Kubrick in 1949 Stanley Kubrick (July 26, 1928 – March 7, 1999) was an American film director, producer, screenwriter, and photographer. He is frequently cited as one of the greatest filmmakers in cinematic history. His films, which are mostly adaptations of novels or short stories, cover a wide range of genres, and are noted for their realism, dark humor, unique cinematography, extensive ...
Stanley Kubrick was born in Manhattan, New York City, to Sadie Gertrude (Perveler) and Jacob Leonard Kubrick, a physician. His family were Jewish immigrants (from Austria, Romania, and Russia). Stanley was considered intelligent, despite poor grades at school. Hoping that a change of scenery would produce better academic performance, Kubrick's...
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Director Stanley Kubrick was one of the most consistently fascinating filmmakers in the latter half of the 20th century. Just as his singularly brilliant visual style won him great acclaim, his...
Stanley Kubrick, (born July 26, 1928, Bronx, New York, U.S.—died March 7, 1999, Childwickbury Manor, near St. Albans, Hertfordshire, England), American motion-picture director and writer whose films are characterized by his dramatic visual style, meticulous attention to detail, and a detached, often ironic or pessimistic perspective.
Stanley Kubrick was born in Manhattan, New York City, to Sadie Gertrude (Perveler) and Jacob Leonard Kubrick, a physician. His family were Jewish immigrants (from Austria, Romania, and Russia). Stanley was considered intelligent, despite poor grades at school.
Stanley Kubrick was an American film director, screenwriter, and producer. He is frequently cited as one of the greatest and most influential directorsin cinematic history.
Stanley Kubrick (1928–1999) directed 13 feature films and three short documentaries over the course of his career. With works spanning diverse genres, he is widely regarded as one of the most influential directors. Kubrick made his directorial debut in 1951 with the documentary short Day of the Fight.
After refusing to attack an enemy position, a general accuses the soldiers of cowardice and their commanding officer must defend them. Director: Stanley Kubrick | Stars: Kirk Douglas, Ralph Meeker, Adolphe Menjou, George Macready
- The Seafarers
- Fear and Desire
- Flying Padre
- Killer’S Kiss
- Day of The Fight
- Eyes Wide Shut
- The Killing
- Paths of Glory
- The Shining
- Full Metal Jacket
- A Clockwork Orange
- Barry Lyndon
- Dr Strangelove OR: How I Learned to Stop Worrying and Love The Bomb
- 2001: A Space Odyssey
A half-hour short commissioned by the the Seafarers International Union. It is not without observational interest, but with repeated big-ups for the union’s facilities and bargaining power, this is basically an extended commercial/propaganda piece.
Stanley Kubrick disowned his first feature as a “bumbling amateur film exercise”, and did his considerable best to stop anyone showing it, even after any copyright had lapsed. Is it really that bad? Well, it’s not great. But it demonstrates very much Kubrick’s ability to point the camera in the right direction, and his interest in war as a theme, so it’s not a complete write-off.
Having sold his first short, Day of the Fight, Kubrick embarked on another speculative newsreel item: a 10-minute human-interest feature about a priest who gets about his enormous New Mexico parish in a two-seater aeroplane. It’s a decent watch, with some nice aerial photography and to finish, an impressive high-speed reverse track on the padre as he stands next to his plane.
Kubrick took over this cast-of-thousands Roman epic after its star-producer, Kirk Douglas, fired the original director, Anthony Mann, a week into the shoot. But with Kubrick essentially a Hollywood hireling, this is by far the least personalised of his films: a lumbering, preachy epic that, despite the instant-classic “I’m Spartacus” scene, never manages to generate the momentum it requires.
After Fear and Desire failed to get him noticed, Kubrick tried again, this time with a much more marketable proposition: a feature about a washed-up boxer and the dancer he falls in love with. It’s hampered by wooden acting and some hokey narrative architecture. But it does the job – and got Kubrick on his way.
For a first-timer, this is simply extraordinary. Kubrick was 21 when he shot this documentary about boxer Walter Cartier in 1950. It’s small, but perfectly formed, which is why it rates higher than some of his later features; Kubrick wisely carried it with him into Killer’s Kiss, and you can see its DNA in Martin Scorsese’s Raging Bull.
