Kubrick, Stanley
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Original in English — Stanley Kubrick.
Stanley Kubrick Stanley Kubrick
A self portrait taken in 1949.
Birth name: Stanley Kubrick
Date of birth: July 26 1928(1928-07-26)[1][2]
Place of birth: Manhattan, New York, USA
Date of death: March 7 1999(1999-03-07)[3][2] (70 years)
Place of death: Harpenden, Hertfordshire, England, United Kingdom
Citizenship: USA USA
United Kingdom United Kingdom
Profession: film director
screenwriter
film producer
editor
cameraman
Career: 1951-1999
Direction: New Hollywood
Awards:
BAFTA Academy Fellowship Award
Academy Award for Best Visual Effects
IMDb: ID 0000040
visual memory.co.uk/amk/ Stanley Kubrick on Wikimedia Commons
Stanley Kubrick (July 26, 1928 March 7, 1999) was an American and British film director, photographer and producer, one of the most influential cinematographers of the second half of the XX century.
Kubrick's films, most of which are based on literary works, were shot with great technical skill.
The peculiarities of his directorial handwriting include the specific use of close ups, unusual panning, influx, as well as the unusual use of popular and classical music.
Kubrick often depicts the loneliness of a person in the world that he created for himself, and isolation from the surrounding reality.
Content
1 Biography 1.1 Early years 1.2 First films 1.3 "Fear and Lust", "Killer's Kiss" 1.4 "Murder" 1.5 "Paths of Glory" 1.6 "Spartacus" 1.7 "Lolita" and moving to the UK 1.8 "Doctor Strangelove, or How I stopped being afraid and fell in love with a bomb" 1.9 "Space Odyssey 2001" 1.10 "Clockwork Orange" 1.11 "Barry Lyndon" 1.12 "The Shining" 1.13 "All metal shell" 1.14 "With a wide with closed eyes" 1.15 Death
2 Unrealized projects 2.1 "Artificial Intelligence" 2.2 "Burning Secret" and "Illegitimate child" 2.3 "Mad at Freedom" 2.4 "One eyed Jacks" 2.5 "Napoleon" 2.6 "Vanity Fair" 2.7 " Aryan documents "("Wartime Lies") 2.8 Scenarios that remained unrealized 2.9 Other unrealized projects
3 Director's handwriting 4 Personal life 4.1 Character 4.2 Family cameo
5 Filmography 6 Awards and nominations 7 Other projects 7.1 The Spy Who Loved Me
8 See also 9 Notes 10 Sources 11 Literature 12 References
Biography[edit / edit wiki text]
Early years[edit / edit wiki text]
A photograph of Chicago taken by Kubrick in 1949
Stanley Kubrick was born on July 26, 1928 in New York, in a family of Jews — immigrants from the Austro Hungarian Empire.
His father, Jacob (later Jacques Leonard) Kubrick (Jacob Kubrick, or Jacques Leonard Kubrick, 1902-1985), was originally from Eastern Galicia and worked as a surgeon.
Mother, Gertrude (later Sadie) Perveler (Sadie Gertrude Perveler, 1903-1985), came from Bukovina and was a housewife.
As a child, Stanley lived in the Bronx, in apartment 2160 on Clinton Avenue.[4]
The Kubrick family was not religious, although Jacob and Gertrude were married according to the Jewish tradition. [5]
Stanley's father taught him the game of chess at the age of twelve, and he remained obsessed with this game throughout his life.
In addition, his father bought a Graflex camera for his son when he was thirteen years old, which influenced his further passion for photography.
In high school, Kubrick played drums in a school swing band and at one time dreamed of becoming a jazz musician.[6] [note 1]
His parents loved Stanley very much and gave him a lot of freedom: he walked around the city and did what he was interested in.[6]
After elementary school, Kubrick entered William Howard Taft High School, where he studied from 1941 to 1945.
He had poor academic performance, 67 points out of a hundred on average[7].
He graduated from school in 1945, but due to poor knowledge, he could not enter a higher educational institution.
