lolita ( 1962 film )
lolita 1962 (kubrick) vs. lolita 1997 (lyne) - the student room
lolita (1962) - - (movie clip) roman ping ...
lolita (1962) - - (movie clip) what was ...
lolita (1962) - - (movie clip) two normal ...
lolita (1962) - - (movie clip) did i do ...
lolita (1962) - - (movie clip) what was the ...
lolita (1962 film) - quilty' s
dr. zempf
and peter sellers role as doctor strangelove
james mason and sue lyon in stanley kubrick' s film of lolita (1962). photograph: ronald grant archive
“lolita 1962. ” internet movie database. 2005. 11 dec. 2005 < urltoken > .
nice hat: in the 1962 film, delores is first seen wearing a hat with feathers trimming the brim .
croce, arlene, in sight and sound (london), autumn 1962 .
lolita (1962 film) - quilty' s
dr. zempf
and peter sellers role as doctor strangelove | quilty dr zempf peter sellers role doctor strangelove
making a spectacle of yourself: the 1962 film' s advertising has delores wearing heart - shaped sunglasses. however, she doesn' t wear these in the film .
lolita, that' s right. lolita, diminutive of dolores ...
lolita was nominated for the academy award for best screenplay. the film was nominated for four golden globes, the golden lion from the venice film festival 1962 and the bafta award for best british actor (james mason) .
lolita is a british - american drama film in 1962, directed by stanley kubrick. the story is based on the the novel of vladimir nabokov in 1955. like the book was too controversial appearance in the film. in several countries, the film was censored .
an aging intellectual becomes obsessed with a young teenage girl when he becomes a boarder in her mother' s house in lolita (1962). >
“how did they ever make a movie of lolita? ” was the question posed by the posters advertising stanley kubrick’s film adaptation of vladimir nabokov’s famously controversial novel, released on this day in 1962 .
mills was considered for the role of lolita haze in stanley kubrick’s 1962 film version of lolita. however, walt disney discouraged the casting, feeling the role was not up to disney’s wholesome standard, and the part eventually went to sue lyon .
in the novel, lolita is a brunette. in the film, she is a blonde .
lolita has been adapted twice. stanley kubrick’s 1962 version is a pop culture fixture via its heart - shaped sunglasses. much like the status of the film as a ‘classic’, the sunglasses are a case of collective mis - remembering – they never appear in the film (lolita wears cats - eyes sunglasses )
in 1962, sue lyon had a hit single with
yah yah lolita ,
a version of bob harris'
theme from lolita
that combined a latin instrumental with her repeated
yah yahs .
lolita. dir: stanley kubrick. cast: james mason, shelley winters, sue lyon, peter sellers. 1962. dvd. warner home video, 2007 .
burgess, anthony. a clockwork orange. 1962. london: penguin books, 2011 (or other edition) .
was nabokov' s book about obsession, lust and pedophilia, undeniably so. the 1962 kubrick film version with james mason as humbert humbert, sue lyon as ...
columbia pictures agreed to finance the film if peter sellers played at least four major roles. the condition stemmed from the studio’s opinion that much of the success of kubrick’s previous film lolita (1962) was based on sellers’s performance in which his single character assumes a number of identities .
as it is often the case in the 1962 adaptation, the movie’s sexual connotations are a lot less direct than in the book. here is how lolita explains the corresponding episode :
recently for class i had to experience lolita in its three most popular forms — the original 1958 novel by vladimir nabokov and the two film adaptations, the 1962 version directed by stanley kubrick and the 1997 version directed by adrian lyne .
established the field of speech - act theory, argues that
performative
statements can have the effect of actions (1962) .
devin mckinney, “review: lolita ”, film quarterly, 52. 3 (1999), p. 49 .
the legion of decency agreed to pass the film as long as children under 18 were barred from seeing the film .
“how did they ever make a movie of lolita? ” was the tagline to 1962 film version of vladimir nabokov’s lolita, directed by stanley kubrick. this particular novel was steeped in controversy since the day it was published. often regarded as pornography and it has been on and off the banned book list for decades .
‘lolita’ was remade in 1997 and directed by adrian lyne. it starred jeremy irons as humbert, melanie griffith as charlotte and dominique swain as lolita. the film was widely publicised as being more faithful to nabokov’s novel than the kubrick film .
lodger professor humbert (james mason) is getting academic, masking his lust for lolita (sue lyon), until she' s summoned by her mom charlotte (shelley winters), who soon delivers unwelcome news in stanley kubrick' s lolita, 1962. >
schrader, paul ,
lolita ,
in american film, vol. 15, no. 1, october 1989 .
title lolita genre film notes - contemp record (c 1962) by sue lyon of orig cast. music: nelson riddle. words: bob harris. cond: nelson riddle .
lolita ya ya
( 45 / mgm k - 13067) (production and recordings information) - from: show music on record by jack raymond - loc. natlib. smor. 1962 - 18 (digitalid) description film. contemp record (c 1962) by sue lyon of orig cast. music: nelson riddle. words: bob harris. cond: nelson riddle .
lolita ya ya
( 45 / mgm k - 13067) (production and recordings information). from: show music on record by jack raymond additional metadata formats metsxml record
professor humbert (james mason) finds writer quilty (peter sellers) in his unkempt rented mansion in what amounts to the prologue to stanley kubrick' s lolita, 1962, from the vladimir nabokov novel. >
seesslen, g. ,
3x lolita ,
in epd film (frankfurt), vol. 15, january 1998 .
devin mckinney, “review: lolita ”, film quarterly, 52. 3 (1999), pp. 48 - 52 .
the film humbert, charlotte and lolita watch at the drive - in is the curse of frankenstein (1957). when the film cut to the three characters in the car, stanley kubrick had a different soundtrack recorded to make the film sound scarier .