A disappointing way to go out. After all the great achievements of the 70s and 80s, Kubrick’s final film is a perplexingly underwhelming study of sociosexual paranoia that, despite the heavyweight cast and muscular direction, comes across as a headswimmingly barmy depiction of the dangers of messing with the elite. There’s something very cable-TV about its conception of sophisticated depravity, and while this contains one of Kubrick’s few substantial female performances (from Nicole Kidman),...
Kubrick pushed on from Killer’s Kiss with this entertaining racetrack heist movie, tricked out with a mosaic of flashbacks, rewinds and jump-forwards that gave it, for the time, a radical sheen. For all that, it’s not that different from The Asphalt Jungle from a few years before, with whom it shares its topline name, Sterling Hayden. But alongside the B-movie tropes and well-used character arcs, Kubrick’s elegant, fluid camerawork is starting to exert its influence, pointing the way ahead.
At this point, in the late 50s, Kubrick was all about progression: each project was a jump up from the one before. Having proved his worth in genre film-making, this ambitious first-world-war drama was Kubrick’s step up to the big league. His comfort in the mainstream is very much in evidence: its big moral themes are delineated with lucidity, though perhaps without the subtlety he would achieve in later films. Kubrick is also beginning to impose his directorial signature, most famously in th...
Even more than Eyes Wide Shut, this remains Kubrick’s most problematic film. Whichever way you cut it, a black comedy about a paedophile rapist, however high-status the source material, is not going to remain unchallenged. But as a film, it’s a breakthrough for Kubrick: the point at which he came into his own. Who knew, for example, he had a sense of humour? Nothing in his previous career had indicated it. Hauling Peter Sellers in for one of those multi-character roles pioneered in Ealing com...
By 1980 Kubrick had nothing left to prove: a shift in genre position was a statement in itself. Yet despite his austere reputation, he was always after a box office hit, and after the disappointing results for Barry Lyndon, Stephen King’s chiller got the nod. The Shining works by incrementally ratcheting up the creepiness while extracting top-notch performances from its leads: Jack Nicholson is as mesmerically heavy-lidded as he ever was and Shelley Duvall – treated with disdain by Kubrick du...
Sidetracked by other projects, Kubrick’s output began to slow down in the 1980s. By the time this brutal Vietnam movie made it into cinemas it, had been overtaken and overshadowed by Oliver Stone’s Platoon, released a year earlierBut it stands up incredibly well – principally down to the inspired inclusion of R Lee Ermey’s non-stop stream of creative foulmouthed abuse. The film’s diptych structure is designed to equate the trauma of training and combat, capped by the still-disturbing murders...
Kubrick greeted the 1970s with this massive howl of rage: a boiling, combative screed as different as humanly possible from 2001’s paean to cosmic harmony which preceded it. Kubrick is taking aim at the powers-that-be, unable to effectively contain the problems in their midst, alternating between quasi-fascist social control and absurdly indulgent liberalism. Like Full Metal Jacket, this film’s first half is where the real goodies are: if truth be told, the fireworks tail off towards the back...
How do you compare Barry Lyndon with A Clockwork Orange? Both are exceptional, but Barry Lyndon has to be the more perfect achievement. In yet another genre about-face, Kubrick made his contribution to the stately literary dramaKubrick liked a movie star, and took a lot of flak casting Ryan O’Neal; now the dust has settled O’Neal’s vacant prettiness is a perfect, unreadable mask for the slippery social climber Redmond Barry. As always, Kubrick pushed the boat out technically, using Nasa lense...
Kubrick’s second Peter Sellers comedy is up there with the all-time greats: a brilliant assault on the US’s cold-war mindset, ballasted by a Sellers multiple-character tour de force. Like Full Metal Jacket, Kubrick locates a sublimated sexualisation at the heart of militarist aggression; it would be a frightening enough film at the best of times; and in the age of Trump it’s even more nightmarish – no Merkin Muffley to stand up for decency. As he so often managed, Kubrick creates a pop-cultur...
Kubrick’s masterpiece. The spaceship-docking scenes, scored to The Blue Danube – following the inspired thrown-bone match cut – are justly renowned; a hypnotically brilliant conflation of technological agility and cosmic wonder. No sequence in cinema has dated less, even with subsequent advances of CGI and visual effects. It’s hard to see any current film-maker having the intellectual courage to attempt anything similar. 2001 gets the nod for other reasons, of course: its thematic ambition, t...
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