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 If I had to pick the greatest American filmmaker, I would be deadlocked between Orson Welles and... Stanley Kubrick. For that matter, the correlation between Welles and Kubrick is interesting. Both completed 13 feature films in their lifetime and died at the age of 70. In fact, both directors thought highly of each other. Kubrick's filmography is probably one of the best any director could have: Fear and Desire Killer's Kiss The Killing Paths of Glory Spartacus Lolita Dr. Strangelove: or How I Learned to Stop Worrying and Love the Bomb 2001: A Space Odyssey A Clockwork Orange Barry Lyndon The Shining Full Metal Jacket Eyes Wide Shut    His films are full of iconic imagery and referenced in nearly everything. One thing you'll notice is that Kubrick rarely stuck to one genre or type of film. He made noirs, comedies, dramas, sci-fi, epics, horror. I'm drawn to Kubrick's films not just for their incredible technical artistry, but the way stories are told in such a way. And his sense of humor. There's this biting streak of humor in his films. Or the sense of realism. I'm also impressed with the consistency with his work. Fear and Desire is a fairly terrible movie, but it still isn't that bad as what's essentially a no-budget student film.  But that's just what makes Kubrick fascinating. He didn't have any formal or professional training in film. He gained interest in photography in his teens while he was bored with school. His photography work looks like something by a 20 year professional, not something a 16-year old shot. On his first two features, Fear and Desire, and Killer's Kiss, he not only directed, but was his own cinematographer, editor, and producer.  Another thing that makes Kubrick unique is that he enjoyed artistic freedom for almost his entire career. Spartacus was the only film he directed for hire. He had studio support because of the quality of his work. I'm also impressed with how he could make popular films without forsaking artistic integrity. The Shining is probably his most widely liked film. A lesser director would have made it just made it a slasher or conventional ghost story. Kubrick put so many layers onto the film that people have dozens of theories about what it's really about. The last thing I like about Kubrick is that he seemed to be a genuinely nice person for the most part. He enjoyed a long, happy marriage with several daughters that were close to him. Out of all his writings and interviews, he talks about other filmmakers and films favorably. The only negative things I could find from him was that he hated The Wizard of Oz and made some criticisms about Schindler's List. Now, Kubrick did have some unusual points. He infamously cut off contact with Malcolm McDowell after making A Clockwork Orange, despite being close to him during shooting. He also overworked the cast in The Shining. Yet the actors didn't seem to resent him for it (note that some believe his daughter Vivian's documentary on The Shining is partially fabricated). I read somewhere that Kubrick likely had Asperger's Syndrome, which would explain a lot of his peculiarities (many believe Hitchcock had it, too).  Also, he loved his cats and let them into his editing room when he was working at home. 
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Aug 2, 2016 23:59
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Professor Shark posted:Did Kubrick ever make a bad movie? I didn't like Eyes Wide Shut the first time, but I liked it more after rewatching it Fear and Desire is really bad. Although it has some nice camera work.
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Aug 3, 2016 00:36
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My thoughts on Kubrick's films: Fear and Desire - Kubrick compared it to a child's crayon drawing on a fridge. Accurate. It's bad, but it has some interesting camera work and editing. Killer's Kiss - Not a masterpiece, but I love it. Like a sleazy PRC noir that's beautifully photographed. The Killing - Hell yeah. One of the best noirs ever made. Paths of Glory - One of the greatest films ever made and a powerful anti-war film. Spartacus - Meh. It has Kubrick's technical fingerprints all over it (long takes and awesome camera moves), but it's kind of schmaltzy. Great cast, though. I need to see it again. Lolita - Meh again, but it is beautifully shot and yet again has a great cast. Best part about it is that Peter Sellers is doing Kubrick's voice as Quilty. Dr. Strangelove - Another great, great film and one of the funniest comedies ever made. Peter Sellers is great, but George C. Scott is hilarious just with his face. 2001 - One of my all-time favorites. Probably the greatest sci-fi movie ever made. Nothing has come close to matching the power it has. A Clockwork Orange - Another of my favorites. I've looked at is a dark comedy-horror from the perspective of the monster. Barry Lyndon - Yet another great, fantastic movie. One of the most beautiful films ever made. The Shining - I'm not a big fan of horror, but this is my favorite next to Robert Wise's The Haunting. Full Metal Jacket - I'm due for a re-watch, but while the camp scenes are great, I found the rest to be kind of meh. Again, I think I'll like it more now. Eyes Wide Shut - Kubrick's masterpiece of masterpieces. Often darkly funny, other times terrifying. A spot-on, spiritual (not literal) adaptation of the Schnitzler novella.
