He was so reclusive that the press would make up wild stories about him. One such story was that he shot a fan on his property, and then shot him again for bleeding on the grass.
In more recent years, Napoleon—impersonated by Marlon Brando, Rod Steiger, Herbert Lom, Woody Allen and others—has featured in a number of more or less colossal productions, none unsurpassable. The best of them, we are promised by Alison Castle, was going to be that of Stanley Kubrick. The massive, trilingual volume that is now to hand—you need two of them just to lift its 7½ pounds of text and pictures—contains Kubrick's script of the abortive project as well as samples of the research material he assembled over a period of years in the late 1960s and early 1970s. Much of the archive lay derelict after the early 1970s.
With A Clockwork Orange Stanley Kubrick signaled a new direction for art cinema even as he solidified his position among contemporary auteurs. Although Kubrick has never claimed that he was shifting paradigms for the art film, A Clockwork Orange raises crucial questions about how this twist in tradition ought to be understood. By basing his film on the Joycean text of Anthony Burgess's novel, and by emphasizing the book's more nihilistic elements, Kubrick made a film that shared the vision of "art literature" of high modernism but had little in common with the art cinema of previous decades.
One reason for the ambivalent reaction of Americans to Dr. Strangelove was our inability to unravel the relations between the reel world and the real one. It is precisely this inability that provides much of the tension and force of the film. By use of constant crosscutting to his three basic locations and by shifting to three styles, Stanley Kubrick intensifies this tension.
I suppose my excuse is that the picture was ready only a few weeks before it opened and I really had no time to do any interviews. But if I'm to be completely honest, it's probably due more to the fact that I don't like doing interviews. There is always the problem of being misquoted or, what's even worse, of being quoted exactly, and having to see what you've said in print.
Kubrick's films always involve a skillful organization and blending of editing patterns and camera strategies. Although the films often favor the longtake, deep-focus style of construction, shot-to-shot manipulation is still a necessary part of Kubrick's aesthetic, and any serious analysis of his films must acknowledge the complexity of spatial and temporal manipulations that are at the center of his cinematic achievement.
The most terrifying fact about the universe is not that it is hostile but that it is indifferent; but if we can come to terms with this indifference and accept the challenges of life within the boundaries of death — however mutable man may be able to make them — our existence as a species can have genuine meaning and fulfillment. However vast the darkness, we must supply our own light.
Stanley Kubrick's 2001: A Space Odyssey (1968) is a landmark film less for its pioneering contribution to the science fiction genre than for its impact on cinematic storytelling method and structure. From the inception of his career, Stanley Kubrick (1928-1999) strove to explode the traditional nature of film narratives. The catalyst was to transform the standard conventions of a genre such as film noir in The Killing, the war film with Paths of Glory, the political thriller in Dr. Strangelove, and the sex comedy in Lolita into a radical new form to express his iconoclastic vision toward the subject.
Stanley Kubrick's educational career had started off with a poor attendance record. He began grammar school at P.S. 3 in the Bronx on September 12, 1934, and remained at that school until the end of the fifth grade. The six-year old Stanley was absent half of his first term, attending class for fifty-six days and missing class for the other fifty-six days. In 1935, while attending the 1B and 2A terms, Kubrick was absent for the major part of his limited academic career. In these first years, when he was there, his social habits and conduct were rated from A to C-.
Kubrick was born in the Bronx section of New York City in July, 1928, and took his first step toward film making when he began selling pictures to Look magazine while he was still a student at Taft High School. He joined the staff after graduation and, while working there, decided to expand a picture story he had done on boxer Walter Cartier into a documentary short call Day of the Fight (1950). Kubrick had spent his savings, $3900, to make the film; and the RKO circuit bought it for $4000. At the age of twenty Kubrick had made a film on his own that had shown profit, however small. From that moment on he was a confirmed film maker.
Stanley Kubrick, the famously reclusive director of such classic films as ''Dr. Strangelove,'' ''2001: A Space Odyssey'' and ''A Clockwork Orange,'' died yesterday (March 7, 1999) at his home in England, his family said. One of the few American directors who had the prestige to make big-budget movies while working outside the Hollywood mainstream, Mr. Kubrick directed coldly brilliant films that explored humanity's baser instincts with great visual flair and often savage wit. Although those films won eight Academy Awards, none were for best director.