Cast overview, first billed only: | |||
Jeremy Irons | ... | Humbert Humbert | |
Melanie Griffith | ... | Charlotte Haze | |
Frank Langella | ... | Clare Quilty | |
Dominique Swain | ... | Dolores 'Lolita' Haze | |
Suzanne Shepherd | ... | Miss Pratt | |
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Keith Reddin | ... | Reverend Rigger |
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Erin J. Dean | ... | Mona |
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Joan Glover | ... | Miss LaBone |
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Pat Pierre Perkins | ... | Louise (as Pat P. Perkins) |
Ed Grady | ... | Dr. Melinik | |
Michael Goodwin | ... | Mr. Beale | |
Angela Paton | ... | Mrs. Holmes | |
Ben Silverstone | ... | Young Humbert Humbert | |
Emma Griffiths Malin | ... | Annabel Lee (as Emma Griffiths-Malin) | |
Ronald Pickup | ... | Young Humbert's Father |
In early adolescence, Humbert fell hopelessly and tragically in love with a girl his own age, and, as he grew into adulthood, he never lost his obsession with "nymphets," teenagers who walk a fine line between being a girl and a woman. While looking for a place to live after securing a new teaching position, he meets Charlotte Haze (Melanie Griffith), a pretentious and annoying woman who seems desperately lonely and is obviously attracted to Humbert. Humbert pays her little mind until he meets her 13-year-old daughter Lolita (Dominique Swain), the image of the girl that Humbert once loved. Humbert moves into the Haze home as a boarder and eventually marries Charlotte in order to be closer to Lolita. When Charlotte finds out about Humbert's attraction to her daughter, she flees the house in a rage, only to be killed in an auto accident. Without telling Lolita of her mother's fate, Humbert takes her on a cross-country auto trip, where their relationship begins to move beyond the ...
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.