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Stanley Kubrick: Directors
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Stanley Kubrick: A Life in Pictures ... gives insight into Kubrick himself, offering a number of antidotes while attempting to dispel the rumors of his more eccentric working habits. This part of the film falters a bit, with everyone basically noting that while Kubrick could be difficult to work with, the experience was worth it. Maybe. But one particular sequence finds the director shouting at Shelley Duvall on the set of The Shining, berating her in a fashion that borders on abusive. If more footage like this existed, it either wasn’t made available or director Jan Harlan decided not to show it. Many viewers will probably wonder if Kubrick was really as nice as A Life in Pictures suggests.
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On Saturday March 8th, 1997, the Director's Guild of America awarded Stanley Kubrick its highest honor, the D.W. Griffith Award. The 68 year old Kubrick did not attend but did send an acceptance speech on videotape. Jack Nicholson accepted the award for Kubrick and said:
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On March 8th, 1997, the Director's Guild of America awarded Stanley Kubrick their highest honor, the D.W. Griffith award (AFI Web Site). This proves his acceptance within his domain, combined with the many homages other filmmakers have made in his honor.
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Actors that worked with Kubrick and that knew him very scarcely, are often shocked because they are forgotten. They are used to work with directors that play for them, that give long and complex psychological explanation of the characters, or with directors that want rhetorical or theatrical performances. There are still actors with theatrical experiences that confuse a studio with a stage.
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Having acquired the rights to Vladimir Nabokov's controversial novel Lolita with its themes of sexual obsession and pedophilia, director Kubrick and producer James B. Harris headed to England to do the film. The two men ended up rewriting Nabokov's script, leaving only about 20 percent of the original (by Nabokov's own estimate). The novel's subject matter was handled very subtly in the film, primarily through looks and double-entendres. But this toned-down version left many moviegoers and critics disappointed because they felt it was not true to the frank eroticism of the original story.
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Common themes seem to run across Kubrick's films. In teen age youth Kubrick finds raw untamed emotion, "uncivilized," amoral and "un- legitimized." In more advanced age, Kubrick finds corruption, particularly in males. He seems to rail as a Director, or perhaps merely observes, how with age comes ossification, routine and a kind of inner dying. He seems to lament a person's capacity to detach himself from his emotions, ostensibly for the pantheon of monied success or social status. Never leaving his camera is a realization of the evil that spreads from hypocrisy. Even HAL, who so subtly intermixes child-machine and adult deceit, is tormented by these themes.
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