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Aug 3, 2016 01:59
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darkhand posted:I'm gonna rewatch eyes wide shut because I thought it was absolutely awful the first/only time I saw it. Me too, except I was 17 years old and watching it because I wanted to see tits. If you watch it for that, you're going to be terribly disappointed. It's a lot more fun deconstructing Eyes Wide Shut than The Shining because all the layers are actually there instead of inferred. Eyes Wide Shut is essentially a black comedy that turns into a thriller. Kubrick even pokes fun at himself by having Tom Cruise shut off the classical music in the opening scene that had been playing since the credits. I saw it in 35mm years ago and the film was so hazy, grainy, and colorful. Like a dream. Egbert Souse fucked around with this message at 02:14 on Aug 3, 2016 |
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Aug 3, 2016 02:11
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I love the lighting in The Shining when Lloyd appears in the bar and Grady in the bathroom. It's lit so the lights behind them blind you from seeing their faces clearly. Also, the lighting in Eyes Wide Shut is amazing.
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Aug 3, 2016 05:39
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I decided to pop in my Blu-Ray of Eyes Wide Shut. A few are obviously  so click with caution.     (I'm guessing the paintings in the Harford apartment are all by Christiane Kubrick since that's one of Kubrick's cats)  (I wish more movies were lit entirely by Christmas trees and lights)        (Another one of Christiane Kubrick's paintings. Interesting choice of a pregnant woman in the overdose scene)     Also, IMDB says that's Kubrick himself on the far left of this shot: 
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Aug 3, 2016 16:19
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Moridin920 posted:I think it's great that he knew what he wanted and would just make those poo poo show actors do the take over and over and over until it was loving right. Not only that, why settle for something that could be better when people will see it for the next century? It's also worth considering that the takes in The Shining that took so many tries were complex shots with a lot of dialogue, camera movement, and also reverse angles.
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Aug 3, 2016 21:07
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https://www.youtube.com/watch?v=r4qO8OaUY94&t=18s
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Aug 3, 2016 21:24
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I think the first half is more effective, but it's all terrifying.
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Aug 4, 2016 01:42
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Aug 4, 2016 17:28
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Pro tip: Don't buy the DVDs of Kubrick's films. Buy the Blu-Rays. Most look spectacular. The difference is gigantic, especially since Barry Lyndon wasn't even 16x9 enhanced on its remastered DVD. Another difference is this: All of the films have either lossless (DTS-HD MA) or uncompressed (PCM) audio tracks, even the monaural ones. You're talking about better-than-CD quality audio. Spartacus even has a 7.1 remix of the original 70mm 6-track mix.
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Aug 5, 2016 05:13
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Kubrick had awesome taste in movies: https://mubi.com/lists/stanley-kubricks-favorite-films
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Aug 5, 2016 20:39
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Code Jockey posted:The man was a genius at lighting He always had genius cinematographers. John Alton's work on Clockwork, Lyndon, The Shining, and Full Metal Jacket is awe inspiring. He also worked with Lucien Ballard, Russell Metty, Oswald Morris, and Geoffrey Look up their names. Metty shot all of Douglas Sirk's 50s films and Touch of Evil. Morris shot Fiddler on the Roof. Unsworth shot Superman '78. Larry Smith shot Eyes Wide Shut, as well as Only God Forgives.
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Aug 5, 2016 23:20
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Aug 6, 2016 01:49
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Dave Concepcion posted:Kubrick wasn't immune to goofs (there's a shadow of the helicopter they're filming from in the opening shot of the shining), but most of what would be considered goofs on some direct to dvd shitfest are most certainly intentional which includes probably all of the more obvious continuity "errors" (furniture moving, typewriter changing color), the impossible geometry of the overlook hotel etc The shadow isn't visible if The Shining is in the theatrical 1.85:1 format. You also see the effects rig in Dr Strangelove for the big bomb riding scene when you don't see it in widescreen.
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Aug 6, 2016 12:28
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I watched a bit while getting screen caps. The robber scene is one of the funniest bits Kubrick ever did in a film. I hope if I ever get mugged, it's by someone as polite.
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Aug 6, 2016 16:56
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Viruswithshoes posted:Pretty much all of the continuity errors are intentional. There's a documentary where he deliberately moves noticeable items in between takes/retakes. The great thing about that movie is that even the unintentional mistakes add to the deliberate weirdness feeling to it. A lot of them are pointless. Who gives a gently caress if a scarf is 90 degrees in one shot and 70 degrees in the following one? Kubrick was a perfectionist, but even he'd say that's dumb to point out. I read one interview by Peter Greenaway where he said "continuity is boring". Even obvious stuff like the two typewriters. I assumed he switched to one at the hotel to get over his writer's block. I just think it's stupid to think that Kubrick wouldn't have noticed something like that. And it's clear the missing cord on the TV in The Shining is deliberate. It gives a subliminal creepiness to the shot. That's why I think the symmetry and use of the steadicam works in The Shining. All the movement is so smooth and calculated. The lighting looks perfectly natural. It gives this feeling of unease, sort of the same way some mo-cap has this creepy look because it's too real.
