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.
Humbert Humbert forces a confrontation with a man, whose name he has just recently learned, in this man's home. The events that led to this standoff began four years earlier. Middle aged Humbert, a European, arrives in the United States where he has secured at job at Beardsley College in Beardsley, Ohio as a Professor of French Literature. Before he begins his post in the fall, he decides to spend the summer in the resort town of Ramsdale, New Hampshire. He is given the name of Charlotte Haze as someone who is renting a room in her home for the summer. He finds that Charlotte, widowed now for seven years, is a woman who puts on airs. Among the demonstration of those airs is throwing around the name of Clare Quilty, a television and stage script writer, who came to speak at her women's club meeting and who she implies is now a friend. Those airs also mask being lonely, especially as she is a sexually aggressive and liberated woman. Humbert considers Charlotte a proverbial "joke" but ...Written by
Clare Quilty's role in the screenplay was greatly expanded from that of the novel. See more »
When Humbert starts his journey to pick up Lolita, you'll see at Camp Climax sign, the white station wagon has a license place that reads 2178 and seems to be from a different state than the other plates. The car Humbert parks at the service station has a lamp attached to the front grille, and carries number plate 17459. A few minutes later when he has the blowout (which seems to leave all four tires intact) the lamp is missing and a white number plate that reads AC629. The car that has been trailing them also has this same type of license plate, too. It is visible on the front of the car and on the back, when it turns around. At the end of the film, the car has the 17459 license plate again. See more »
Someone commented that if you want to acquaint yourself with Nabokov's `Lolita' without actually reading it, the best you can do is to see Adrian Lyne's version. This is surely true. And, I might add, if you want to acquaint yourself with Nabokov's `Lolita' without actually reading it - to hell with you. You don't stand a chance anyway. Humbert's narration cannot possibly make it to the screen in one piece. Kubrick, at least, made no attempt. He even invents his own material, which Lyne is afraid or unwilling to do.
Something about Lyne's authenticity is even shocking. He opens the story in 1947, which is when the story in fact opens - yet everything looks jarringly old-fashioned, whereas Kubrick's indeterminate 1950s setting looks right. The bulk of the story might as well take place in the 1950s as any other time. The crucial point is that the story cannot begin any EARLIER than 1947 - we need a post-war America with motels dotting the landscape. Humbert has little contact with contemporary culture; he only encounters the snippets of music and film that obsess Lolita, and he finds them unendurably vulgar. Kubrick captures this very well. There's this boppy little pop tune we never hear the end of - although most of the time we only hear it subliminally - for the first half of the movie, and it sounds like exactly the kind of tune that drove Humbert up the wall.
Kubrick's cast is a strong one. It's crowned by Peter Sellers as Quilty - and before you complain that we see too much of him, ask yourself what scene featuring Quilty could you possibly want to be removed? Admittedly, since this is 1962, we have a Lolita who is merely sixteen - but maybe this isn't just because it's 1962. After all, the book does two things at once. It makes us understand perfectly why Humbert is attracted to Lolita - we see her through his eyes - while constantly reminding us that Lolita is not someone that we would be attracted to, ourselves. Both are worthy goals, but when it comes time to film the book, the director must make a choice between them. Kubrick picked a genuinely attractive, but still obviously young, Sue Lyon. I can't fault this choice. As for Humbert - well, here Kubrick was actually MORE daring than Lyne was. Humbert Humbert is a sympathetic character who is also calculating, manipulative and - now and then - shockingly brutal. James Mason allows Humbert to be all of these things. This doesn't prevent him from being sympathetic. The story takes care of that.
It comes down to this. What, exactly, does Humbert do that's so wrong? Is it that he has sex with a minor? Considered in itself this is the least of his crimes. What's really wrong is the way he attempts to be Lolita's lover and guardian simultaneously, and, of course, he makes a hash of both jobs. THAT is what's essential to the story of Lolita, and that's what Kubrick transfers to the screen at least as well as Lyne.
Having said that I must add that both versions are very good. They're also different enough to scarcely even be competitors. See them one after the other, if you like.
156 of 236 people found this review helpful.
Was this review helpful to you?
| Report this