3 humbert mentions the “corpuscles of krause” (lolita, 60 / 66), a “gonadal glow” (lolita, 134 / 152), or “glans mauve” (lolita, 107 / 120) .
from the start, the mere existence of stanley kubrick’s film adaptation of lolita (1962) was presented as a reason for its existence. “how did they ever make a film of lolita”? asked the film’s tag - line. well, as at least one critic observed at the time, they didn’t. kubrick’s sitcom adaptation of lolita is a textbook case of what the culture critic dwight macdonald called “mid - cult”: the film sanitizes the novel, renders it safe for mass public consumption, and then congratulates its audience for having had an “artistic” experience. the film’s defenders point to the severe restrictions imposed by the hays code. but the problem with kubrick’s lolita is not the sexual subtext the filmmaker omitted. it’s the sexual subtext he added .
in the film he is described as “a very peculiar figure by the name of clare quilty who keeps popping up in the most unexpected places (and sporting equally unexpected accents) ” (lolita 1962). this plot point is very subtle, and any viewer who was not familiar with the text may not have gotten that implication while watching the film .
thanks to the novel and the film, the name
lolita
has become a common term applied to sexually precocious young women .
shout out: at the beginning of the 1962 film, humbert asks a man if he' s quilty. quilty jokingly replies
no, i' m spartacus
, a celebrated line from kubrick' s previous work .
you' ll never know complete satisfaction until you’ve tried your hand at directing, ” stanley kubrick told his close friend and producer james b. harris one day, late in 1962. the pair had been creative partners for nearly a decade - - working together on a string of critically successful pictures: the killing (1956), paths of glory (1957) and lolita (1962) .
throughout the film, lolita' s mother and friends refer to her by the nickname;' lolita'. in the novel, dolores haze' s nickname
lolita
was given to her only by humbert, and he was the only one who used the name. lolita' s mother used' lo' as dolores' nickname .
since the censors would allow nothing close to a suggestion of pedophilia, lolita’s age had to be increased from 12 in vladimir nabokov’s original novel to 14 for the film. they also objected to a scene where humbert humbert was to gaze at lolita’s picture while in bed with her mother charlotte; in the end, the scene was filmed with charlotte lying fully dressed on the bed and humbert lying beside her wearing a robe (lolita 1962) .
college town busybody charlotte (shelley winters) can' t resist approaching the minor celebrity at the dance, tv writer clare quilty (peter sellers), who can' t recall meeting her, in stanley kubrick' s lolita, 1962 .
marianne stone would wear the piece of jewellery she wears here around her upper left arm in das geheimnis der schwarzen koffer (1962) and again in hysteria (1965) .
college town busybody charlotte (shelley winters) can' t resist approaching the minor celebrity at the dance, tv writer clare quilty (peter sellers), who can' t recall meeting her, in stanley kubrick' s lolita, 1962. >
professor humbert (james mason) is considering an offer of lodging from charlotte haze (shelley winters) when he meets her daughter (sue lyon, title character) in stanley kubrick' s lolita, 1962, from the vladimir nabokov novel. >
the iconic heart - shaped sunglasses which lolita wears, appear only in publicity photos, as well as the soundtrack album' s cover, taken by bert stern; lolita wears cat' s eye sunglasses in the film .
the film’s posters played up the controversial nature of the film’s content and the book’s reputation, using the provocative tagline above a picture of lyon - as - lolita, wearing heart - shaped sunglasses and a seductive expression, with a lollipop in her mouth. lolita received mixed reviews– the new yorker ’s pauline kael was one critic who raved about the film–but its acting was widely praised. the film earned one academy award nomination, for best adapted screenplay .
