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.
Dilys Powell reviews Stanley Kubrick’s ‘A Clockwork Orange’
Philip Strick & Penelope Houston interview with Stanley Kubrick regarding ‘A Clockwork Orange’
Kubrick’s Barry Lyndon is a lot more than a substitute for an allbutforgotten tale. The movie also translates the printed page into art for the eye and the ear by coordinating the story with the paintings, music and landscaping of the period
Dilys Powell review of Stanley Kubrick’s ‘Barry Lyndon’
by Caran Wakefield Pablo Ferraro’s original commercial for Doctor Strangelove: Or How I Learned to Stop Worrying and Love the Bomb teases the audience, offering
Dilys Powell reviews ‘2001: A Space Odyssey’ by Stanley Kubrick
Dilys Powell reviews Stanley Kubrick’s Dr Strangelove
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
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
Stanley Kubrick’s Full Metal Jacket establishes its grip on the viewer’s attention instantaneously, with an opening scene in which young recruits are shorn by an off-screen Marine Corps barber, while a corny, lulling song is heard in the background (“Kiss me goodbye and write me when I’m gone/Goodbye sweetheart, hello Vietnam”).
John Hofsess reviews Stanley Kubrick’s ‘Barry Lyndon’ for The New York Times
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
Stanley Kubrick’s ‘Paths of Glory’ (1957) is much more than an antiwar film; it is as much about the necessary absurdity of the human condition as about the contingent horror of war
An Irish rogue wins the heart of a rich widow and assumes her dead husband’s position in 18th Century aristocracy.
Since the completion of 2001: A Space Odyssey, Stanley Kubrick has repeatedly suggested that his films are inapplicable to verbal formulations. “I tried to create a visual experience,” he said of 2001 in 1968, “one that bypasses verbalizing pigeonholing and directly penetrates the subconscious with an emotional and philosophical content…
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
Seen today, in the lovingly restored 197-minute version now playing at the Ziegfeld, the two-tiered historical pageant that is Spartacus says at least as much about America in the late 1950’s as it does about ancient Rome.
In the following essay, DeBellis asserts that John Updike’s references to 2001: A Space Odyssey in Rabbit Redux underline the major thematic concerns in the novel.
Saggio critico di Fernaldo Di Giammatteo su “Full Metal Jacket”, pubblicato nel numero monografico su Stanley Kubrick della collana Il Castoro Cinema
Saggio critico di Enrico Ghezzi su “Arancia Meccanica”, pubblicato nel numero monografico su Stanley Kubrick della collana Il Castoro Cinema
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
The Shining is a horror movie only in the sense that all Kubrick’s mature work has been horror movies—films that constitute a Swiftian vision of inscrutable cosmic order, and of “the most pernicious race of little vermin that nature ever suffered to crawl upon the surface of the earth.”
Sue Lyon makes Lolita a mirror of the popular culture and as alarming a harbinger of Western civilization’s imminent collapse as I can remember.
Kubrick’s adaptation of King’s novel, while it maintains elements necessary to cue the genre of the horror film, expands King’s work of popular entertainment into a thoroughly postmodern work of art.
A recent variation in the horror movie genre has been a series of films about middle class life in America in which the source of potential hazard is middle class life.
Toward a Post-structural Influence in Film Genre Study: Intertextuality and The Shining. Essay by Walter Metz
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.
This study will point out how Dr. Strangelove is a sex allegory: from foreplay to explosion in the mechanized world.
![The Shining (1980) Dick Halloran [Scatman Crothers]](https://scrapsfromtheloft.com/wp-content/uploads/2017/02/The-Shining-1980-Dick-Halloran-Scatman-Crothers.jpg)
“I wanted to play the part of Dick Halloran before I even knew that they were going to make the movie,” says Scatman Crothers
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