Stanley Kubrick - Ein Leben für den Film

Hollywood has often had a difficult time dealing with ambiguity and enigmas. And there have been very few directors who define those terms much better than the late Stanley Kubrick. That aspect, and many others, are the focus of the incredible intriguing 2001 documentary STANLEY KUBRICK: A LIFE IN PICTURES, directed by Kubrick's brother-in-law (and frequent co-producer) Jan Harlan.

In its 142-minute running time, the film, narrated by Tom Cruise, charts Kubrick's progress from his early days as a photographer in the Bronx to his earliest efforts at film-making (1953's FEAR AND DESIRE; 1955's KILLER'S KISS), and how each new film helped to revolutionize Hollywood at a time when the old studio system was now starting to crumble. But as even a successful big-budget effort like SPARTACUS shows, Kubrick was never one who could simply kowtow to the whims of studio executives. He needed complete creative control over every film he made from that point on, and he didn't feel that he could do that in Hollywood. In a radical move, he moved himself, his family, his life, and his work to England in 1960 and never set foot on American soil again, apart from a few scattered occasions. But he always considered himself an American filmmaker first and foremost.

Beginning with LOLITA in 1962, and continuing right up to the last film, EYES WIDE SHUT, in 1999, Kubrick chose material and subject matter that most other directors would never have thought of touching with a barge pole. His way of doing films, a process that often took years on end (hence the relatively small number of films to his credit), was often seen as cold, clinical, and detached, which tended to rub critics the wrong way. On other occasions, however, his films were often controversial. LOLITA was considered quite scandalous because of its depiction of forbidden love. The reviews for 2001: A SPACE ODYSSEY were initially extremely bad because of that film's revolutionary approach to science fiction. DOCTOR STRANGELOVE was frequently slammed for its savagely satirical approach to nuclear war and Cold War-era politics. A CLOCKWORK ORANGE spawned a firestorm because of its explicit and whimsical approach to sex, violence, and governmental brainwashing. And even THE SHINING, regarded as one of the great horror films of all times in most quarters now, still remains a bone of contention for others because of its ambiguities and the fact that it strayed so far from its Stephen King source material.

But Kubrick remained largely above it all by being deeply committed to his family and friends, as this documentary also shows, utilizing film footage that the outside world had never seen up to that point. Kubrick rarely gave interviews; he was an intensely private man (though not at the Howard Hughes level like so many pundits might claim); and he could be extremely exacting with the actors he worked with (witness Shelley Duvall's own trauma on THE SHINING). Directors like Steven Spielberg, Martin Scorsese, Alex Cox, and Woody Allen all share their impressions of Kubrick's cinematic mastery; while actors like Malcolm McDowell, Sir Peter Ustinov, Jack Nicholson, and Matthew Modine share their impressions of working so closely with the man.

All of this adds up to a great film, one that can never answer all the questions about its subject simply because those questions may not have answers that will satisfy everyone, if anyone at all. But no matter how he was regarded by critics or audiences while he was alive, Stanley Kubrick remains one of the most important directors in cinematic history; and this documentary sets the case for that claim in solid stone.

The documentary is fun and intriguing. There are dozens of interviews -- all quite new, i.e. filmed after Kubrick's death -- including comments from the rarely-heard-from Ligeti, Ustinov, Duvall, Frewin, etc. -- and of course Kubrick's own family. We hear many funny (and sad, and strange) stories about Kubrick never mentioned in any biography; we see home movies never before seen by the public; we see excerpts from a 1968 documentary showing behind-the-scenes work on 2001, and countless photos and film clips taken during the shooting of Kubrick's other films; commentary on his films by a number of directors; dozens of images of Kubrick as a kid; the list is almost literally endless. "There wasn't really anything 'new' in the movie?" Sure.

This was a very well made documentary focusing on the life and the films of the late and masterful, Stanley Kubrick. Everyone from Woody Allen and Nicole Kidman to family members are interviewed throughout this piece, showing how the director was seen by those most involved in his life. The documentary seemed to go chronologically through the more famous works of Kubrick, and stopped to tell tales of Kubrick's perfectionism, his conflict, personal struggles for both the actors and the director, and even unique technological achivements Kubrick made along the way. This documentary taught me quite a bit of things I never knew about Kubrick, one the greatest directors that has ever lived, and stays entertaining while being interesting and informative. If you loved movies like "Eyes Wide Shut," "Full Metal Jacket," "Dr. Strangelove," or "A Clockwork Orange," you're sure to appreciate the behind the scenes looks at not only the set and filming, but at the directors' rollercoaster of a private life as well.

This impressive documentary covers most of Stanley Kubrick's work, through the recollections of major figures in the film industry that, somehow, came into contact with this legendary director. Tom Cruise's presentation is no good, but all the rest works. Nevertheless, the "great absent" in this picture is Kubrick himself. All the way I was waiting for a glimpse at the real, flesh and blood Stanley Kubrick talking about his work. His voice appears briefly, in a recorded speech about "2001", but he doesn't say anything, really. The absence of significant footage with the central figure of this documentary, enhances the mystery surrounding the resources and hidden agenda behind most of his films. Anyway, while watching carefully one of the many pictures of Kubrick's childhood - the one where he's playing the piano with his sister, you can see something beyond those apparently innocent, childish eyes, something that reminded me of the kid in "The Shining".

Because of his reclusive nature, Stanley Kubrick was never the best choice of subject for a documentary, in life as well as in death. Then again, that depends on who's behind the camera - in this case, the late director's brother-in-law and collaborator Jan Harlan, who also appears as one of the interviewees.

Harlan's choice is very simple: skip any attempt to understand the man and just focus on what we have, namely the pictures (hence the film's title). Not just the movies, but also the photos he took in his youth, before discovering cinema. This aspect is covered through comments by friends and family members. Fans, however, are probably more interested in what people have to say about the films, and so we've got some of the key cast and crew of almost all of his movies (one notable exception is Dr. Strangelove, given Peter Sellers and George C. Scott died a long time before Harlan shot the documentary) describing their experiences. In addition, other filmmakers express their sincere admiration for Kubrick, with heaps of praise coming from Scorsese, Spielberg (who directed the Kubrick-inspired A.I.) and Woody Allen (the original choice for Sydney Pollack's role in Eyes Wide Shut).

All possible anecdotes surrounding the man and his methods are recounted with joy, and the effect his films had on culture and society are explored in detail. Hearing Allen's first impressions of 2001 is refreshing (he didn't like it at first), whilst Scorsese's reaction to Paths of Glory is a perfect tribute to that picture's power ("It was so honest, it was shocking!"). The most famous controversy remains that surrounding A Clockwork Orange, and it's almost touching when Kubrick's widow recalls his decision to withdraw it from theaters in England until his death. We don't learn anything new about the great director, but hearing it from those people completely justifies Harlan's effort.

That said, there is one little problem in the film, and that's the fact that everyone is completely incapable of saying anything bad about Kubrick. Okay, maybe his death has something to do with it, but after dozens of occasions during which both Jack Nicholson and Shelley Duvall berated him for how he treated them on the set of The Shining, hearing them say it was generally a positive experience is surprising to say the least. The closest anyone comes to a bit of criticism is when Malcolm McDowell, always the ultimate Kubrickian icon, describes their relationship like this: "I loved him one moment and wanted to kill him the next!".

Overall A Life in Pictures doesn't add much to what we knew about one of the world's best filmmakers, nor does it take anything away. But remembering him through his work and the people who appeared in his movies is the most appropriate way to make a chronicle of his eventful life.