Later, Kubrick spoke disparagingly about his upbringing and education, claiming that nothing in school interested him.[4]
His parents sent him to live in Los Angeles with relatives, where he lived for a year.
Stanley Kubrick takes a photo of Rosemary Williams for Look magazine in 1949
While still in high school, he was chosen for the year as the official school photographer.
In 1946, he often attended evening classes at the City College of New York (CCNY), but then dropped out. [8]
Eventually, he started looking for a job as an independent photographer and looking for a place to study.
In 1946, he began working as a photographer for Look magazine, and then became their full time photographer[note 2].
In addition, Kubrick earned money by playing chess in Washington Square and in various chess clubs in Manhattan.[9]
Kubrick with his father Jacob
During his years working for Look magazine, Kubrick married Toba Etta Metz (born in 1930) on May 29, 1948.
They lived in Greenwich Village, and divorced in 1951.
During this time, Kubrick began attending film screenings at the Museum of Modern Art and cinemas in New York.
He was particularly inspired by the work of Max Ophuls, whose films subsequently influenced Kubrick's visual style.
The first films[edit / edit wiki text]
In 1951, Kubrick's friend, Alex Singer, convinced him that he should start making money by shooting short documentaries for the March of Time company, a supplier of newsreels to cinemas.
Kubrick agreed and, with his own money, made a short documentary film "The Day of the Fight" in 1951.
In the film, in particular, an unusual shooting style was used, which became one of the most striking camerawork techniques of Kubrick[10].
Although the March of Time company went bankrupt in the same year, Kubrick sold "The Day of the Fight" to the film company RKO Pictures for $ 100.
Inspired by his early success, Kubrick quit Look Magazine and began working on his second short documentary, The Flying Padre (1951), funded by RKO.
His third work was the short film "Sea Riders" (1953), Kubrick's first color film.
It was a 30 minute promotional film created for the international seafarers ' Union.
These three films constitute Kubrick's only surviving documentary works.
However, it is believed that he was involved in the shooting of other short films that were lost.
None of these films have ever been officially released, although they have been widely broadcast, and fragments of them are used in the documentary "Stanley Kubrick: A Life in Cinema".
In addition, "The Day of the Fight" and "The Flying Padre" were shown on the TSM channel.
"Fear and Lust", "Killer's Kiss" [edit / edit wiki text]
Main articles: Fear and Lust, The Killer's Kiss (film, 1955)
Kubrick switched to making films with the film "Fear and Lust" (1953), a story about a team of soldiers caught behind enemy lines during combat operations.
Although the film "Fear and Lust" received positive reviews, as a result, the film failed at the box office.
In later years, Kubrick was embarrassed by the mention of this film, which he began to call an amateur work.
He refused to show his film on television and did everything possible to remove this film from public circulation[11].
But at least one copy remained in the hands of a private collector and subsequently (after the death of the director) the film was published on VHS cassettes, and later on DVD.
While working on the film "Fear and Lust", Kubrick's marriage with You Metz broke up.
He met his second wife, the Austrian born dancer and theater artist Ruth Sobotka, in 1952.
They lived together in the East Village from 1952 until their wedding on January 15, 1955.
That same summer, they moved to Hollywood.
Sobotka played a cameo role in Kubrick's next film, "The Killer's Kiss" (1955), and was also an art director on the set of the film "Murder" (1956).
Just like" Fear and Lust"," The Killer's Kiss " became a short feature film, lasting just over an hour.
The film was met with limited commercial and critical success.
The film tells about a young heavyweight boxer who is at the end of his career, he gets into a love triangle in which his rival is involved in criminal cases.
Both films ("Fear and Lust" and "The Killer's Kiss") were made with Kubrick's own money and donations from friends[12][13].
"Murder"[edit / edit wiki text]
Main article: Murder (film, 1956)
Alex Singer introduced the young Kubrick to a producer named James B. Harris, and they became close friends[14].
Their business partnership, Harris Kubrick Productions, will finance Kubrick's next three films.
Together they bought the rights to a novel by Lionel White called "Cleaning Break", which Kubrick turned into a script for the film "Murder".