‘lolita’ premiered on june 13, 1962 in new york city. it performed fairly well, with little advertising and relying mostly on word - of - mouth; many critics seemed uninterested or dismissive of the film while others gave it glowing reviews. however, the film was very controversial, due to the hebephilia - related content, and therefore while many things are suggested, hardly any are shown. ‘lolita’ registered box - office receipts of 3. 7 million dollars on its opening run .
charlotte (shelley winters) takes a call from her teenage daughter (the title character) during an awkward post - honeymoon snuggle with her irritated lodger - turned - husband, professor humbert (james mason) in stanley kubrick' s lolita, 1962. >
sue lyon as the title character in stanley kubrick' s 1961 film version of lolita, with a screenplay written by nabokov. warner bros. hide caption
narrator (humbert): what drives me insane is the twofold nature of this nymphet, a veteran nymphet perhaps, this mixture in my lolita of tender, dreamy childishness and a kind of eerie vulgarity. i know it is madness to keep this journal, but it gives me a strange thrill to do so (lolita, 1962) .
also turned down the role of lolita. at the time, her father ,
lolita: book vs. movie - 1584 words | study guides and book summaries
dupee, f. w. :
' lolita' in america
.
bratty teenage daughter: lolita, or so humbert would want us to believe .
although vladimir nabokov originally thought that sue lyon was the right selection to play lolita, years later nabokov said that the ideal lolita would have been catherine demongeot .
where did you learn film editing? you started out as a still photographer .
combs, richard, in monthly film bulletin (london), august 1984 .
adapting american drama to film. the transfer from stage to screen ...
branigan, edward. 1992. narrative comprehension and film. oxon: routledge .
while humbert initially describes this imaginative appropriation as a form of shielding lolita from the beastliness of his desires, it is precisely this method of aestheticizing lolita that leads to the monstrous acts of the latter half of the book. this scene of venal masturbation leads directly to humbert’s later mistreatment of lolita by offering him for the first time an image of lolita separated from her ”real“ existence, a template for a variously unconscious lolita, a lolita considered as an aesthetic object. (durantaye 71 )
no merchandising. editorial use only. no book cover usage. mandatory credit: photo by moviestore collection / rex (1578516a) ivansxtc, danny huston film and television film television ivansxtc danny huston film stills personality 12234543 photograph: moviestore collection / rex
is not perfect, but it makes for the most highly entertaining summer film of the year – a genuine love for film, filmmaking and just being a kid .
in the end, kubrick’s bowdlerization or egregious misprision of his source text didn’t much matter, because his film did something far more lasting: it gave the world an image of lolita. the film’s poster—the hazy photograph of lolita in her heart - shaped sunglasses, a glistening lollipop entering her moist lips—supplied america with the instantly recognizable signifiers of lolita that would endure in the age of instagram. that image, once seen, cannot be unseen. the merely textual lolita has been lost to us forever .
the film is deliberately vague about lolita’s age. kubrick had in fact commented: “i think that some people had the mental picture of a nine - year - old, but lolita was twelve - and - a - half in the book; sue lyon was thirteen. ” actually, lyon was 14 by the time filming started and 15 when it finished. although passed without cuts, ‘lolita’ was rated ‘x’ by the british board of film censors when released in 1962, meaning no one under 16 years of age was permitted to watch. the production code administration passed the film with a few snips on the soundtrack and an early fade to the scene in which lolita seduces humbert after her mother’s death. the british and australian prints, however, contain the scene as originally shot .
whether it had to do with her casting as lolita (1962), or not, sue lyon, 3 years earlier, played a
lolita type
character in an episode of _
the loretta young show
( 1953) _, entitled; alien love, in which she flirts with her older male teacher, who winds up in trouble for it .
nabokov, vladimir, lolita, new york, 1974; second edition, 1983 .
great debate. doubt i’ll ever watch lolita. too far outside my comfort zone .
- it wasn' t a date. - it was a date, lolita .
- you don' t love me. - i do love you, lolita .
nabokov, vladimir. lolita: a screenplay. new york: vintage, 1997 .
and her underage daughter, lolita (sue lyon). charlotte is a lonely widow
charlotte, but he marries her anyway, just to be close to lolita. humbert
traﬃc and is killed. meanwhile, lolita has been away at camp climax (in
stanley kubrick: [ three - way ] humbert vs. quilty vs. lolita .
i liked the 1962 film a lot. i wouldn’t say it’s one of kubrick’s best efforts but considering what he had to work with i think it was a splendid effort. the film managed to capture both the tortured soul of humbert and his cunning. obviously, it was impossible to replicate nuances of the book, but kubrick came closer than i could have imagined .
the heart - shaped sunglasses became all the rage after the film' s release .
steve is using letterboxd to share film reviews and lists with friends. join here .
drive - in theater: one scene takes place there in the stanley kubrick film .
of the whole work. indeed, the final caption of the film offers a subtle
simone is using letterboxd to share film reviews and lists with friends. join here .
errol flynn was considered for humbert humbert, but died before the film was made .
this was the first time stanley kubrick used first - person narration in a film .
fwiw, i agree that the earlier thread was misbegotten and is probably best ignored. however, this thread should probably be renamed, perhaps to something a la our usual format e. g .
lolita (1962, 1997 )
, otherwise that earlier thread will be the only one that shows up in searches for threads with the word
lolita
in the title. (a search for
lolita
does not turn up
lolitas
. )
the 1962 lolita was a product of its time, unfortunately, meaning it was heavily held back by censors. needless to say, kubrick is no prude (one only has to watch eyes wide shut) to know that, but his version of lolita was very tame, with almost none of the sexual innuendos littered throughout the novel — in fact, there was very little physical contact between lolita and humbert, the scenes often fading to black before anything happens .
