Schoolgirl Josefine learns from an early age to use sex to gain advantages. The school's gym teacher is arrested and accused of indecent behavior but the court dismisses the case when ... See full summary »
After her only friend is expelled from their private school in the Upper East Side of Manhattan, Cat Storm wants to get close to a boy she is attracted to and recreate herself with new ... See full summary »
After her mother commits suicide, nineteen year old Lucy Harmon travels to Italy to have her picture painted. However, she has other reasons for wanting to go. She wants to renew her ... See full summary »
Humbert Humbert, a British professor coming to the US to teach, rents a room in Charlotte Haze's house, but only after he sees her 14-year-old daughter, Dolores (Lolita), to whom he is immediately attracted. Though he hates the mother, he marries her as this is the only way to be close to the girl, who will prove to be too mature for her age. They start a journey together, trying to hide they're not just (step)father and daughter, throughout the country, being followed by someone whom Humbert first suspects to be from the police. The profound jealousy, and maybe some guilt from the forbidden love, seem slowly to drive the man emotionally labile. Written by
Luis Canau <luis..canau@mail.EUnet.pt>
Lolita and Hum arrive in gas station with license plates which are black with white numbers. When the tire blows on the road, the car is shown with different plates beginning with the letters "AC". See more »
She was Lo, plain Lo, in the morning, standing four feet ten in one sock. She was Lola in slacks, she was Dolly at school. She was Dolores on the dotted line. But in my arms she was always - Lolita. Light of my life, fire of my loins. My sin. My soul.
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After the credits are over there is a brief clip where Lolita is shown juggling a red apple. See more »
Lyne's Lolita emphasizes tragedy of Nabokov's novel
Lyne's point of departure from the Kubrick version of Nabokov's great novel lies primarily in tone: the later version focuses more on the tragic, dramatic elements of the book and less on the comedic ones. I will not go so far as to suggest that Lyne made a better film; he did not. I do think, however, that he did pinpoint one of the key components of the novel's genius: a capturing of life on the newly paved highways of mid-century America. As Humbert, Jeremy Irons is as good as his predecessor James Mason. Frank Langella's interpretation of Quilty entirely diverges from the one given by Peter Sellers (and rightfully so; who wants to compete with Sellers?). But it is Dominique Swain, outdoing Sue Lyon, who comes closer than what ever seemed possible to embodying the essence of the doomed Dolly Haze.
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