A New York City doctor, who is married to an art curator, pushes himself on a harrowing and dangerous night-long odyssey of sexual and moral discovery after his wife admits that she once almost cheated on him.
In future Britain, charismatic delinquent Alex DeLarge is jailed and volunteers for an experimental aversion therapy developed by the government in an effort to solve society's crime problem - but not all goes according to plan.
A family heads to an isolated hotel for the winter where an evil and spiritual presence influences the father into violence, while his psychic son sees horrific forebodings from the past and of the future.
A ficticious war in an unidentified country provides the setting for this drama. Four soldiers survive the crash-landing of their plane to find themselves in a forest six miles behind enemy lines. The group, led by Lt. Corby, has a plan: They'll make their way to a nearby river, build a raft, and then, under cover of night, float back to friendly territory. Their plans for getting back safely are sidetracked by a young woman who stumbles across them as they hide in the woods, and by the nearby presence of an enemy general who one member of the group is determined to kill. Written by
Eugene Kim <email@example.com>
This was thought to be a lost film, and one researcher, Mark Carducci, had suggested that Kubrick destroyed the negative following the death of Joseph Burstyn, the film's distributor. Bootleg copies abound, however, and there is one (legal) print in all of the Americas. It is located in the Kodak archives in Rochester, New York; the Kubrick estate allows viewing of the film with the provisos that it is screened by individuals (not groups), that the print never leaves the building in which it is housed, and that it cannot be duplicated in whole or in part. See more »
Once you understand how a mousetrap works, if you're clever enough, you can use it as a springboard.
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Quite a few people claim to have seen this film, but anybody who tell you that it is not as bad as Kubrick would lead you to believe is flat-out lying about having seen the film. Kubrick is the greatest artist of the last couple centuries, but this film is BAD. Not Kubrick bad, but Ed Wood bad. There are lines like, "I felt fear. Fear I hadn't felt since I kissed my dying grandmother." And the whole thing looks like it was made in somebody's backyard.
There is one thing funnier than this film: the trailer! It was shown with the film at the George Eastman House, and trust me, if you ever get the chance to see it, the trailer alone is one of the most hilarious pieces of film you will ever see. It's a gem!
"Fear & Desire" should be seen, if only to show how an awful, pretentious young filmmaker can flourish to such heights as "Dr. Strangelove," "2001," and "Barry Lyndon." Interestingly enough, the Eastman House print (one of the two still in existence, I believe) was short the film's official running time by a couple of minutes, and there are a few unlikely jump-cuts in the film, which leads one to believe that Kubrick himself cut this film a bit, as he did with "The Shining." However, the other remaining print is the original camera negative, which is stored somewhere out of the country. I would kill to get my hands on that print.
If you get a chance to see this film, do so, and see Kubrick's genesis, and how far he came.
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