with regard to
lolita ,
which stanley kubrick turned into a 1962 film that starred james mason as the scandalous professor, humbert humbert, and sue lyon as his sexually precocious bedmate, mr. dearden said mr. lyne had long wanted to direct his own version of the book. and when the rights became available recently, mr. dearden said, carolco bought them .
kubrick had nabokov' s consent to have the film adaptation be like this, and said that the reason for using this technique was to maintain interest in the film, as kubrick thought that the novel started to lose interest halfway through when humbert had seduced lolita .
diabolical quilty (peter sellers) obscures his face and poses as a cop, contriving a chance encounter with humbert (james mason), whom we know, some years later, will shoot him, in stanley kubrick' s lolita, 1962, from vladimir nabokov' s novel and screenplay. >
it begins:' lolita, light of my life, fire of my loins.'
the credits are played over footage of lolita' s toenails being painted. see more »
your name, and lolita' s, were put in by mere chance ...
my two youngest, jack and mary, are in the same grade as your lolita .
without the name o the man who took her away rom him. so lolita, the
burns, d. e. ,
pistols and cherry pies: lolita from page to screen ,
in literature / film quarterly (salisbury, maryland), october 1984 .
the film is so faithful to the novel that it shares similar flaws. after a stay at beardsley college, humbert and lolita go back on the road and the story flags. and though frank langella is effectively sinister as clare quilty, who lures lolita from humbert, the grand guignol scene of his murder belongs in another film (and another novel) .
which would indicate that if a film is sufficiently interesting people will watch it for three hours and forty minutes. but in actual fact, the napoleon film will probably be shorter .
individual vs. society in ken kessey' s novel and film
one ...
—actresses considered for the role of lolita include: tuesday weld, hayley mills, joey heatherton, and jill haworth. lolita author vladimir nabokov agreed with kubrick that sue lyon was right for the role, but years later stated that catherine demongeot would have been the ideal lolita .
nabokov' s lolita is nothing like the bottle - blond, lollipop - licking sex kitten played by sue lyon in the 1962 film directed by stanley kubrick (who, as was his habit, based his movie on the novel in only the very loosest sense). nor does she bear much resemblance to the show - biz pop tarts and tramp - stamped bad girls often compared to her today .
lolita, lolita, lolita! for ever tonight we must part: because separation is sweeter than clasping a ghost to one’s heart because it’s a maddening summer because the whole night is in bloom because you’re in love with a strummer who brings his guitar to your room. you know he’s a clown and a cheater you know i am tender and true— but he is singing now lolita the songs i’ve been making for you! (lolita: a screenplay 127 )
it featured a picture of lolita in a seductive lollipop pose. she wore heart - shaped sunglasses and licked a red lollipop. indeed, at the time of the film' s making, sexual freedom and content had not advanced to the point of acceptance that is commonly seen today. lolita' s opening credits, however, contain some of the most overtly - erotic, idealizing images of the entire film - designed to set the tone of the film .
lolita was buried at the time of premieres under criticism. the film would pedophilia glorify and contain a wealth of erotic scenes. in several countries, the film was therefore censored. in reality, expose and sex never explicitly portrayed. erotic intense than the opening scene, in which professor humbert toes lolita paints with nail polish, the images are not. however, the film contains sexual symbolism and small picture jokes that were considered risky in the early 1960s .
even as mama charlotte is working her
moves
, humbert is thinking of lolita and insists that charlotte is being to liberal with lolita, letting her galavant with boys. mom laughs it off, until lolita comes home early from her party, thereby interrupting the hunt. tempers flare, mother and daughter argue, and mom looks to have lolita out of the way. when it turns out lolita' s best friend, mona, also slipped away from the party
the 1962 film by kubrick was an interesting one. it starred james mason as humbert, sue luon as lolita, shelley winters as charlotte haze and peter sellers as claire quilty. the screenplay was attributed to nabokov (and he actually got an oscar nomination for it), but in reality it was mostly re - written by kubrick and james harris. nabokov published his version of the script separately in 1974 .
one thing herr confessed during those early long phone conversations was that he had reviewed kubrick’s lolita (1962) during his first writing gig after college, a year - long pro bono stint at the new leader, where he “had followed manny farber... , one of the best of all writers on movies. ”
“lolita. ” the complete review. 2000. 11 dec. 2005 < urltoken 2005 > .
nabokov, vladimir. lolita. the original novel. new york: vintage international. 1995 .
