Word: lolitas
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...Supreme Court discussed child porn on Tuesday, talk turned to movies like Traffic and Lolita, which appear to depict underage sexual activity. Justice Antonin Scalia told everyone he had never seen any of those movies after the discussion had lasted...
...This week Dowd attacked the President for his "magnificent obsession" with Star Wars. A very literary spasm of woofing: In the first few paragraphs, she cited the obsessions in Proust's "Swann's Way", Thomas Mann's "Death in Venice", Nabokov's "Lolita", Oscar Wilde's "De Profundis," and Melville's "Moby Dick" - a way of signaling that all of us on the right side of the Star Wars issue are bright, literate English majors, and that the presidential doofus on the other of the room, eating peanut butter and jelly sandwiches, is, I mean, George W. Bush! Texas! Little...
Kubrick was a scholar of hubris. That was his persistent theme: the dream of being other, or more, than we are. The ambition that seems honorable in your standard movie hero is often revealed as idiot obsession in a Kubrick protagonist. He falls in love with a living doll (Lolita) or himself (Barry Lyndon), with an idea that may be decent (justice, say, in Paths of Glory), even artistic (writing a novel, in The Shining). But Kubrick sets him the sort of test and trap that real-boy Martin sets for David: a man must learn the limits of hope...
...Written with poet Mason Hoffenberg, Southern's best-remembered comic novel, "Candy" (1964) had a curious history: first published in 1958 under the pseudonym "Maxwell Kenton" by the Paris-based Olympia Press (a firm that printed trite erotica and debuted groundbreaking works like "Lolita" and "Naked Lunch"), the book fell into a strange copyright limbo on these shores. In interviews, Southern quoted the book's sales at 7 million - it was a "New York Times" bestseller in its official U.S. edition, but thousands of copies were sold through bootleg printings of the book by no-name publishing houses, marketed...
...Kubrick was a scholar of hubris. That was his persistent theme: the dream of being other, or more, than we are. The ambition that seems honorable in your standard movie hero is often revealed as idiot obsession in a Kubrick protagonist. He falls in love with a living doll (Lolita) or himself (Barry Lyndon), with an idea that may be decent (justice, say, in Paths of Glory), even artistic (writing a novel, in The Shining). But Kubrick sets him the sort of test and trap that real-boy Martin sets for David: a man must learn the limits of hope...