Studios is disturbingly baroque. The ceiling sags with chandeliers. Gilt-edged paneling dresses every inch of wall. At one end a cold-eyed movie mogul, the late J. Arthur Rank, grins from his painted portrait. It hangs above a sideboard [...]

KUBRICK’S STRANGE LOVE – Review by Gerard Fay [The Guardian]

2017-08-21T23:08:49+00:00August 21st, 2017|Categories: CINEMA|Tags: , , , |

by Gerard Fay Stanley Kubrick is unusual among American film directors for a complete lack of flamboyance. He dresses without distinction, talks quietly and modestly, eats and drinks frugally, reads and thinks a lot. He is not an Austrian or even an Hungarian but was born in the Bronx, New [...]

A CLOCKWORK ORANGE – Review by Don Daniels [Sight and Sound]

2017-08-21T15:21:59+00:00August 21st, 2017|Categories: CINEMA|Tags: , , , , |

by Don Daniels Stanley Kubrick's films seem to provoke the kind of mindless praise and attack that is called 'controversy' these days. In the case of A Clockwork Orange, the responses have ranged from 'brilliant' to 'boring', with special attention to the film's depictions of violence. If the viewer responds [...]

BARRY LYNDON: KUBRICK’S GRANDEST GAMBLE – by Richard Schickel

2017-08-12T11:28:54+00:00August 11th, 2017|Categories: CINEMA|Tags: , , , , |

by Richard Schickel FIRST PARADOX: Barry Lyndon, a story of an 18th century Irish gentleman-rogue, is the first novel of a great 19th century writer, William Makepeace Thackeray. It shows early signs of a genius that would nourish only after creative struggle and personal adversity. In time, this forgotten book [...]

A CLOCKWORK ORANGE (1972) – Review by Richard Schickel

2017-12-21T13:35:23+00:00August 11th, 2017|Categories: Uncategorised|Tags: , , , , |

For a director like Stanley Kubrick, a novel like Anthony Burgess's A Clockwork Orange must have seemed an irresistible challenge. Kubrick is essentially a daring imagist, yet he has twice before been tempted by projects that pose powerful problems of language for the film maker.

NIHILISM AND FREEDOM IN THE FILMS OF STANLEY KUBRICK

2017-08-01T23:46:14+00:00August 1st, 2017|Categories: CINEMA|Tags: |

by Daniel Shaw Much critical ink has been spilled over the question of whether the worldview of archetypal auteur Stanley Kubrick is nihilistic, and appropriately so. To my mind, this is one of the most important questions we can ask about genuine artists and their oeuvres. If auteur criticism is [...]

ARANCIA MECCANICA (1972) – Recensione di Pietro Bianchi

2017-08-01T23:18:10+00:00August 1st, 2017|Categories: CINEMA|Tags: , , , , |

di Pietro Bianchi È difficile dire quale fosse la precisa intenzione del regista Stanley Kubrick quando decise di fare un film, Arancia meccanica, dal romanzo di Anthony Burgess dallo stesso titolo. Per Burgess non ci sono dubbi. Cattolico, avendo sfiorato la morte per una grave malattia, desiderava mostrare i pericoli [...]

2001: FUORI NELLO SPAZIO MA DENTRO LA VITA

2017-06-02T16:49:18+00:00June 2nd, 2017|Categories: CINEMA|Tags: , , , , |

2001: IL FILM DI STANLEY KUBRICK Il viaggio interplanetario è un viaggio biologico di Lino Curci Sono giorni di scienza, non di fantascienza. Per la prima volta, con l’«Apollo 8», ritorno ha varcato il confine che separa il campo gravitazionale della Terra dalla zona in cui agiscono le forze dì [...]

SPARTACUS AND THE SECOND PART OF THE SOUL

2017-05-03T16:54:48+00:00May 3rd, 2017|Categories: CINEMA|Tags: , |

by Gordon Braden Roman History at the Movies At the end of Ridley Scott’s film Gladiator (2000), the mortally wounded Maximus (Russell Crowe), having killed the psychopathic emperor Commodus in gladiatorial combat in the Colosseum, speaks to the suddenly silent crowd: “There was a dream that was Rome. It shall [...]

PHOTOGRAPHING STANLEY KUBRICK’S BARRY LYNDON

2017-10-07T08:43:58+00:00March 28th, 2017|Categories: CINEMA, INTERVIEWS|Tags: , , , |

Interview with Director of Photography John Alcott Among all the film-makers of the world, there is no one quite like Stanley Kubrick. To be more accurate, there is no one even remotely like him. An early dropout from formal education, largely self-taught, but possessed of a razor-sharp intelligence and a [...]