- you' re imagining things. - shut up, lolita. stop that silly talk .
lolita, light of my life, fire of my loins. my sin, my soul .
note on the editions of lolita used in this paper: for practical purposes, both the references from the annotated lolita and the 2006 penguin edition are given in this paper, with the annotated version coming first, as in for instance: (lolita 59 / 64 - 65) .
kubrick later said (in a 1972 interview) about lolita that had he known how extreme the censorship limitations would be, he probably never would have made the film at all, because he felt that he wasn' t able to make the relationship between lolita and humbert fully accurate .
gabbard, krin ,
the circulation of sadomasochistic desire in the lolita texts ,
in journal of film and video (atlanta), vol. 46, no. 2, 1994 .
phillips, gene d. , stanley kubrick: a film odyssey, new york, 1977 .
beautiful, beautiful black and white film. might be the best looking one i’ve ever seen .
the book is amazing. but i am always scared to watch the film of a book .
founded in 1999, senses of cinema is one of the first online film journals of its kind and has set the standard for professional, high quality film - related content on the internet .
of the story, the enchanted hunters / hunted enchanters play, in both novel and film .
overall, i am very proud of this film and commend zak and his team for this achievement. the film as a whole is not really my personal taste, but i can certainly appreciate it and would recommend others to go and see it, and support the australian film industry .
kubrick won two awards for best director, from the new york film critics circle and the italian national syndicate of film journalists, and was nominated for one by the directors guild of america .
importantly, however, lyne also sticks primarily to the use of limited subjective narrative in the visual components of the film. humbert humbert is rarely off screen in the film. for instance, a scene where charlotte (melanie griffith) and lolita argue over whether or not lolita should go to summer camp that ends with lolita bringing humbert breakfast is seen over humbert’s shoulder in lyne’s film, rather than in the traditional over the shoulder shot - countershot format sans humbert employed by kubrick. our view is often confined to what humbert sees, just like in nabokov’s original text. the potential for the much - discussed unreliable narrator of lolita remains in lyne’s film. this helps to create a more sympathetic humbert, but the spectator is warned not to trust his or her sympathies .
bick, ilsa j. , and krin gabbard ,
' that hurts!': humor and sadomasochism in lolita: the circulation of sadomasochistic desire in the lolita texts ,
in journal of film and video (atlanta), vol. 46, no. 2, summer 1994 .
production: aa productions. an anya productions / transworld pictures production, in association with seven arts productions, for mgm; black and white; running time: 153 minutes; length: 13, 798 feet. released june 1962 .
the production code administration passed the film with a few snips on the soundtrack and an early fade to the scene in which lolita seduces humbert after her mother' s death. the pca awarded the film certificate no. 20000. the british and australian prints contain the scene as originally shot .
and lolita died in childbirth. however, it refers lolita as
mrs. richard f. schiller
, her married name, which we don' t learn until the end of the book
wife husbandry: on several levels. humbert actually muses on the possibility of impregnating lolita with lolita: the next generation. ideally really soon, as in before she grows up and gets uninteresting .
denys arcand’s controversial conversation piece from the ‘80s has a unique claim to fame for being the only film to have been nominated for best foreign language film in addition to its sequel. the sequel was
veteran arranger nelson riddle composed (with bob harris) and conducted the music for kubrick' s next film, lolita (1962). the score, typical in style of the hollywood soundtracks of its day, is suitably moody and atmospheric, and, as might be expected, the orchestrations are lovely. the standout track is
lolita ya - ya ,
with its loping guitar riff and baby doll
ya - ya - wo - wo - ya - ya
vocal .
lolita ya - ya
was released as a single and was credited to sue lyon, although she does not receive credit on the lp. a four minute version of the song is reprised later on as
thoughts of lolita .
apple, alfred. the annotated lolita. revised ed. new york: vintage books, 1991 .
2 lara delage - toriel and xavier fassion beautifully illustrated the musical potential of nabokov’s writing during the lolita toulouse conference, in their musical exploration of lolita through reading, songs, music and sound objects .
this is where we get the terms
lolita complex
, or
lolicon
in japan, and the slang for
lolita
, meaning a sexually attractive and / or promiscuous young girl .
lolita: hey, let' s tell mother. humbert: tell mother what? lolita: (she smiles knowingly) you know what. humbert: no, i don' t think that would be very funny. lolita: (laughing) i wonder what she' d do? hmm ?
i never felt like it was enough suffering on lolita' s part depicted in the kubrick version .
five film adaptations to watch / study (after reading the source novel): 1984 (1984, michael radford), brazil (1985, terry gilliam), lolita (1961, stanley kubrick), lolita (1996, adrian lyne), a clockwork orange (1971, stanley kubrick) .
lolita is not always loyal to vladimir nabokov' s novel. one of the most notable changes in the film is kubrick' s style of direction. events that happened in the novel' s ending occurred in the film' s beginning. this is a rarely used technique called in medias res .
lolita is not always loyal to vladimir nabokov' s novel. one of the most notable changes in the film is kubrick' s style of direction. events that happened in the novel' s ending occured in the film' s beginning. this is a rarely used technique called in medias res .
nelson, thomas allen, kubrick: inside a film artist' s maze, bloomington, 2000 .
this film is not currently playing on mubi but 30 other great films are. see what’s now showing
2014 cimba award: best film review (comedy / musical) for meet me in st. louis
the film is nothing by modern standards: there is no overt sexuality; it is all innuendo and implication. the title character, played by 14 year old sue lyon, has affairs with four men (that we know of) in the film, yet there is no nudity, no love scenes, not even one scene of her kissing any of the older men she is involved with, yet in 1962 it caused a huge fervor .
