The works of Stanley Kubrick are innovative and insightful. Kubrick followed an esoteric career path, seemingly trying to master each major film genre – noir, war, science-fiction, period drama, horror, erotic thriller – while exploring what defines humanity. Many of the films are criticized for their length and lack of action; on the other hand, the pacing adds impact to the climactic scenes.
Dr. Strangelove, or: How I Learned to Stop Worrying and Stop the Bomb: Incorporating elements from many war films, such as archetypal characters with a cynical twist, Dr. Strangelove portrays how the military handles a critical situation with a total lack of urgency (“I’ll just mosey over to the war room…”). Meant to criticize the arms race of the Cold War, the film no longer seems as absurd after many governments have totally abused the truth during recent wars.
Peter Sellers plays three roles, the genial Captain Mandrake, the indecisive president, and insane Dr. Strangelove. Sterling Hayden and George C. Scott also perform admirably as military officers who are so caught up with their roles that they can no longer see the big picture. Base Commander Jack D. Ripper (Hayden) is particularly memorable as the single officer who wishes to destroy the U.S.S.R., even if it means the end of the world (“I can no longer it back and ignore … the international Communist conspiracy to sap and impurify all of our precious bodily fluids.”) When General Turgidson (Scott) appears before the President and the cabinet, his manner is very similar to when Donald Rumsfeld appears before Congress. There is a sense of hypocrisy, two different standards for Communists and Americans.
Kubrick juxtaposes contrasts, such as a fire fight by a bill board reading Peace is Our Profession to show the extent that things have gone wrong (“We must not allow a mineshaft gap!”). People are no longer individuals capable of thinking for themselves but caricatures who blindly support one issue simply because of its inherent truthiness.
Some of the low canted angles have been copied by other directors to show action scenes. For the time, the mid-air scenes were considered cutting edge; now the scenes are staples. However, Kubrick does not show frenzied air combat scenes but the crew as they gradually proceed with a critical mission. A soundtrack featuring patriotic marches and drums contributes a feeling of inevitability to the proceedings. Dr. Strangelove was not meant to be a Hollywood epic though it is fashions a more realistic picture than he is given credit for (“This is outrageous. I have never heard of such behaviour in the war room before.”) The war room set is iconic and has been copied by several other works. Comedy and current affairs collide and action is accompanied by absurdity in this memorable Hollywood film. ****
2001: A Space Odyssey: A realistic science-fiction film that makes from the genre by looking forward and backwards. The space scenes are spectacular (the effect of zero gravity on camera was achieved by using a giant centrifuge. Understanding that it is highly unlikely that humans will travel over light speed or engineer artificial, Kubrick chose to make his film much slower than other sci-fi works. The film is as much about the exploration of the self as space itself.
Many films and television shows have used the effect of placing the audience into the mind of the protagonist and muted the background (or replaced it with a vacuum-like sound). 2001 was one of the first films to attempt this technique.
Kubrick and author Arthur C. Clarke question how intelligence is created, whether it is among primates many years ago or in a computer. Both man and machine show a proclivity towards violence, a trait which may be shared by the aliens who scattered obelisks across the galaxy to stimulate evolution. Like humans, H.A.L. eventually becomes too focused on self-preservation which leads to his demise. Dave is willing to explore and is consequently able to reach a high level of existence. ***½
A Clockwork Orange: Made between films with the goal of keeping costs low in mind, this film shows how society can collapse, on both global and individual levels. In the not-so-distant future, hordes terrorize the countryside, wreaking havoc and ultra-violence upon unsuspecting citizens. Alex is arrested and imprisoned for rape and murder, sent to be rehabilitated as part of a new government programme. When he gets out, he is a new man, literally and figuratively. Shunned by his family and friends, he sets out, only to be captured and tortured by his former victims.
It is an excellent screenplay, adapted from a classic book. Malcolm McDowell embodies the spirit of the book. Kubrick’s combination of classical music and brutal violence made for numerous timeless scenes. At first, society forgets its values, wilfully ignoring how the youth are acting. Later, a program created solely for political reasons proves to be nothing but brainwashing, destroying Alex’s self and rendering him helpless. ***
The Shining: The film contains some spectacular visuals (exemplified by the blood pouring out of the elevator) but I never managed to like it. Kubrick’s self-imposed exile in Great Britain made him myopic regarding screenwriting and casting decisions. The mental breakdown suffered by the protagonist necessitates a delicate pace but The Shining may have taken that concept to an extreme. *½
Full Metal Jacket: When recruits enrol in basic training, their minds are broken down and formed into one collective body. Gunnery Sergeant Hartman is the bellicose and vulgar officer charged with this task. Privates Cowboy and Joker are mostly able to navigate the program but even they cannot help Private Pyle, who never seems up to the task. During the distinct second part of the film, they recruits have all been deployed across Vietnam.
Private Joker uses humour as a defence to isolate himself from the senseless violence but eventually he falls victim to the army mentality. There is no set campaign, only a series of engagements. Full Metal Jacket mirrors the public’s opinion of Vietnam, the violence is neither connected nor part of a bigger picture.
All of Kubrick’s film contain memorable quotes, such as “Gentlemen, you can’t fight in here; this is the war room!” or “I’m sorry, Dave. I’m afraid I can’t do that,” none more than this film, thanks to the profanity of Sgt. Hartman and the prostitutes of Vietnam. ***½
Eyes Wide Shut: It took a second viewing of the film to appreciate the extensive use of trailing shots. The trademark feature is the use of long trailing shots which focus on characters as they move through the city. Watching Chloe this year, certain parallels emerge; couples seeking where the truth lies but in different cities. Tom Cruise and Nicole Kidman play the Hartfords, although I don’t think that Kubrick got the real husband and wife tension that he was hoping for when he casted the couple. Over the course of a day and a half, attempting to spite his wife who may have cheated on him, Dr. Hartford explores the seamy sexual surroundings in of the city.
So much potential lost. The leading man delivers an unconvincing and contrived performance although other characters are far more nuanced. For a film that seeks to explore the emotions that fuel relationships, this is a critical flaw. Nicole Kidman knows that it is unknown whether her confession is real or imagined, or perhaps simply a dream, but Cruise staggers through this film like his character stumbles through New York City. The erotic tension does not quite reach a climax. Consequently, the film was disparaged by many. If one can say one good thing about the film, it is not as bad as the public opinion. **½