Lolita

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.

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.

This film remains my all-time favorite. It's a delicious, adult meditation on youth, obsession and sex. While not entirely faithful to the novel, it captures the book's spirit and is nonetheless a masterpiece on its own terms. To fully appreciate what Kubrick has done, compare this version to Adrian Lyne's anemic remake.

Kubrick chose his cast wisely for the most part. James Mason conveys both the tormented inner soul and the outwardly polite gentleman with such charm that you simply can't despise him for his treachery. Shelley Winters was never better as the shrill, man-hungry shrew. Sue Lyon is enormously credible in a complex role - physically attractive, childish at times in her behavior, but quietly calculating and manipulative. The weakest link is Peter Sellers, who Kubrick found amusing enough to let him run on too long. Sellers was a brilliant performer, but just not right for this film. As Quilty, he's fine. When masquerading as others, he's mostly intrusive and tends to alter the tone of what's going on.

The need to tread carefully around the censors in 1962 actually works in the film's favor. There's a sophisticated subtlety that counterbalances the lurid subject matter. In fact, I even prefer the edited-for-television version of the scene in which Humbert and Lolita first have sex. Here she merely whispers in his ear before a suggestive fade-out. In the complete version of the film, the scene continues with them discussing a silly game played at summer camp. The less said, the better.

"Lolita" has aged remarkably well. Its topic is relevant today, and the careful craftsmanship that went into this production holds up beautifully. I think it's Kubrick's best film - they tended to get more self-indulgent as time went on. This one's a gem. Not to be overlooked are the aptly provocative title sequence and Nelson Riddle's luscious piano score.

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.

A riveting transposition from page to screen. The accomplices are two giants in both fields. Nabokov adapts his own infamous novel for the screen and Kubrick, no less, translates it into images in a way that makes it unique, unforgettable and transcendental without ever putting himself in front of the camera. A Kubrick film can't be recognized by its style. Kubrick never made two films alike but there is something that, unquestionable, makes them stand out. In "Lolita"'s case the mere idea of touching the controversial novel with its taboo subject at its very core seem like a provocation from the word go. Pornography for the thinking man in which the only explicit act is the intention written in the character's eyes. Nothing is excessive and nothing is pulled back. James Mason - villain or victim - is monumental, mo-nu-men-tal! The unspeakable truth never leaves his brow. He is the most civilized man trapped in the lowest echelon of his own psyche. So aware, that it is painful to watch. Shelley Winters goes for it, taking her Mrs Hayes for all its worth and dives into the void of a desperate housewife, craving for sex. It is one of the most entertaining, shattering human spectacles, I've ever seen. But unlike Mason, she's not aware of it. There is a horrible innocence attached to her sickness. Peter Sellers's character from hell, the torturer comes in three riveting characterizations and Sue Lyon's temptress, the child, is the devil incarnate in a performance that defies description. None of them were nominated for Oscars and the film was condemned by every moral group in America and beyond. As film experiences go, this is one of the most provocative, enthralling, disgusting, entertaining and satisfying I've ever been through. Yep, I really mean that.