Stanley Kubrick: 1928-1999
Stanley Kubrick made his first film (Day of the Fight) in 1951, and his last (Eyes Wide Shut) almost fifty years later, in 1999. He was often described as a perfectionist, and devoted several years to the production of each film. Since his death in 1999, shortly after filming Eyes Wide Shut, he has been widely regarded as one of the greatest directors in the history of cinema.
Kubrick avoided the Hollywood system by living and working in England, earning a reputation as a reclusive genius. He worked in a wide range of genres, notably science-fiction (2001), black comedy (Dr. Strangelove), horror (The Shining), period drama (Barry Lyndon), and war (Paths Of Glory).
Stanley Kubrick Filmography
In addition to the films mentioned below, Kubrick is known to have worked on a documentary about the World Assembly of Youth in 1952, though the extent of his involvement is unclear. He also worked as a second-unit director for Norman Lloyd’s five-part Omnibus television mini-series Mr. Lincoln (broadcast in 1952-1953; Kubrick was photographed on the set by The Kentucky Courier-Journal, published on 26th October 1952). Marlon Brando asked him to direct and co-write One-Eyed Jacks (1961), and they collaborated on a revision of the screenplay, though in the end Brando directed the film himself and Kubrick did not receive a screen credit. He also worked briefly (again uncredited) on the set of Lewis Gilbert’s film The Spy Who Loved Me (1977), lighting the supertanker set under condition of anonymity. Kubrick appeared with his future wife Toba Metz as an uncredited extra in Hans Richter’s Dreams That Money Can Buy (1947); coincidentally, the film starred Ruth Sobotka, who would become Kubrick's second wife.
Day of the Fight
1951, 16 minutes, black-and-white, 1.37:1. Directed, produced, written, and photographed by Stanley Kubrick. A documentary about boxer Walter Cartier preparing for a match in New York, released as part of RKO’s This Is America series (though an alternate version omits the This Is America title). Cartier was the subject of a photo-spread by Kubrick for Look, and was therefore a natural choice for this suitably fast-paced film. Kubrick also appears in the film himself: he can be seen loading his camera at the ringside.
1951, 9 minutes, black-and-white, 1.37:1. Directed by Stanley Kubrick. A documentary about Fred Stadtmuller, released as part of RKO’s Pathé Screenliner series. Stadtmuller, a priest from New Mexico who travelled around his parish by aeroplane, is an unusual topic for a Kubrick film (though Kubrick did have a pilot’s license). Flying Padre has little of the kinetic energy Kubrick demonstrated in Day of the Fight.
1953, 30 minutes, colour, 1.37:1. Directed and photographed by Stanley Kubrick. Kubrick was commissioned by the Seafarers International Union to produce this promotional documentary, and The Seafarers serves this purpose though it seems much more of a pedestrian exercise than a typically Kubrickian film. It’s significant, though, as it was Kubrick’s first film in colour. Some versions begin with a few seconds of silent footage from the workprint.
Fear and Desire
1953, 68 minutes, black-and-white, 1.37:1. Directed, produced, photographed, edited, and co-written by Stanley Kubrick. An existential drama set during an unnamed war, starring Frank Silvera and Paul Mazursky. Fear and Desire was filmed with a skeleton cast and crew of less than ten people, and Kubrick even publicised the film himself by photographing the stars for posters and lobby cards.
Kubrick later suppressed its distribution, however there were occasional screenings of archival prints at American film festivals. The film was initially available only as a bootleg video, though a restored version was released after Kubrick’s death.
1955, 67 minutes, black-and-white, 1.37:1. Directed, co-produced, edited, and photographed by Stanley Kubrick. A noir thriller whose archetypal plot involves a boxer throwing a rigged fight, starring Jamie Smith and Irene Kane. Killer’s Kiss includes a solarised sequence and a surreal fight in a mannequin factory. Kubrick was photographed on the set by Life magazine in 1954.
A scene in which Smith fondles Kane’s breasts, which was cut from the film at her request, may have been present in the preview version. The film’s original title, Kiss Me Kill Me, was changed to Killer’s Kiss before general release, though some surviving prints bear the original title.
1956, 85 minutes, black-and-white, 1.66:1. Directed and co-written by Stanley Kubrick. With this drama about a meticulous race track heist, starring Sterling Hayden and Elisha Cook, Kubrick experimented with a complex, non-linear narrative, constructing a series of interconnecting flashbacks, confidently alternating between past and present. He produced the film in partnership with James B. Harris, forming Harris-Kubrick Pictures, and photographed himself and Harris for a Variety press advertisement to promote the film.