during this scene, pregnant lolita drinks a beer. fabulous. humbert tries to get lolita to go away with him again. and, at this point, i think he needs to take a tip from
lolita, light of my life, fire of my loins. my sin, my soul .
my favorite thing about this movie is how clearly kubrick hates every single one of these characters except lolita .
lolita. arles: actes sud, 1996. [ also available in russian; see next entry. ]
well, the
vista - sister
, that' s like ,
lolita - sweeter
.
i' ll accept the charges. it' s lolita. she' s calling long - distance .
eventually lolita will grow into a teenager and then into a women and she will no longer be so yearned for. jong states, “humbert humbert is in love with something which by definition cannot last” (jong 366). it is physically impossible for lolita to stay young forever. nabokov says, “the day when my lolita ages, will be the day my life ends” (nabokov 273). humbert fears the day when lolita grows into a woman and therefore humbert humbert’s obsession will end and no true love will ever exist. in vladimir nabokov’s novel, lolita, humbert humbert and lolita will never be able to develop true love .
nabokov, vladimir. lolita. 1955. london: penguin books, 2011 (or other edition) .
lolita is a film that, well, i am not all that fond of. it is long, drawn out, and the payoff at the end really isn’t worth it. however, i would view it again if only to prompt discussion about the film, which stands as a great thought - provoker, especially over the significance of one’s teenage years, and the impact of that loss on the character of lolita .
story - time and discourse - time in the novel and film
beloved & q... ;
the film was nominated for four academy awards and also seven bafta awards, of which it won four .
kubrick constructed his lolita not in regards to censorship of the time, as the article suggests, but because his film was about humbert’s moral dilemma in exploiting the girl contrasted against quilty’s guiltless exploitation as an everyday routine .
lolita [ 1962 ] [ dvd ]: urltoken james mason, shelley winters, sue lyon, gary cockrell, jerry stovin, diana decker, lois maxwell, cec linder, bill greene, shirley douglas, marianne stone, marion mathie, oswald morris, stanley kubrick, anthony harvey, eliot hyman, james b. harris, vladimir nabokov: dvd & blu - ray
yet today the name lolita evokes for most people a girl who knows she' s sexy and uses it. half a century of such misperceptions about lolita and the novel that bears her name have inspired a new book, chasing lolita: how popular culture corrupted nabokov' s little girl all over again, by graham vickers .
humbert: why does she [ michelle ] give me these searching looks whenever she comes to the house? lolita: how should i know? humbert: have you told her anything about us? lolita: no. have you? humbert: you' ve told her nothing - lolita: you think i' m crazy ?
- the many personalities of lolita and humbert in nabokov’s lolita although they are intimately involved, the title character of nabokov' s lolita never fully reveals her true self to humbert. likewise, humbert pours his physical love into lolita, but he never reveals to his stepdaughter a self that is separate from his obsession with her. these two characters mask large parts of their personalities from each other and the rest of the world, creating different images and personas in regard to different people and situations... . [ tags: nabokov lolita essays ]
lolita (1962) was stanley kubrick' s sixth film - a brilliant, sly adaptation of vladimir nabokov' s celebrated yet controversially - infamous 1955 novel of a middle - aged man' s unusual, doomed sexual passion / obsession for a precocious, seductive
nymphet
girl. [ note: the scandalous book was banned in paris in 1956 - 1958, and not published in its full form in the us or uk until 1958. ] the age of lolita in the novel was raised from 12 years old to that of a typical high - schooler - probably 14 or 15 .
double indemnity was certainly not the first film noir to be made; many films dating more than a decade prior have been later classified as film noir, however, the success of double indemnity among critics and audiences alike at the time of its release has caused it to receive the greatest recognition as the most identifiable film noir .
the aim of this paper is to stress the importance of music and song in nabokov’s lolita (1955), and also in kubrick’s interpretation of it in his film (1962). indeed kubrick’s adaptation does bring about, as linda hutcheon puts it, a “transcoding process” from the code of writing into the code of film (hutcheon 7), which is itself multisemiotic, as film associates moving and still images, language, and, of course, music. the analysis begins with a scrutiny of songs in the novel, as humbert uses songs to not only screen his deeds like in the davenport scene, but also to fuel his contemptuous vision of lolita. then the study turns to the function of music in characterization, in both novel and film: the film' s characters are associated to musical themes that reflect thematic patterns of characterization in the novel. we will finally draw from those analyses the illustration of how both works use music to organize a subtle destabilization of signs that undermines the first - degree reading or viewing .
1. ’lolita, light of my life, fire of my loins. my sin, my soul. ’
break the cutie: the entire book could be considered one for lolita, considering her childhood is essentially destroyed .
when the 1997 version of lolita was widely censored in the us, many asked why the reaction was so strong to this film. after all, the novel was published in the us in 1958, kubrick' s film version appeared in 1962, and we hear more shocking tales of sexual depravity every day on the daytime talk shows. but after seeing lyne' s brilliant version of lolita, i can see how he manages to breathe fresh controversy into this familiar story. lyne' s lascivious lens eroticizes lolita' s every movement and pose. the viewer is forced to see her through the eyes of humbert and to feel his obsession and desire. we are co - conspirators in his crime, and at the end we share his shame. rather than shocking us (and having us pull away in revulsion), lyne draws us in and makes us face the humbert in ourselves. this is an incredibly powerful film .
