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>
Due to considerable difficulty in securing an American distributor, the film had a very limited theatrical run in order to qualify for award contention. The final domestic gross income was over $1.1 million on a $62 million budget. See more »
When Humbert is making a braid with Lolita's hair while she's sitting by the window, in the full shot he's almost at the end of it but in the medium shot he's at the beginning of it. 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 »
When the 1997 version of Lolita was widely censored in the US, many asked why the reaction was so strong to this film. After all, the novel was published in the US in 1958, Kubrick's film version appeared in 1962, and we hear more shocking tales of sexual depravity every day on the daytime talk shows. But after seeing Lyne's brilliant version of Lolita, I can see how he manages to breathe fresh controversy into this familiar story. Lyne's lascivious lens eroticizes Lolita's every movement and pose. The viewer is forced to see her through the eyes of Humbert and to feel his obsession and desire. We are co-conspirators in his crime, and at the end we share his shame. Rather than shocking us (and having us pull away in revulsion), Lyne draws us in and makes us face the Humbert in ourselves. This is an incredibly powerful film.
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