Despite admiring reviews and reviews from critics, the film was not a financial success.
In many ways, the film "Murder" followed the concepts of film noir.
Although the noir genre reached a record popularity in 1940, the plot, directing techniques and cinematography of the film "Murder" caused a revival of this genre, and now it is considered one of the best paintings in this genre[15][16].
The wide popularity of the film "Murder" brought Harris Kubrick Productions the interest of Metro Goldwyn Mayer[17].
The studio offered them its rich collection of purchased film rights to the stories, from which Kubrick could choose his next project.
During this time, Kubrick also collaborated with Calder Willington on the film adaptation of the Austrian novel "The Burning Secret"[18].
"Paths of Glory"[edit / edit wiki text]
Main article: Paths of Glory
Kubrick's next film was "Paths of Glory" (1957), which was based on a novel written in 1935 by Humphrey Cobb.
The story in the novel (as in the film) is about a French officer who was ordered by high ranking authorities to lead his people on a deadly mission.
As a result of the failure of the mission, three innocent soldiers are accused of cowardice and are going to be executed, as an example for other troops.
Kirk Douglas (the main actor) was instrumental in finding and securing funding for an ambitious production.
The film was not a significant commercial success, but was recognized in this branch of the film industry.
After the filming of the film, Kubrick himself began to be perceived as the main, promising young director.
Critics have praised this film for many years[19], and Steven Spielberg called it one of his favorite Kubrick films[20].
During the production of "Path of Glory", in Munich, Kubrick met a romantic young German actress Christian Harlan (her stage name is indicated in the credits, "Suzanne Christian"), who played the only female role in the film.
Kubrick divorced his second wife, Ruth Sobotka, in 1957.
Christiana Susanna Harlan (born in 1932 in Germany) belonged to a theatrical family and studied to be an actress[21].
Christiana and Stanley married in 1958 and remained together until Stanley Kubrick's death in 1999.
During her marriage to him, Kristina focused on a career as an artist.
Spartak[edit / edit wiki text]
Main article: Spartacus (film, 1960)
Kubrick, Woody Strode and Kirk Douglas on the set of "Spartacus"
After his return to the United States, Kubrick worked for six months on a film with Marlon Brando called "One Eyed Jacks" (1961).
But their ideas differed over a number of decisions, Brando eventually fired Kubrick and decided to finish the film himself.[22]
Kubrick worked on a number reproducerea screenplays, including the screenplay for the film "Lunatic at large"[23] while kirk Douglas asking him to take on the directing duties for the production of the film, produced by the Douglas — "Spartacus" (1960).
Originally the Director's chair was occupied by Anthony Mann, who was fired by the Studio two weeks after the start of filming.
Based on the actual history of the doomed revolt of the slaves of the Roman Empire, "Spartacus" was a difficult project.
As a result, creative differences arose between Kubrick and Douglas, which resulted in open conflicts.
Faced with the lack of full creative freedom, Kubrick subsequently renounced his big role in the production of the film, which further angered Douglas[24].
The friendship of the two filmmakers, which arose during the filming of "Paths of Glory", was ground to powder on the set of"Spartacus".
Years later, Douglas called Kubrick "a talented shit" [25].
Despite a series of disagreements, Spartak was a commercial success and made Kubrick a big name.
However, the production of this film convinced Kubrick to find new ways to work with Hollywood financing, while remaining independent of Hollywood producers.
"Spartak" received 4 Academy Awards.
"Lolita" and moving to the UK[edit / edit wiki text]
Main article: Lolita (film, 1962)
In 1962, Kubrick moved to England to shoot his next film, Lolita.
Here he will live for the rest of his life.
The main reason for the move was that "Lolita" could be filmed in a country with a milder censorship than the United States.
But even after Lolita, Kubrick had to stay in England first for the filming of the film "Doctor Strangelove, or How I stopped being afraid and fell in love with the Atomic Bomb", since Peter Sellers was forbidden to leave England at that time (due to the divorce process), and then when working on "Space Odyssey 2001", which required sound power, which was not available in America at that time.
