Review of Lolita (1962) by Robert D — 31 May 2013

Stanley Kubrick's Lolita, with a screenplay by the author of the original book itself, is like the source a work of perverse curiosity and obsessive indulgences. This tragic tale of the Professor who gets infatuated over a teenage nymphet has been read widely and is well known among literary circles, and the film adaptation deserves enough praise for bringing a difficult subject to the screen. Though it is impossible for me to compare the source and the film since I haven't the read the former, the film struck me as being a well-paced and directed feature with certain expendable sequences but having committed performances from all the cast ; especially mason and the girl.

The movie begins with the climax, as two characters are introduced - that of Quilty , played by Peter Sellers, and the Professor played by James Mason. Quilty is seen murdered by the professor for yet to be revealed reasons. Then the story begins to unfold from events 4 years prior to this incident in the commentary by the Professor who reads the words from his Diary that he had kept during the entire story of the film.

The source of conflict and the driving force of the film is the incestuous and paedophilic relationship between the professor and his step-daughter - Lolita. Lolita is seen as a tender, sweet thing of artistic beauty, something the professor,who is a tragic romantic, imagines to be a Greek nymphet which he must pursue and guard as a rare flower that should not be played upon by none other than himself. Lolita's motives are unclear but it is assumed she has consented to this taboo and she just wants to get whatever she wants like the spoiled brat she is pictured to be.

The tale unfold like a tragedy, where fear and paranoia of the professor is manifested on the screen and thus leads to the possessiveness of Lolita. Kubrick's direction has been consistent throughout the film and the casting of Peter sellers was a stroke of brilliance. Though there are expendable sequences at play, these are seemingly incidental ad insignificant to the on-screen chemistry between n mason and the girl. Kubrick again displays his fascination with tracking camera shots and the curious alignments of the objects inside as well as the movement of the subjects. Freudian themes are at play and are often hinted at and sometimes overtly stated, thus making the film a psychological drama which investigates the extend to which an inherently sinful thought can be manipulated and used by on the basic of the characteristics and personality traits, of an to individual.

The film may not be a faithful adaptation nor can it be called a masterpiece. Nevertheless, the film is constantly on the move as the characters are, and the tensions are slowly built but palpable as in any powerful drama. It is a delight for any Kubrickian for it is an example of his versatility to bring on to screen challenging works and make it uniquely with his own perspective.