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Aug 6, 2016 22:17
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Aug 7, 2016 01:20
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Kubrick's pre-movie photography is awesome      
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Aug 7, 2016 16:04
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George C. Scott is hilarious in Dr. Strangelove. He was pissed off at Kubrick for using takes where he was more exaggerated instead of more natural. His face when the President is telling the Russian Premier to shoot down the plane is perfect. (efb  )
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Aug 7, 2016 18:55
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Kubrick spent years after making 2001: A Space Odyssey researching and preparing for the Napoleon film. Then the Italian-French-Russian co-production Waterloo was a bomb. So, Kubrick decided to adapt A Clockwork Orange instead when no one wanted to back it. A Clockwork Orange only cost $2 million (2001 cost $10 million in 1968 money), shot within 6 months, almost entirely shot on location with basic light kits or practical lighting, and was released only 10 months after shooting was completed.
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Aug 7, 2016 21:21
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rear end cobra posted:2001 still has the best and coolest effects of all time Part of why it looks so good is because everything was done in camera. Instead of optical printers that cause a generation loss. It's actually common for traditional animation, but hugely tome consuming for live action. This means some shots had to go through the camera a dozen times. Imagine loving up one.
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Aug 8, 2016 18:57
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https://www.youtube.com/watch?v=fb7Meqaz7Aw This guy shows off all of Kubrick's lenses that he accumulated over the years, as well as one of his cameras. He would actually buy the lenses and cameras instead of renting because he'd have them modified to his specs. You get to see the two Hasselblads modified to be used on Barry Lyndon.
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Aug 9, 2016 05:13
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Caps from the Blu-Ray       
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Aug 10, 2016 05:17
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God drat, The Killing is an awesome noir:        (That's Joe Turkel hiding under the cloud of smoke) Kubrick wrote in a scene in a chess hall and it has this awesome mirror shot:        Also, Rodney Dangerfield is an extra in this shot:     Hector Beerlioz posted:Seeing 2001 in a theater in the 4th row, center is quite the experience I had a chance to see it in Atlanta last year, but I couldn't get out of work in time. I guess they'll do a big thing for its 50th anniversary release in 2018, though.
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Aug 10, 2016 05:53
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Killer's Kiss is probably Kubrick's most underrated film. It was his second feature-film and self-financed like Fear and Desire. Unlike practically all of his subsequent films, it's rough around the edges. A lot of it looks like from a documentary. There's a terrific boxing match scene that's full of great handheld camera work and quick editing. It's the sort of scene a filmmaker would be proud to show. Here's a ton of screenshots from the film (it's included on Criterion's Blu-Ray and DVD edition of The Killing):      This shot honestly looks like rear projection, then the guy walks to the back.                          
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Aug 11, 2016 02:43
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I'm due for re-watches of Spartacus, Lolita, and Full Metal Jacket. Almost picked up the last one in the Walmart bin today. I'll go ahead and let out the white elephant of Kubrick's filmography. Fear and Desire Let's take a look at the first feature films other other great directors: Citizen Kane The Maltese Falcon Duel Shadows Eraserhead Glen or Glenda Fear and Desire isn't as good as any of those films. I'll go ahead and say that it's probably the film with the widest disparity between a filmmaker's best work and worst. Now, if it were the only feature a student made, I'd have to say it's an alright work. It actually did win an award or two. The film reminds me a lot of The Lost Skeleton of Cadavra. Static camera shots, lots of garbage dialogue, and people just walking. However, it has brief brilliant moments like soldiers storming a cabin. It's pretty obvious Kubrick had probably seen a bunch of Eisenstein films, just as it's clear he had probably just seen Citizen Kane prior to making Killer's Kiss and The Killing. It was hard finding a lot of "nice shots" but it does have some.             
