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Stanley Kubrick: Movies
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Next, Kubrick/Harris made Lolita, based on Vladimir Nabokov's controversial novel. They had bought the rights to the book in 1958, for a reported $150,000. For a number of financial and legal reasons the film was shot in England. In the late 60s Kubrick moved to England permanently and has made all of his subsequent films there.
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This simple fact renders the bombastic fury of Star Wars and its progeny silly, while making Kubrick's film seem like a work of stark realism. And in a movie that runs 2 hours 19 minutes, there are only 46 minutes of dialog. Kubrick himself referred to words as "a terrible straitjacket," which certainly explains his reticence in granting interviews.
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In the next few years, Kubrick had regular assignments for "Look", and would become a voracious movie-goer. Together with friend Alexander Singer, Kubrick planned a move into film, and in 1950 sank his savings into making the documentary Day of the Fight (1951). This was followed by several short commissioned documentaries (Flying Padre (1951), and _Seafarers, The (1952)_ ), but by attracting investors and hustling chess games in Central Park, Kubrick was able to make Fear and Desire (1953) in California.
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Few know how the teenage Stanley Kubrick took his first steps toward becoming one of the 20th century's greatest filmmakers: as a $50-a-week photojournalist for Look. Mining the magazine's long-neglected archives, and talking to those who knew the quiet, eccentric kid from the Bronx, the author traces Kubrick's early photo-narratives, from his undercover shots of ordinary people to the complex backstories he gave celebrity subjects such as Frank Sinatra, to the boxing images that resulted in his very first movie.
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Although his attendance at school was still very poor, Stanley never failed to miss a movie at the local theaters. He would go to the Loew’s Paradise and RKO Fordham twice a week to see double features.
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It may not be entirely correct to call Kubrick a child prodigy. Nonetheless one can picture the confidence and strength of the young artist when, at 16 years old, he managed to sell an unsolicited picture to the highly influential publication, Look. He’d been experimenting in the family darkroom for several years at the suggestion of his parents, and early home movies (1) reveal the seeds of their encouragement. In these movies the young Kubrick is obviously take-charge, as aware of his high stature in family and in life as his placement within the camera frame. Conscious of it or not, Kubrick is directing the action and, judging by his smile, he’s having a grand old time doing it.
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