, and the camera follows lolita on stage, as if it were part of the show. the retro - prospective mise - en - abyme perfectly works here. retrospectively, the title of the play echoes the previous episode at the hotel, where quilty had been musing on humbert’s “lovely little tall girl”. prospectively, the forthcoming departure of lolita with the playwright is indicated in the only glance they exchange during the whole film (just before lolita enters the stage), and in the last words of lolita in the school play, “to the dark kingdom, away, away”, since quilty has been repeatedly associated to dark colors and dark lighting throughout the film .
stam robert. “film and narration: two versions of lolita ”. in twentieth - century american fiction on screen. ed. palmer, r. barton. cambridge: cambridge university press, 2007. 106 - 126 .
during her six - year run at disney, mills was arguably the most popular child actress of the era. critics noted that america’s favourite child star was, in fact, quite british and very ladylike. the success of “let’s get together” (which hit no. 8 on the billboard hot 100 singles chart and no. 17 in britain) also led to the release of a record album on disney’s buena vista label, let’s get together with hayley mills, which also included her only other hit song, “johnny jingo” (billboard no. 21, 1962). in 1962 british exhibitors voted her the most popular film actress in the country .
this passage somehow represents the use of music in both novel and film. just as in this description of a musical soundtrack at odds with the scene depicted (very similar to kubrick’s film), nabokov created a subtle a discrepancy between humbert’s musical voice and the movements of “the shivering flower” he is conjuring up, namely, lolita .
when stanley kubrick made lolita hollywood was broadening its acceptance of slightly more scandalous stories to be tackled on film. martin scorsese said that at a time when american cinema was on its way down, due to the collapse of the studio system, with lolita, kubrick made a film that made people “stop and look” at the possibilities or at what american cinema would become. in that regard kubrick pushed the envelope with lolita, not only by tackling the controversial topic – an older man infatuated with a young girl – but also in the way he filmed it .
one of the posters for lolita, stanley kubrick’s adaptation of vladimir nabokov’s notorious 1955 novel proclaimed: ‘how did they ever make a movie of lolita? ’. indeed. the subject material – essentially paedophilia – had to be toned down in the censorious sixties and much of the graphic sexual scenes contained in the book had to be implied on film. that kubrick made such a colourful and provocative film is a testament to his genius behind the camera .
. act i of that play is certainly when quilty meets lolita and humbert in the enchanted hunters hotel, which is the very title of the play written by quilty and in which lolita is cast as the leading nymph. let us now turn to the function of this play - within - the - play in both novel and film .
lolita 127 success secrets - 127 most asked questions on lolita - what you need to know edition by antonio evans and publisher emereo publishing. save up to 80% by choosing the etextbook option for isbn: 9781488822094, 1488822093 .
mario puzo himself assisted on the screenplay for coppola’s classic. unsurprisingly, therefore, the film stays faithful to the manner and quality of the book. some backstories are eliminated, while others appear in the godfather ii. the ending of the film is actually more gloomy than the book. but both film and book complement each other perfectly .
by the time the hotel manages to get an extra bed, lolita has already fallen asleep, alone, in the room and there' s this whole slapstick comedy of the porter and humbert trying to get the cot in the room without waking lolita. despite extra cot, humbert tries to crawl into bed with lolita and she cock - blocks him. and this is what i actually find interesting about lolita, the film and the character. for all of lolita having come to mean a promiscuous and sexually active young girl, lolita is not very promiscuous. she knows about the facts of life, she' s not blind to humbert' s attentions and she will eventually have a sexual relationship with him but she' s not encouraging him either. it' s not like alicia silverstone in
— lolita author vladimir nabokov, who wrote the screenplay for the film, turned in a script that ran 400 pages and called for a seven - hour film. kubrick and producer james harris had to alter it significantly. the unused screenplay deviated from the novel and featured a hitchcock - like cameo for nabokov, who is referred to as “that nut with a butterfly net. ” he later published the complete script in 1974 as lolita: a screenplay .
i understand there was some controversy over the ending of the film - where the french soldiers are executed for desertion - that you asked to change it so that the men would not be shot at the end of the film .
to be the film in which the director first resorted to the typically kubrickian musical techniques he was to develop in his following movies. kubrick later said that he viewed film as a mostly non - verbal experience (as exemplified by
that was the most surprising thing about the film; the comedy. i actually found it to be very amusing, and this coupled with the catchy, upbeat songs enabled me to really enjoy the film and overlook its flaws .
appel, alfred, jr. :
tristram in movielove:' lolita' at the movies
. in :
lolita. s. u. n. y. college at brockport, m. a. thesis, 1995 .
lolita. harvard university, a. b. thesis, honors in english and american literature and language, 1995 .
lem, stanislav; dushenko, d. (tr .) .
lolita, ili stavrogin i beatriche .
levine, robert t. :
' my ultraviolet darling': the loss of lolita' s childhood
.