However, after filming "Lolita" and "Doctor Strangelove", already at the early stages of planning "Space Odyssey 2001", Kubrick decided to settle in England forever.
Deciding to settle in England, Kubrick bought Abbot Mead, a manor house near London, not far from the film studio in Borehamwood.
His family settled in a house surrounded by a high fence, and almost did not receive anyone.
As if to emphasize his dual citizenship, the director kept his New York apartment in the Central Park area.
Lolita was Kubrick's first film that generated public controversy[26].
The book by Russian writer Vladimir Nabokov tells about the romance between a mature man named Humbert and his twelve year old stepdaughter.
The novel was already infamous as "obscene" and gave rise to a famous lawsuit.
Kubrick asked Nabokov to adapt his novel on the screen.
The writer initially prepared a 400 page version of the script, which he then reduced to 200 pages.
The final version of the script was completed by Kubrick himself, and Nabokov's version was included in the film only on 20 %[27][28][29].
Nabokov published an original (his) script called "Lolita: the Script".
Prior to the release of the film, Kubrick realized that in order to receive approval from the Production Code, the script should not be overly provocative.
Kubrick tried to introduce some elements that more acceptably referred to the sexual relationship between Humbert and Lolita.
Film critics ' ratings were mixed after the film's premiere; many praised it for its bold decisions, while others were surprised by the lack of intimacy between Lolita and Humbert.
Sue Lyon received the Golden Globe Award in the category "the most promising aspiring actress".
In addition, the film was nominated for seven awards.
"Dr. Strangelove, or How I stopped being afraid and fell in love with a bomb"[edit / edit wiki text]
Main article: Dr. Strangelove, or How I stopped being afraid and fell in love with a bomb
Kubrick's next film, " Dr. Strangelove, or How I Stopped being Afraid and Fell in Love with the Bomb "(1964), became a cult film, and is now considered a classic.
Roger Ebert wrote that this is the best satirical film ever made[30].
The film was based on the novel "Red Alert", written by former US Air Force captain Peter George.
"Red Alert" is a serious cautionary tale about an accidental atomic war.
However, Kubrick presented the conditions leading to a nuclear war so absurdly that this story became a black comedy.
It is also interesting that the actor Peter Sellers, who played an episodic but key role in Lolita, played three different characters in Doctor Strangelove: US President Merkin Muffley, Doctor Strangelove himself and Captain Lionel Mandrake.
Kubrick later called Sellers "Incredible", but expressed regret over the fact that the actor rarely had enough manic energy for more than two or three takes.
To overcome this problem, Kubrick shot with two cameras at the same time, allowing Sellers to improvise.[31]
"Dr. Strangelove, or How I stopped being afraid and fell in love with the bomb" became the prototype of anti war movements in the late 1960s (a few years after the release of the film).
The film showed a highly skeptical attitude towards the US military policy, which was considered ideal (in the United States) until the release of the film.
"A 2001 Space Odyssey"[edit / edit wiki text]
Main article: 2001 Space Odyssey
Kubrick spent five years developing his next film, A 2001 Space Odyssey (1968).
Kubrick co — wrote the script with science fiction writer Arthur C. Clarke, expanding the storyline of Clark's story "The Sentry".
"He wanted to make a film that everyone would recognize as really good science fiction," Clark said.
The groundbreaking visual effects were created under Kubrick's supervision, he assembled a team that included a young Douglas Trumbull, who later became famous for his work on the films "Silent Run" and "Blade Runner".
During filming, Kubrick widely used the wandering mask method to capture space flights, the same technique was also used nine years later by George Lucas in the creation of the fantastic Star Wars saga, although Lucas ' film also used other effects, such as motion control, which were not available to Kubrick in the mid 60s.
The work of the legendary British cameraman Geoffrey Unsworth, who later shot classic films such as "Cabaret" and "Superman", was bright.
Manufacturing companies were given advice on what the design of special equipment and household items will be in the near future.
A rare case for cinema: the film reflected such specific moments as the complete silence of the vacuum of space and realistically depicted weightlessness.