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Aug 13, 2016 06:03
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hemophilia posted:Is spartacus one that he had full control over? How come I never hear that one brought up when talking about kubrick despite being a pretty iconic film It's the only feature Kubrick did "for hire" since he only directed it. Kirk Douglas produced it and it was actually Anthony Mann who started the film. Douglas replaced Mann with Kubrick a week into filming. James B. Harris co-produced The Killing and Lolita with Kubrick, Kirk Douglas produced Paths of Glory and Spartacus. IMDB says Kubrick was an uncredited "executive producer" on Paths of Glory. Starting with Dr. Strangelove, Kubrick served as his own producer and co-writer on all of his films. He also served as visual effects supervisor on 2001 (shared with Douglas Trumbull and Wally Veevers). He was also occasionally an uncredited camera operator. Alex's attack on the Cat Lady in A Clockwork Orange was shot by Kubrick himself using a handheld Eyemo camera. Egbert Souse fucked around with this message at 06:28 on Aug 13, 2016 |
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Aug 13, 2016 06:23
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Professor Shark posted:2010 by Kubrick would have been much better than the most severe let down sequel ever that was made I think it's funny how 2001 holds up extremely well and 2010 was dated almost immediately. Kubrick was smart to keep the tension between the US and Russia ambiguous. Or how the crew of the Discovery uses iPad-like tablets watching video in portrait mode.
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Aug 13, 2016 23:31
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_Loser_ posted:Alright, well you fuckers did it. I went and grabbed a copy of Barry Lyndon and holy poo poo, beautiful. How the hell have I never heard of this movie before this thread? It was mostly a critical success, but not with audiences in the US. Also, it doesn't have the indelible pop culture placement in history like Dr. Strangelove, 2001, A Clockwork Orange, or The Shining. That's not even taking into account it's Kubrick's longest film and is a period drama instead of more popular comedy, sci-fi, or horror genres.
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Aug 14, 2016 05:41
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Trailers for Kubrick films: Fear and Desire: https://www.youtube.com/watch?v=6dNdAIU3dC0 (No original trailer seems to exist, so this is the one for the restoration) Killer's Kiss: https://www.youtube.com/watch?v=S2Ntdp2_hoU The Killing: https://www.youtube.com/watch?v=FiDUFG56wT4 Paths of Glory: https://www.youtube.com/watch?v=nmDA60X-f_A Spartacus: https://www.youtube.com/watch?v=HcIMY1Ah3aw Lolita: https://www.youtube.com/watch?v=viyXn6IX9lw Dr. Strangelove: https://www.youtube.com/watch?v=98NaJ8ss4sY 2001: A Space Odyssey: https://www.youtube.com/watch?v=qdrGlwA5U7I A Clockwork Orange https://www.youtube.com/watch?v=FI1204n6GZw Barry Lyndon: https://www.youtube.com/watch?v=9lzSoKOs1fc The Shining: https://www.youtube.com/watch?v=HEew7zvpAWE Full Metal Jacket: https://www.youtube.com/watch?v=UuWmCVdwhKg Eyes Wide Shut: https://www.youtube.com/watch?v=uWqSE_opBoc Egbert Souse fucked around with this message at 15:52 on Aug 14, 2016 |
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Aug 14, 2016 15:50
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Eyes Wide Shut is a black comedy for the first half, then turns serious when Harford goes to the orgy castle. That's why the ending is brilliant. Kubrick basically says if you want a real sexual experience, go home and gently caress your wife. Everything else is grotesque.
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Aug 14, 2016 21:40
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I think Shelly Duvall is amazing in The Shining. There's enough hints that it must be complete hell at home when Jack isn't away or at work. Even when he's not on the bottle. Wendy is a worn-out shell. Consider how she's only relaxed when it's just her and Danny. Worse, she's having to do practically all of the work that Jack was hired to do so Jack can dick around with his writing. There's also the subtle misogyny. What's the first thing the owner shows Wendy when they arrive? The kitchen. Or how Jack ogles the woman in the bathtub (which turns out to be a rotting hag). Basically, The Shining is about how domestic abuse is scarier than anything supernatural. That's why I think Kubrick put that whole section near the end with the bear suit guy, skeletons, the bloodied guest, etc.. You just saw the scariest part of the film with Jack tearing down the door with an axe. For that matter, the axe scene is important because it's a homage to Broken Blossoms and The Phantom Carriage. Both of which involve drunks and the latter is a ghost story.
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Aug 15, 2016 00:32
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Professor Shark posted:Reading the wiki confused me because there is all kinds of stuff about some alternate version of Jack once existed at the Overlook in the 20's. I thought of it more as a metaphor for Jack now being part of the past. Wendy and Danny are now free of Jack's wrath. I'm convinced a lot of the weirder things near the end were Kubrick just having fun with imagery. Everyone talks about the bear suit guy and the photograph at the end has been referenced countless times.
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Aug 15, 2016 01:35
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https://www.youtube.com/watch?v=L0WDKcCH9Lo Slightly
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Aug 21, 2016 00:03
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Money Bags posted:What Hitchcock is this? I'm unfamiliar with his work. Mostly footage from Vertigo and Rear Window, with some bits from The Man Who Knew Too Much.
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Aug 22, 2016 02:11
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