Lolita

Not the two words that came to mind when I first read the book. This movie nicely handles the taboo subject matter and is tremendously funny as well. Peter Sellers was warming up for his triumph in Dr. Strangelove, Shelly Winters gave her best performance, and James Mason made us feel his pain. As Lolita, Sue Lyon is convincing although Kubrick makes her character a bit older (probably to satisfy the censors, which still slapped this with an X rating originally, much to my surprise). The movie could play on TV today with no edits. I have not seen the 1997 remake but can only imagine, given its director with a reputation of going over the top, that it's not as classy and tasteful as this one. Since this was made in 1962, the risque elements from the book were left to our imagination. And the movie scores highly because of it. The movie's story is stuck in the '60s (that bubblegum music, which played during Lolita's early scenes, will stick with you), and if you are bored with the story, or cannot believe what you're seeing, you can always get a culture lesson: Hula hoops, malt shops, pseudo intellectuals, faulty cots and gas stations where they still pump your gas.

A significant part of Stanley Kubrick's genius was his ability to translate a literary style into a visual one. It is demonstrated nowhere more brilliantly than in LOLITA and A CLOCKWORK ORANGE.

LOLITA is perhaps the more stunning accomplishment, in that Nabokov's style is complex and multi-layered. Yet Kubrick captures the effect of it in camera angles and movements, in timing and point of view.

The broadest layer of Nabokov's novel, the parable of the aging culture of Europe trying to revivify itself by debauching the seductive young culture of America, is really missing in the film. But everything else is there, despite the fact that the film departs from the exact events of the novel.

Not to say that the film depends on the novel. It stands by itself quite easily. But it succeeds brilliantly in conveying the ideas and feelings that are the core of the novel, and it does so in completely cinematic terms. If films are to be based on works of literature, this is the way to do it, and the way it is almost never done.

I'm going to say something that Kubrick fans and are not going to like. I think the 1997 remake of Lolita , directed by Adrian Lyne is a far superior film. Granted , i saw the remake first which may have had some influence but i am adamant it's a better film.

I'm not saying this version is bad , its not. In fact its really good but there are some real problems with it and they are mainly down to one person - Peter Sellers. His character Clare Quilty is so over the top . It's like there is a character from the Goon Show inserted into a serious drama and it feels wrong in every way. Why Kubrick felt this was necessary is beyond me. Frank Langella played Quilty in the remake and got it spot on. No childish voices or Pink Panther esq disguises.

James Mason is superb ( That Voice!) as is Shelley Winters and Sue Lyon who played Lolita. You have to admire Stanley Kubrick for making a film in 1962 with such a controversial subject . It was a brave thing to do. Sue Lyon plays the innocent ( or not so) teen brilliantly and i love the subtle looks she gives Humbert . The question is , is she encouraging him or is he just a sexual predator ?

Despite my thoughts on the remake being a better film , i still think this one of Kubrick's best.

8/10

Kubrik's version of Nabokov's tale of a middle-aged professor's self-destructive obsession with a young schoolgirl. Making a film that dealt with underage sex was considered impossible in 1962 due to the strict censorship regulations. Kubrik manages to get round this by merely alluding to sexual encounters and subtle wordplay and symbolism creeps into several scenes. He also raises the girl's age from 12 in the novel to 14 in the film. Lolita is also rich in Kubrik's trademark dark humour.

The three central characters of the novel are all portrayed more than adequately in the film; James Mason as the smitten professor, Shelley Winters as the suburban widow with pretensions of culture and Sue Lyons as the young nymphet. However, it is Sellars' performance as the creepy eccentric Clare Quilty (a relatively minor character in the book) that steals the show and, ultimately, makes the film. The opening scene (which is the ending of the film) is an outstanding testament to his talent and versatility. The said scene gives the film the same "circular structure" used by David Lean in "Brief Encounter".

My favourite moments include; Quilty's re-introduction to the film at the school's summer ball as the camera pans across the dancefloor and subtly reveals a look of comic ambivalence on his face as he dances with his lover, Humbert awkwardly trying to book the only remaining hotel-room at the police convention and Humbert again trying to teach the cynical Lolita the joys of Edgar Allen Poe's poetry.

I thoroughly recommend this film. My only complaint is the length - the final third seemed to drag a bit.

Vladimir Nabokov's 'Lolita' is a brilliantly written, beautifully constructed, hilarious (in a black-comedy way), poignant, luridly shocking (but not gratuitously so) and very daring for its time book.

Despite me considering it one of the finest books she's ever read, when describing it to people they often give me "is she mad?" looks due to its subject matter. Don't let the subject matter turn you off, no matter how it sounds, to me 'Lolita' is an essential read. Stanley Kubrick's film adaptation, which saw Nabokov's involvement, is not exactly faithful and elements are downplayed, but, considering how difficult to adapt the book is and how films had to deal with censorship constraints and studio interference often, Kubrick's film is a very brave and worthy attempt.

Kubrick's 'Lolita' also succeeds incredibly well on its own terms, reminding one of Kubrick's 'The Shining' where it is very far removed from the source material but was so much scarier, more atmospheric and more shocking than anything in the more faithful mini-series. It's not quite one of Kubrick's very finest (in a very solid career where to me his only misfire was his debut 'Fear and Desire) but it is one of his most fascinating. Quibbles are very few, with my only quibbles being some over-obvious back projection representing Nabokov's nightmarish vision and the Elstree locations even more so as a result of problems with the economy and censorship.

'Lolita' however is brilliantly shot, lit and made with incredible atmosphere and directed with Kubrick's unmistakable masterly touch, meticulous but not as cold as some of his critics have criticised his directing and films for being. It's hauntingly and beguilingly scored too with a memorable main theme. While one does miss some of the book's funniest moments and the subject matter is a little more shocking in the book (with the age gap being more believable), 'Lolita' achieves an ideal balance of hilarious black comedy and affecting drama.

The story is lurid, but in a sensually captivating way and never in a vulgar way. It is also relentlessly entertaining and has moments of genuine poignancy. The characters are intriguing and the acting is terrific. Sue Lyon, while slightly too old age-wise (only by a few years though), more than holds her own against her more famous colleagues and is positively alluring. In an incredibly bold career move, James Mason superbly brings cruelty and pathos (his begging at the end is heart-breaking) to Humbert, here a complex character rather than the total creep that he could have been in lesser hands than Mason's. Shelley Winters is riotous and surprisingly poignant, while ever the scene stealer Peter Sellers brilliantly steals every scene he's in in multiple roles, especially great as Quilty, a creepy chameleon sort of character.

Overall, a fascinating film and gets better and funnier with each viewing. Not one of my favourites, but one this reviewer appreciates highly. 9/10 Bethany Cox