Word: kubrick
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Paths of Glory, a treat for the Kubrick fans. Eliot House Dining Hall...
...Clockwork Orange, Kubrick's Brave New World. Sack...
...both a great achievement and, perhaps, a creatively suicidal move for Kubrick. Five years of technological horse-play is enough for many engineers, let alone film directors. Kubrick picked perhaps the only subject which could sustain such extended self-conscious artistry; for once the medium was the message, and by following the shifts of shapes and the repetition of frames and camera movements, you experienced the space flight growth of non-Newtonian physics and non-Euclidean geometry. Despite Kubrick's avowed Platonism, his contention that man is moving away from a biological condition, the guts of the film remained subversively...
...Clockwork Orange makes it seem that Kubrick did get lost in the stars and has become a spaced-out religionist. Aside from his ludicrously simplistic emphasis on free will, the Bronx enfant terrible has lost his purely filmic bearings. The film shows the limits of crudeness. When it takes an actor three minutes to roll off a provocative phrase like "the old in-out in-out", witty language is killed. When there are no developed antagonisms, and the camera supports the actions of a single group, gang warfare is threatless and meaningless. And, perhaps intimidated by the director...
...Kubrick's early successes were heightened journalism, always initially dependent on particular bits of recreated social reality. Now, perhaps believing that the Big Statement is the only one worth making, and that he's well qualified to make it, Kubrick's gone, after the flukey 2001, from high melodrama to melodramatic allegory. I had better feelings for his prior worst film Killer's Kiss: it had an amusingly-typed boxer hero, and interesting views of Brooklyn, of all places. Sadly, you can't work your way back to unpretentiousness. Kubrick's changed into a pseudo-intellectual's movie mogul, proclaiming...