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Stanley Kubrick |
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Director / Screenwriter /
Producer |
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1928 - 1999 |
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Born July 26,
New York, New York, USA |
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Key
Production Countries: USA, UK |
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Key Genres:
Black Comedy, Satire, Anti-War Film |
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Key
Collaborators:
James
B. Harris (Producer), Joseph Turkel (Character Player), John Alcott
(Cinematographer), Gerald Fried (Composer), Kirk Douglas (Leading
Player), Sterling Hayden (Leading Player), Peter Sellers (Leading
Player), Patrick Magee (Leading Player), Jim Thompson (Screenwriter),
Anthony Harvey (Editor) |
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Highly
Recommended:
The Killing (1956)*#, Paths of Glory (1957)*, Spartacus
(1960)*, Dr. Strangelove (1964)*, 2001: A
Space Odyssey (1968)*, Full Metal Jacket (1987)* |
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Recommended: Killer's
Kiss (1955)#, Lolita (1962)*, Barry Lyndon (1975)*, The Shining (1980)*,
Eyes Wide Shut (1999)* |
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Worth a Look: Day
of the Fight (1951), A Clockwork Orange (1971)* |
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* Listed in TSPDT's
1,000 Greatest Films
section; #
Listed in TSPDT's
250 Quintessential Noir Films
section. |
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Links: [
Amazon
] [
IMDB ] [
All-Movie
Guide ] [
Senses
of Cinema: Great Directors ]
[
Film Reference ]
[
The Kubrick Site ]
[
Kubrick
Multimedia Film Guide ]
[
Stanley Kubrick: The
Master Filmmaker ] [
The
Authorized Stanley Kubrick Web Site ] [
1969
Interview with Kubrick ] [
Guardian
Article ] [
Kubrick 2001: The Space Odyssey
Explained ] [
Off Screen Article (2006) ] [
Sight & Sound Article (2009)
]
[
Flickering Myth Profile ]
[
Scorsese on Kubrick ] |
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Books: [
Kubrick:
The Definitive Edition ] [
Stanley
Kubrick: Interviews ] [
Stanley
Kubrick, Director: A Visual Analysis ] [
The
Stanley Kubrick Archives ] [
Stanley Kubrick: Drama & Shadows ] [
Stanley Kubrick ] [
Stanley Kubrick: The Complete Films ] [
Stanley Kubrick: A Biography ] [
Depth of Field: Stanley Kubrick, Film, and the Uses of History ] |
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"Few American directors have been
able to work within the studio system of the American film
industry with the independence which Stanley Kubrick has
achieved. By steadily building a reputation as a filmmaker of
international importance, he has gained full artistic control
over his films, guiding the production of each of them from the
earliest stages of planning and scripting through
post-production." -
Gene D. Phillips (International Dictionary
of Films and Filmmakers, 1991) |
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"After 1961, Kubrick was based in
England, with some of the precious decorousness of the writer in
A Clockwork Orange who is broken in on by Alex and the
Droogs. Five films were passed out to the world from that
retreat, which took an increasingly sententious and nihilistic
view of our social and moral ethics, but which are devoid of
artistic personality as the worlds that Kubrick elegantly
extrapolates." -
David Thomson (The New Biographical
Dictionary of Film, 2002)
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"Immensely talented American
filmmaker with a sure visual sense. Perhaps, though, led astray
by the (deserved) success of Spartacus, Kubrick's later
films are the best possible proof that bigger does not
necessarily mean better. Since the mid-1960s, Kubrick has become
a maker of films for effect and has lost much of the narrative
drive that once distinguished his work." -
David Quinlan (Quinlan's Illustrated Guide
to Film Directors, 1983) |
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"As a social satirist (Dr. Strangelove, 64; A
Clockwork Orange, 71), Kubrick is a master. As a maker of
mood pieces which outline man's place in society and
civilization (2001, 68; Barry Lyndon, 76), he is
interested more in the workings of various mechanical and social
machines than in man. Kubrick is one of America's finest
post-World War II filmmakers." -
William R. Meyer (The Film Buff's Catalog,
1978) |
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"A film is - or should
be - more like music than like fiction. It should be a
progression of moods and feelings. The theme, what's behind the
emotion, the meaning, all that comes later." -
Stanley Kubrick |
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"The screen is a magic
medium. It has such power that it can retain interest as it
conveys emotions and moods that no other art form can hope to
tackle." - Stanley
Kubrick |
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Please
note that the rating given for this director (see top-right) is based
only on the films we have seen (listed above). Films by this director
that we haven't seen include Flying Padre (1951), Fear and Desire
(1953), and The Seafarers (1953). |
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9- |
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"Looking
back on this [Kubrick's] remarkable filmography, it is clear
that it has the distinctly architectonic quality of any
great philosophical system: it says something about
everything. All the facets of human nature are revealed in
their wide-ranging diversity: high and low culture, love and
sex, history, war, crime, madness, space travel, social
conditioning, and technology. Yet, as internally diverse as
Kubrick’s filmography is, taken as a whole, it is also quite
coherent. It takes all the differentiated sides of reality
and unifies them into one rich, complex philosophical vision
that happens to be very close to existentialism."
-
Jerold J. Abrams, The Philosophy of
Stanley Kubrick |
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●
Top 250 Directors |
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Key Noir
Filmmaker |
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Strained
Seriousness |
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100 Essential Directors (Pop
Matters) |
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The 6th Most
Influential Director of All Time (2002 MovieMaker
Poll) |
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Survey of Filmmakers:
Top 25 Directors (2005 poll by The Film Journal) |
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One of the twelve
greatest living narrative filmmakers - Jonathan Rosenbaum
(Placing Movies: The Practice of Film Critics, 1993) |
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Kent Jones' Top 10 Directors |
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David Sterritt's Top 10 Directors |
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501 Movie Directors: A
Comprehensive Guide to the Greatest Filmmakers |
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See Also |
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Francis Ford Coppola |
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Federico Fellini |
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John Frankenheimer |
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Terry Gilliam |
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Sergio Leone |
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Joseph Losey |
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Terrence Malick |
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Nicolas Roeg |
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Ridley Scott |
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Steven Spielberg |
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Orson Welles |
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Billy Wilder |
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Stanley Kubrick's Favourites |
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Bank Dick (1940)
Eddie Cline,
Citizen Kane (1941)
Orson Welles,
City Lights (1931)
Charles Chaplin,
Hell's Angels (1930) Howard Hughes, Henry V (1944)
Laurence Olivier,
La Notte (1961)
Michelangelo
Antonioni,
Roxie Hart (1942)
William Wellman,
The Treasure of the Sierra Madre (1948)
John Huston,
I Vitelloni (1953)
Federico Fellini,
Wild Strawberries (1957)
Ingmar Bergman.
Source:
Cinema (1963) |
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