KUBRICK’S SHINING – Review by Richard T. Jameson [Film Comment]

2018-02-09T17:40:45+00:00March 23rd, 2017|Categories: CINEMA|Tags: , , , |

by Richard T. Jameson Camera comes in low over an immense Western lake, its destination apparently a small island at the center that seems to consist of nothing but treetops. Draw nearer, then sweep over and pass the island, skewing slightly now in search of a central focus at the [...]

EYES WIDE SHUT: WHAT THE CRITICS FAILED TO SEE IN KUBRICK’S LAST FILM – by Lee Siegel [Harper’s Magazine]

2018-02-24T01:20:18+00:00March 9th, 2017|Categories: CINEMA|Tags: , , , , |

Not a single critic, not even those few who claimed to like Eyes Wide Shut, made any attempt to understand the film on its own artistic terms. Instead, the critics denounced the film for not living up to the claims its publicists had made for it.

DR. STRANGELOVE: NIGHTMARE COMEDY AND THE IDEOLOGY OF LIBERAL CONSENSUS

2017-01-24T16:56:13+00:00January 23rd, 2017|Categories: CINEMA|Tags: , , |

by Charles Maland DR. STRANGELOVE OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (Stanley Kubrick, 1964) is one of the most fascinating and important American films of the 1960s. As a sensitive artistic response to its age, the film presents a moral protest of revulsion against the [...]

2001: ODISSEA NELLO SPAZIO – Recensione di Giovanni Grazzini

2016-12-05T16:43:22+00:00December 5th, 2016|Categories: CINEMA|Tags: , , , , , , , |

Non siamo soli nell'universo. Per convincercene, e umiliare il nostro orgoglio, Stanley Kubrick ha scritto e diretto il più clamoroso e agghiacciante film di fantascienza, o come lui dice, di "prescienza", che sinora sia apparso sugli schermi del sistema solare.

VIDDY WELL, LITTLE BROTHER!

2016-11-26T22:43:06+00:00November 26th, 2016|Categories: CINEMA|Tags: , |

A Clockwork Orange by Tony Parsons A Clockwork Orange was like seeing your little life blown up and put on the big screen. It took all the consolations of being a teenager in Britain in the early 70s — the tribal identity, the comfort of friendship, the mindless intoxication — [...]

IL SETTECENTO DI BARRY LYNDON E DI 2001: ODISSEA NELLO SPAZIO

2016-11-20T16:14:08+00:00November 20th, 2016|Categories: CINEMA|Tags: , , , , |

Avvisaglie della fine impossibile di Francesco Cattaneo «...è l'individuo tale quale, elementare e tortuoso, vomitato dal Caos in piena Versailles". E.M. Cioran (1). «La luce è tenebra quando è solo luce» Franco Rella (2). Una delle immagini più vulgate del Settecento è sine dubio quella afferente alla formula kantiana secondo [...]

2001: ODISSEA NELLO SPAZIO: Recensione di Fernaldo di Giammatteo

2016-11-20T12:55:40+00:00November 20th, 2016|Categories: CINEMA|Tags: , , , , , |

Il caso di 2001: A Space Odyssey, film di enorme successo e di enorme sfortuna, è uno dei più clamorosi. Tanti furono i sofismi che ne accolsero l’uscita da indurre lo stesso Stanley Kubrick a fornire, un poco infastidito, la sua semplice spiegazione

FULL METAL JACKET Recensione di Giovanni Grazzini

2016-11-08T18:47:02+00:00November 8th, 2016|Categories: CINEMA|Tags: , , , , |

di Giovanni Grazzini Il tempo passa ma Kubrick non cambia idea: fra tutte le maniere di morire la guerra continua a sembrargli la più cretina. A trent'anni esatti dal suo Orizzonti di gloria, che resta un pilastro del cinema antimilitarista, e a una ventina da Stranamore, eccolo ancora sparare a [...]

ORIZZONTI DI GLORIA: “FOYER” CRITICO DELLA RIVISTA BIANCO E NERO

2017-02-13T14:35:46+00:00September 23rd, 2016|Categories: CINEMA|Tags: , , , , , , |

Contributi critici del regista cinematografico Michelangelo Antonioni, del critico letterario Giulio Cattaneo, dello storico del cinema Fausto Montesanti e dello sceneggiatore Giorgio Prosperi. Con una nota critica di Lino Del Fra.

DOSSIER KUBRICK – Duel 70

2016-10-02T23:51:02+00:00May 10th, 2016|Categories: CINEMA|Tags: |

Series of articles about Stanley Kubrick published by the Italian magazine Duel on the n.70 issue, June 1999 Perché Kubrick è un classico: Stanley o la luccicanza di Apollo di Marcello Walter Bruno Kubrick è un classico perché è il contrario del déjà vu. Il suo cinema cerca e trova [...]