Lolita’s path from novel to the Stanley Kubrick’s and Adrian Lyne’s film adaptations. Essay by Rebecca Bell-Metereau
Stanley Kubrick came very late in life to the screen adaptation of Arthur Schnitzler’s novella, though he had read it and been intrigued by it some thirty years earlier.
Giovanni Grazzini recensisce “Arancia Meccanica” di Stanley Kubrick. Corriere della Sera, 24 agosto 1972
Paul Schrader reviews Stanley Kubrick’s “2001: A Space Odyssey”. Published in ‘Spectacle’, September 13, 1968
To a certain extent, this forthright picture has the impact of hard reality, mainly because its frank avowal of agonizing, uncompensated injustice is pursued to the bitter, tragic end.
Paths of Glory is the work of a brilliant young professional who is easing himself into the more difficult teaches of his job.
Il film di Kubrick “Paths of Glory” visto nel contesto della cinematografia più critica verso la Grande Guerra
Not the least of the virtues of Stanley Kubrick’s movie version of Paths of Glory is that it has been a chief help in rescuing Humphrey Cobb’s 1935 novel— now appearing, as they say, on your neighborhood book-stand.
In the following essay, Charles Maland discusses how Dr. Strangelove functions as a response to the American nuclear policy of the early 1960s
Tom and Nicole tell how they succumbed to Stanley Kubrick’s obsession—and his charm
The theme is sexual obsession. The stars are Tom Cruise and Nicole Kidman. The director is Stanley Kubrick. Who could look anywhere else?
E se “Arancia meccanica” fosse il primo metafilm di tutto il cinema postmoderno? Saggio di Marcello Walter Bruno
Le riedizioni di Lolita e di Arancia Meccanica: il cinema come “magnifica ossessione”, la componente ludica della violenza in una messa in scena “assoluta” delle nostre pulsioni e illusioni culturali.
Stanley Kubrick’s new film, called Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, is beyond any question the most shattering sick joke I’ve ever come across.
Full Metal Jacket (1987) di Stanley Kubrick. Recensione di Paolo Cherchi Usai, in “Segnocinema”, n. 31, 1988
Stanley Kubrick’s “Full Metal Jacket” review published in Film Comment, September/October 1998. By Robert Castle and Stephen Donatelli
Unquestionably one of the most highly anticipated films of modern times due to its high-powered talent combo, protracted and secrecy-enshrouded shoot, rumored racy content
Chances are that when Stanley Kubrick’s Vietnam film Full Metal Jacket is at midpoint a lot of moviegoers will be asking themselves what it’s going to be about, and when it’s over they still won’t know.
“A.I.” delinea l’immagine di un mondo (futuro?) in cui “nascere” robot aiuta forse a capire, ma non a sconfiggere il destino di solitudine e silenzio che incombe sulla specie umana
Stanley Kubrick’s Full Metal Jacket (1987) presents a very different vision of the Vietnam War, one with enhanced perspective.
Raccolta di recensioni italiane pubblicate in occasione della riedizione del film di Stanley Kubrick ‘Arancia meccanica’ nel 1998
I am not certain what it means to call Stanley Kubrick’s The Shining “the first epic horror film,” as the ads are quoting Jack Kroll of Newsweek, but surely it is one of the strangest of them.
Full Metal Jacket certainly isn’t what we expect a Vietnam movie to be. Then again, it’s only secondarily a movie about the war. First and foremost, this is a Kubrick movie
Recensioni di ‘Eyes Wide Shut’ pubblicate sulla rivista Duel, n.74, Ottobre 1999. Contributi critici di Ezio Alberone, Gianni Canova e Mario Sesti
Interviewer Charlie Kohler met with Kubrick in an MGM conference room surrounded by posters and stills from 2001. Kubrick was eager to discuss his new film.
Annette Michelson in her famous 1969 essay, Bodies in Space: Film as ‘Carnal Knowledge’ in which she explored the phenomenal impact of 2001: A Space Odyssey
Il 1968 fu un anno memorabile. Il primo Giro vinto da Eddy Merckx, Beamon che a Città del Messico salta 8,90 in lungo, il Maggio, Praga. Inoltre, esce 2001: Odissea nello spazio
Pauline Kael’s infamous review of ‘2001: A Space Odyssey’, where she referred to the movie as “trash masquerading as art” and “monumentally unimaginative.”
August 1980 issue of American Cinematographer magazine, including an interview with John Alcott and an article on the use of Garrett Brown’s invention, the steadicam, in The Shining.
Forse l’America ha trovato il sistema per esorcizzare una guerra dolorosamente perduta: basta continuare a combatterla al cinema, all’infinito.
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