The film is known for the appropriate use of Richard Strauss 'classical music" Thus spoke Zarathustra "and Johann Strauss' waltz "Blue Danube", making them indelibly associated with the film for some time, especially the first one, which remained unknown to the general public before the release of the film.
Kubrick also used the music of the contemporary Hungarian avant garde composer Gyorgy Ligeti, although some parts of his compositions were changed without Ligeti's consent[32].
Although the film was ultimately a huge success, it was not initially accepted as an undeniable hit.
The initial reaction of critics was extremely hostile, they based their attacks on the lack of frequent dialogues, the slowness of the action, and the seemingly inaccessible plot for the film.
One of the few defenders of the film was Penelope Gilliatt[33] who called it (in a review of The New Yorker magazine) "in some way a great movie" (eng. some kind of a great film).
The film received positive reviews from a young audience, especially those related to the counterculture of the 1960s, for the scenes of a seemingly psychedelic journey in the endless flow of space — all this made the film a hit.
Having remained without awards in the nominations for best director, best screenwriter, as well as production work, Kubrick received the only Oscar for visual effects for the film "Space Odyssey 2001".
Today, however, many consider the " Space Odyssey yu 2001" is the greatest science fiction film of all time[34][35].
Artistically ,the 2001 Space Odyssey was radically different from Kubrick's previous works.
The film contains only 45 minutes of dialogue during the entire running time of the film lasting two hours and twenty minutes.
The most memorable words in the film belong to the HAL 9000 computer in its dialogues with Dave Bowman.
Some argue that Kubrick contrasts the humanism of the future with the sterile world of machines[36][37][38][39].
The ambiguous end of the film continues to amaze modern viewers and critics.
After this film, Kubrick will never again experiment so radically with special effects and narrative form, but his subsequent films will maintain some level of uncertainty that was laid down in the"Space Odyssey".
The interpretations of the film are numerous and quite diverse.
Despite the fact that the picture was released in 1968, it still generates discussions.
And when the critic Joseph Galmis asked Kubrick about the meaning of the film, he replied[40]:
I prefer not to discuss these questions, because they are very subjective and the answers to them will change from viewer to viewer.
In this sense, the film becomes everything that the viewer sees in it.
If a film evokes emotions and penetrates the viewer's subconscious, if it stimulates any, even rudimentary, mythological and religious aspirations and impulses, then this is its success.
The original text (English)
hey are the areas I prefer not to discuss, because they are highly subjective and will differ from viewer to viewer.
In this sense, the film becomes anything the viewer sees in it.
If the film stirs the emotions and penetrates the subconscious of the viewer, if it stimulates, however inchoately, his mythological and religious yearnings and impulses, then it has succeeded.
The 2001 Space Odyssey is perhaps Kubrick's most famous and influential film.
Steven Spielberg called him the "Big Bang" of the generation [41], who focused his attention on the space race.
It was a precursor to the explosion of the science fiction film market nine years later, which began with the release of the films "Star Wars" and "Close Encounters of the third degree".
But it was released two years later than the most famous "Star Trek".
"A Clockwork Orange"[edit / edit wiki text]
Main article: A Clockwork Orange (film)
After" 2001: A Space Odyssey", Kubrick began working on Warner Bros.-Seven Arts and making films for it.
At first, there were attempts to make a film about the life of Napoleon Bonaparte.
Unfortunately, the project did not receive funding and Kubrick went in search of a project that he can shoot quickly on a small budget.
In the end, he settled on " A Clockwork Orange "(1971).
His adaptation of the novel by Anthony Burgess is "a dark, shocking study of violence in human society".
The film was released with an X rating (NC 17) in the United States, which caused considerable controversy.
And the poster of the film was created by the legendary designer Bill Gold.
The film takes place in a futuristic version of the UK, which has an authoritarian and chaotic character.
The central character of the film is a teenage bully named Alex DeLarge (the role is played by Malcolm McDowell), who, along with his gang of "friends", enjoys fights, robberies, torture and rape, committing them without conscience and remorse.
However, the brutal beating and murder of an elderly woman finally led Alex to prison.