- - -. the annotated lolita. ed. alfred appel jr. . new york: vintage, 1991 .
tastes like diabetes: humbert' s in - universe reaction to the girly magazines and corny music that lolita enjoys .
try to think of your poor little lolita, all alone in the world. you must live for her sake .
by the way, according to the life magazine article that appeared in may, 1962, just before the kubrick movie premiered, nabokov stated unequivocally that he would never write the screenplay, that to conjure lolita in his mind was one thing, but to portray her with actors in a movie would be “a sin”. apparently when kubrick offered him the job, he caved and not only scribed the film, but gave himself a walk - on cameo. reportedly, only 20 percent of nabokov’s script was used .
right now, i’m revolting against the conventions of movies. who says a film has to cost a million dollars and be safe and innocuous enough to satisfy every 12 - year - old in america? we’re creating a movie equivalent of off broadway, fresh and experimental and personal. the lovely thing is that i’m alive at just the time when i can do this. - shirley clarke, 1962
so you have the problem that some people are only listening and not really paying attention with their eyes. film is
amrit nahata' s kissaa kursee kaa, the film which will never be released =
kissā kursī kā
.
in the end, i think lolita isn’t an entirely successful film. it feels very slow to me at times, quilty doesn’t fit well, and there’s really nobody to root for once the brilliant shelley winters (as lolita’s mother) is no longer in the picture. but i think it’s a dry run for the film that kubrick made next. dr strangelove has the same black humour, the same dry detachment, and relies heavily on the improvisational skills of sellers .
the reason i say that is because i' m just not sure i' m buying his claim that he would never have made lolita if he' d known what kind of hassle he would get from film censors over it. pull the other one, stan. you knew what you were letting yourself in for when you started making this film .
this sober approach to what nabokov called the exhilaration of
philistine vulgarity
means that this
lolita
isn' t a comedy. stanley kubrick' s 1962 film was, and that' s often been held against it. still, it' s remarkable how much of the book kubrick manages to get: the slyness, the whole atmosphere of erotic dementia and the book' s satiric celebration of roadside america. kubrick translated that into a black - comic version of fast, slangy, disrespectful american movie comedies .
undoubtedly a film by a great director benefits from being seen again in retrospect, since the films he has directed subsequently shed a new light on it. such is the case with lolita (1962), misunderstood at the time of its release when kubrick' s status as an auteur was not yet firmly established. the reputation of vladimir nabokov, author of the original and scandalous book, overshadowed the director' s attempt at translating it for the screen. two main criticisms were levelled at the film: one was its
betrayal
of a literary masterpiece, its failure to create an equivalent style, while the other was the disappointment of many who expected a titillating erotic experience. seen today lolita appears as a turning point in kubrick' s career.
lolita is a 1962 british-american black comedy-drama film directed by stanley kubrick . based on his novel of the same title , vladimir nabokov also wrote the screenplay . it follows a middle-aged literature lecturer who becomes obsessed with an adolescent girl . the film stars james mason as humbert humbert , sue lyon as dolores haze ( lolita ) , and shelley winters as charlotte haze , with peter sellers as clare quilty . owing to the mpaa 's restrictions at the time , the film toned down the more provocative aspects of the novel , sometimes leaving much to the audience 's imagination . the actress who played lolita , sue lyon , was 14 at the time of filming . lolita polarized contemporary critics , but is well-received today . kubrick later commented , however , that if he had realized how severe the censorship limitations were going to be , he probably would never have made the film . 
lolita is a 1962 british-american black comedy-drama film directed by stanley kubrick. based on his novel of the same title, vladimir nabokov also wrote the screenplay. it follows a middle-aged literature lecturer who becomes obsessed with an adolescent girl. the film stars james mason as humbert humbert, sue lyon as dolores haze (lolita), and shelley winters as charlotte haze, with peter sellers as clare quilty. owing to the mpaa's restrictions at the time, the film toned down the more provocative aspects of the novel, sometimes leaving much to the audience's imagination. the actress who played lolita, sue lyon, was 14 at the time of filming. lolita polarized contemporary critics, but is well-received today. kubrick later commented, however, that if he had realized how severe the censorship limitations were going to be, he probably would never have made the film.
lolita is a 1962 british-american black comedy-drama film directed by stanley kubrick. based on his novel of the same title, vladimir nabokov also wrote the screenplay. it follows a middle-aged literature lecturer who becomes obsessed with an adolescent girl. the film stars james mason as humbert humbert, sue lyon as dolores haze (lolita), and shelley winters as charlotte haze, with peter sellers as clare quilty. owing to the mpaa's restrictions at the time, the film toned down the more provocative aspects of the novel, sometimes leaving much to the audience's imagination. the actress who played lolita, sue lyon, was 14 at the time of filming. lolita polarized contemporary critics, but is well-received today. kubrick later commented, however, that if he had realized how severe the censorship limitations were going to be, he probably would never have made the film.