Tag Archives: Paths of Glory

Writing about Kubrick Part I

5 May

OK, we haven’t posted in, like, forever.  Part of the reason is that we’ve wanted to write about one of our favorite directors for a while now, but we felt cowed by the task.  We wanted to be as methodical with this post as Kubrick was with his films.  Once you find yourself thinking that way, though, it’s a recipe for inaction.  Here goes.

We¹ remember where we were when we found out that Kubrick was dead.  We were driving back from Chicago with our spouse, Maryam, when the news came over the radio.  Back at the house, we called our friend, Diane (not her real name – she might not like us using her real name.) “Kubrick’s dead,” we said. We have no idea why we called Diane. She and her husband are mutual friends of ours, but she isn’t exactly a Kubrick fan. Diane handled the news with her usual candor. “Didn’t he make A Clockwork Orange?”,  she asked. “What a sick mind.”  We were not put off, and we went on to have a pleasant conversation about the deceased and his films.

We don’t think that Kubrick was a perfect director – he made relatively few films, and his very meticulousness often worked against him. (His penchant for repeated takes, 100+ at times, often put him behind schedule.) There are few strong women in Kubrick films,  and his worldview is often bleak (the world blows up at the end of Dr. Strangelove, for Pete’s sake, and it’s a comedy.) Not only that, he cut the last chapter of Anthony Burgess’ novel, A Clockwork Orange, one that changes the tone of the novel’s ending. Kubrick couldn’t write for sour apples and always wrote with a collaborator.

Nonetheless, more than any other director we can think of, Kubrick is in every frame of his films, though he never once stepped in front of the camera the way Martin Scorsese has occasionally done.  Don’t get us started about the way he moves the camera. Remember the scene in 2001: A Space Odyssey where Gary Lockwood jogs in the centrifuge of the spacecraft?  How ’bout the scene in Paths of Glory where the camera tracks though the WWI trenches? Danny riding his tricycle though empty hallways in The Shining? You’ve probably thought of a few that we haven’t.

Kubrick had budgetary control over his films that many directors would have given their eye teeth of have.  Vincent D’onofrio recalled (it’s on You Tube, we forget the name of the documentary) showing up on the set of Full Metal Jacket and seeing men sitting in a van who never seemed to leave it. “They’re from accounting,” Kubrick explained. “They’re not allowed to leave the car.”

vincent

When ya go crazy in a Kubrick film, ya gotta glower

OK, we’re all over the map here, but we suggest that you check out Fear and Desire, Kubrick’s first feature. The film’s been unavailable for years ’cause Kubrick found it pretentious and amateurish.  The picture’s not great (it sometimes feels like a Twilight Zone episode), but we like it because it foreshadows the Kubrick that was to come – a war theme,  and a scene that in its way prefigures the end of 2001. (Killer’s Kiss, another early effort, has a quick scene that predates the 2001’s light show, as well as a chase though a manikin factory.)

The real purpose of this post was to review Emilio D’Alessandro’s Stanley Kubrick and Me, but we’ll get to that next time.

¹ If you’ve followed this space, you’ll know that we refer to ourselves in the third person, an trite affectation to be sure, but we can’t seem to break ourselves of this annoying habit.