There he is subjected to an experimental treatment of disgust, the so called "Ludovico technique", which suppresses his desire for aggression, although he does not have a free moral choice.
When publicly demonstrating the success of technology, Alex is treated cruelly, but he does not resist — technology has made him less than a person.
However, the technique also had a side effect: it turned him away from classical music, a love for which was one of his few human traits.
After his release, he meets his former friends who betrayed him and beat him.
Alex becomes a pawn in a political game.
The film was sometimes perceived by society as communist (as Michel Siman noted in an interview with Kubrick, although he himself did not consider the film as such) because of its small connection with Russian culture.
Teenage slang has a strongly pronounced vocabulary of the Russian language, which can be attributed to the original source of Burgess.
There are several evidences that the society in the film is a socialist, or perhaps a society experiencing a crisis or a state of the fascist system.
In the novel, the streets are depicted in the style of Russian socialist art, and in the film there is a mural of a socialist bias — a work with profanity.
Later in the film, when the new right wing government comes to power, the atmosphere certainly becomes more authoritarian than the anarchist mood at the beginning of the film.
Kubrick's answer to Simen's question remains ambiguous: it is unclear exactly which society is represented in the film.
He believed that the film presents a comparison between the two parties of the political system — the left and the right and that there is quite a small difference between them.
Kubrick stated that " the minister played by Anthony Sharp is clearly a figure of the right party.
The writer, Patrick Magee, is a crazy leftist. ...
They differ only in their dogmas.
Their means and methods are almost no different"[42].
Kubrick shot "A Clockwork Orange" quickly and almost all the time being in London and its surroundings.
Despite the low technological character in the film compared to "2001: A Space Odyssey", Kubrick showed his talent for innovation; for shooting one scene, he threw the Newman Sinclair model cameras with a spring motor from the roof in order to achieve the effect he wanted[43].
Of great importance for the plot was the fact that the main character - Alex loves classical music, and that the" brainwashing " after Ludovico's treatment accidentally makes him disgusted with his favorite Beethoven's ninth symphony.
Thus, it was natural for Kubrick to continue the tradition begun in "2001: A Space Odyssey" of using many classical compositions in the film.
Nevertheless, in this film, classical music accompanies scenes of violence and chaos.
Critics Pauline Cale (who, as a rule, did not like Kubrick) and Roger Ebert (who often praised Kubrick) found it unpleasant in Kubrick's use of classical music as an accompanying background for violence in this film; Ebert called it "cute, cheap, dead end dimension"(English: cute, cheap, dead end dimension)[44], and Cale - "a great conceit" (English. self important) [45].
Burgess, when adapting the novel, believed that a love of classical music was what ultimately saved Alex.
"No film in the last decade (and perhaps in the entire history of cinema) contains such exquisite and frightening prophecies about the future role of cultural objects — painting, architecture, sculpture, music — in our society...
— - Time magazine
The film was very controversial due to its depiction of teenage gang rape and violence.
It was released in the same year as the Sam Peckinpah film " Straw Dogs "and Don Siegel's" Dirty Harry", these three films caused a fierce debate in the media about the social effect of cinematic violence.
The controversy escalated when similar crimes were committed in England, the criminals wore the same outfits as the heroes of"A Clockwork Orange".
British readers of the novel noted that Kubrick omitted the final chapter (which was also excluded from the American edition of the book), in which Alex finds peace, humility and acquires common sense.
After threats to kill him and his family, Kubrick took the unusual step of withdrawing the film from showing in the UK.
It was unavailable in the United Kingdom until its re release in 2000, a year after Kubrick's death, although the film was allowed in continental Europe.
Scala Cinemas [46], in King's Cross London, showed the film in the early 1990s (without the director's permission), and at Kubrick's insistence, the cinemas were sued, as a result of which they were closed, thereby depriving London of one of its few independent cinemas.
In the mid 1990s, a documentary called "Forbidden Fruit" about the issue of censorship was released in the UK.
Kubrick was unable to prevent documentarians from using footage from A Clockwork Orange in the film.
