Humbert Humbert, a divorced British professor of French literature, travels to small-town America for a teaching position. He allows himself to be swept into a relationship with Charlotte Haze, his widowed and sexually famished landlady, whom he marries in order that he might pursue the woman's 14-year-old flirtatious daughter, Lolita, with whom he has fallen hopelessly in love, but whose affections shall be thwarted by a devious trickster named Clare Quilty. Written by
In the novel, Lolita is a brunette. In the film, she is a blonde. See more »
As Humbert Humbert and Dolores race to escape the car that HH believes has been tailing them for three days, their own car sustains a puncture (blowout) and HH has to slew the car to a halt. The low camera angle at the front of the vehicle, however, shows all four tyres fully inflated and all four corners of the car riding at normal height above the road surface. See more »
A delicious, adult meditation on youth, obsession and sex.
This film remains my all-time favorite. It's a delicious, adult meditation on youth, obsession and sex. While not entirely faithful to the novel, it captures the book's spirit and is nonetheless a masterpiece on its own terms. To fully appreciate what Kubrick has done, compare this version to Adrian Lyne's anemic remake.
Kubrick chose his cast wisely for the most part. James Mason conveys both the tormented inner soul and the outwardly polite gentleman with such charm that you simply can't despise him for his treachery. Shelley Winters was never better as the shrill, man-hungry shrew. Sue Lyon is enormously credible in a complex role - physically attractive, childish at times in her behavior, but quietly calculating and manipulative. The weakest link is Peter Sellers, who Kubrick found amusing enough to let him run on too long. Sellers was a brilliant performer, but just not right for this film. As Quilty, he's fine. When masquerading as others, he's mostly intrusive and tends to alter the tone of what's going on.
The need to tread carefully around the censors in 1962 actually works in the film's favor. There's a sophisticated subtlety that counterbalances the lurid subject matter. In fact, I even prefer the edited-for-television version of the scene in which Humbert and Lolita first have sex. Here she merely whispers in his ear before a suggestive fade-out. In the complete version of the film, the scene continues with them discussing a silly game played at summer camp. The less said, the better.
"Lolita" has aged remarkably well. Its topic is relevant today, and the careful craftsmanship that went into this production holds up beautifully. I think it's Kubrick's best film - they tended to get more self-indulgent as time went on. This one's a gem. Not to be overlooked are the aptly provocative title sequence and Nelson Riddle's luscious piano score.
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