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Stanley Kubrick: Films
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It took him another four years to return to the screen, but when he did, Kubrick did his magic once again with the release of 2001: A Space Odyssey. Based on a short story by sci-fi genius Arthur C. Clarke, 2001 was highly anticipated when released 33 years before the date in the film title. When it premiered in Los Angeles to a very eager crowd, the result was major disappointment, utterly baffling many of the viewers with its pedestrian pace and cryptic message. Certainly it wasn't helped by expectations: just what the hell is a film about the future doing following around a bunch of ape men? Slowly, the reason is revealed, as the apemen, inspired by an enigmatic monolith which appears out of nowhere, come up with the first invention from higher consciousness. The invention, naturally, is a weapon, using a bone as a club to viciously beat to death competitors.
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Stanley Kubrick butted heads with many well-respected people in Hollywood and he always demanded respect when he was on the set. Through his unique directing style and groundbreaking movies, Kubrick managed to separate his works from “typical” Hollywood films. As a result, the way audiences think and interpret movies has been changed forever.
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Kubrick was a poor student with low grades when he became captivated by still photography as a teenage boy in the Bronx. His obsession with the photographed image led to filmmaking. Kubrick was a wunderkind staff photographer for Look magazine when he decided he was going to make a film short. The film Day of the Fight, based on a Look photostory, was 22-year-old Kubrick's first venture into the medium. Working with his documentary subject, middleweight boxer Walter Cartier, Kubrick created the screenplay and learned how to operate a movie camera by countertop instruction from a rental house salesman. Later, to edit the film, he taught himself how to operate a Moviola and then constructed the soundtrack frame by frame during the sound editing process.
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Garcia Mainar, Luis M. Narrative and stylistic patterns in the films of Stanley Kubrick / Luis M. Garcia Mainar. Rochester, N.Y.: Camden House, 1999. European studies in American literature and culture Main Stack PN1998.3.K83.G37 1999
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Kirk Douglas konnte Stanley Kubrick für die Regie des Monumentalfilms Spartacus gewinnen, nachdem der ursprüngliche Regisseur, Anthony Mann, nach wenigen Drehtagen gefeuert worden war. Der 32-jährige Kubrick meisterte sowohl den Umgang mit den Hollywood-Stars als auch die aufwändigen Massenszenen hervorragend, war jedoch selbst sehr unzufrieden, weil er zu wenig Einfluss auf Drehbuch und Produktionsbedingungen hatte. Kubrick nahm sich vor, nie wieder einen Film zu drehen, bei dem er nicht von der Drehbucherstellung bis zum Schnitt volle Kontrolle über die Produktion haben würde. Er verließ das System von Hollywood und blieb dort bis zum Ende seines Lebens ein Außenseiter.
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According to Kirk Douglas, Kubrick allegedly wanted to take credit for the Spartacus (1960) screenplay that was primarily written by Dalton Trumbo. Trumbo, who was blacklisted at the time, originally was going to use the alias Sam Jackson. During the production of the film, Otto Preminger announced he had hired Trumbo to write the screenplay for Exodus (1960). Douglas, in turn, announced that he had been the first to hire Trumbo, who would be credited on his film. Preminger's film was released six months earlier than "Spartacus," which was released in October 1960. Douglas later said he decided to give Trumbo credit because he was appalled at Kubrick's attempt to hog the credit.
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