"Barry Lyndon"[edit / edit wiki text]
Main article: Barry Lyndon
Kubrick's next film, released in 1975, was an adaptation of William Makepeace Thackeray's novel The Luck of Barry Lyndon, also known as Barry Lyndon, a roguish novel about the adventures and misadventures of an 18th century Irish gambler and adventurer.
Pauline Cale, who spoke with hostility about Kubrick's previous work, found "Barry Lyndon" a cold, slow and lifeless movie[45].
The timing of the film, which is more than three hours long, scared off many American critics and viewers, although it received many positive reviews from Rex Reed and Richard Schickel.
Time magazine published a review of the film, and Kubrick was nominated for three Academy Awards.
The film was generally nominated for 7 Academy Awards, and won four — more than any other Kubrick film.
Despite this, "Barry Lyndon" was not successful in the United States, but the film attracted a large audience the diet in Europe, especially in France.
As is the case with most of Kubrick's films, the reputation of "Barry Lyndon" has grown over the years, especially among other directors.
Director Martin Scorsese called it his favorite film from all of Kubrick's work.
A number of scenes in the film were shot with a Carl Zeiss Planar 50mm f/0.7 lens, specially designed for use only in natural light
As in other Kubrick films, the methods of lighting the scenes were very innovative.
The most famous technique was that the interiors of the scenes were shot using a specially adapted superluminal f/0.7 Zeiss lens and a camera originally developed for NASA.
This made it possible to include scenes shot only by candlelight in the film, creating diffuse lighting, as a result, many scenes of the film resemble paintings of the 18th century.
Like the previous two, the film does not have original music.
To create the score for the film, composer Leonard Rosenman used Irish folk songs (performed by Chieftains) in combination with such works as the cello sonata e moll RV 40 by Antonio Vivaldi, the double concerto for violin and oboe by J. S. Bach, the keyboard trio Es dur and c moll impromptu by Franz Schubert, as well as fragments of works by Wolfgang Mozart and Giovanni Paisiello.
For the creation of these arrangements, Rosenman received an Oscar.
In 1976, the artist Ken Adam, who worked with Kubrick on "Doctor Strangelove" and "Barry Lyndon", asked Kubrick to visit the recently completed stage of filming a film from the 007 series at Pinewood Studios and give recommendations on working on the upcoming James Bond film "The Spy Who Loved Me".
Kubrick agreed to consult on the condition that no one would ever find out about his involvement in the film.
This fact was revealed only after Kubrick's death in 1999, when in 2000 it was made public by Adam in a documentary about the creation of "The Spy Who Loved Me" on a special DVD edition of the 007 film series.
"Radiance"[edit / edit wiki text]
Main article: Radiance (film)
"Here's Johnny!" by Jack Nicholson as Jack Torrance.
This frame has actually become the hallmark of the film and its main poster on video and DVD
Kubrick's pace of work slowed down significantly after "Barry Lyndon", and he made another film for five years.
The film "The Shining", released in 1980, is based on the best selling novel of the same name by writer Stephen King.
The main role was played by Jack Nicholson.
His character Jack Torrance is a writer who is experiencing financial difficulties, so he accepts an offer to become the caretaker of the Overlook Hotel in the off season.
The resort is located in the mountains of Colorado and is cut off from the rest of the world in winter due to snow.
Jack and his family — his wife, Wendy (Shelly Duvall) and son, Danny, will have to spend the entire winter in complete isolation.
Danny, who has the gift of vision — "radiance", discovers" guests " in the hotel — ghosts inhabiting this place, which was once an Indian cemetery.
The hotel opens up more and more terrible images not only for Danny: his father is slowly losing his mind.
The film was shot entirely in the London pavilions.
In order to convey bouts of claustrophobia, oppression and harassment in the hotel, Kubrick often uses the newly invented technology "Steadicam", a heavily balanced camera support, which allowed for smooth camera movements in closed rooms.
More than any of his films, "The Shining" gave rise to the legend of Kubrick as a perfectionist with delusions of grandeur.
He reportedly required hundreds of takes of some scenes (approximately 1.3 million feet of film was sweat