Paths of Glory
1957, 87 minutes, black-and-white, 1.66:1. Directed and co-written by Stanley Kubrick. Exposing the self-serving corruption of the generals during World War I, Paths of Glory was Kubrick’s first film with a major star (Kirk Douglas). The dolly shots in the battle trenches, and the incredible German locations, were the film’s highlights.
The preview version was 89 minutes, though two minutes were cut by Kubrick before general release. The film was banned in France for nineteen years, though when it was initially released in other Francophone countries the French national anthem was removed from the opening titles soundtrack.
1960, 189 minutes, Technicolor, 2.21:1 Super Technirama. Directed by Stanley Kubrick. A Roman epic about a slave rebellion starring Kirk Douglas, Laurence Olivier, Tony Curtis, Charles Laughton, and Jean Simmons. Spartacus was originally screened with an overture, intermission, entr’acte, and exit music. 35mm prints were released in 2.35:1 Technirama with mono sound. As the film’s executive producer, Douglas fired the original director (Anthony Mann) and hired Kubrick after production had already started, with his contract stipulating that he was unable to alter the script. It’s telling that Kubrick’s most personal contributions - the battle scenes - are the film’s most powerful sequences. He was photographed on the set in 1960 by Life magazine.
After preview screenings at 202 minutes, Kubrick cut thirteen minutes from the film and changed the placement of the intermission, resulting in a first-run version at 189 minutes. Further cuts were then made at the behest of the MPAA, with a “snails and oysters” homoerotic bathing sequence totally removed and milder alternate takes replacing some of the violent shots. The MPAA-approved, censored version was 182 minutes. In 1967, a significantly truncated version (161 minutes) was released in 35mm.
In 1991, Spartacus was rereleased in a restored version (196 minutes), with Kubrick’s approval. The soundtrack format was 5.1 surround sound, appropriate to the original six-channel version. The MPAA-censored shots were reinstated, as was much of the footage Kubrick himself had removed after the previews. As the original violent shots were restored, the milder alternate takes were removed. The “snails and oysters” sequence was reinserted, though the dialogue between Olivier and Curtis had to be redubbed as the original soundtrack had been destroyed. Olivier’s lines were dubbed by Anthony Hopkins, as Olivier himself had died before the restoration. Additional footage of Charles Laughton now exists as audio only.
1962, 152 minutes, black-and-white, 1.66:1/1.37:1. Directed by Stanley Kubrick. A comedy drama about a writer’s obsession with a nymphet, starring Sue Lyon, James Mason, and Peter Sellers, Lolita was the first of Kubrick’s films to be made in England. Its paedophilia theme caused a predictable controversy, and several of its more risqué innuendos were censored before its release. The MPAA also insisted upon the partial removal of the film’s cot seduction sequence: in the American cinema version, the scene fades ten seconds earlier than in the British version.
Kubrick himself is (inexplicably) visible in the first shot inside Sellers’s mansion, walking out of the frame on the right hand side. He also personally took some of the publicity photographs of star Sue Lyon. The film was shot with alternating aspect ratios: some scenes are in Academy format, while others are matted at 1.66:1.
Dr. Strangelove, or How I Learned to Stop Worrying and Love the Bomb
1964, 96 minutes, black-and-white, 1.66:1/1.37:1. Directed, produced, and co-written by Stanley Kubrick. Peters Sellers stars in this blackly comic political satire in which a paranoid general initiates an American nuclear attack against Russia. In Dr. Strangelove, the most terrifying and hilarious of the four characters played by Sellers is the eponymous eccentric Nazi who plans to create an underground master race. The cavernous War Room set is another striking element.
Kubrick personally painted the ‘DEAR JOHN’ and ‘Hi THERE!’ slogans on the film’s prop nuclear bombs. An epilogue involving a custard pie fight, which altered the film’s tone from satire to slapstick, was removed by Kubrick before the general release. (This footage is archived at the British Film Institute in London.) Also before the premiere, the word ‘Dallas’ was redubbed to “Vegas” following the Dallas assassination of John F Kennedy. In America, the film begins with a written disclaimer emphasising that it is a work of fiction. The film was shot with alternating aspect ratios: some scenes are in Academy format, while others are matted at 1.66:1. The sleeve for the Criterion Collection’s Dr. Strangelove laserdisc (1992) was designed by Kubrick.
2001: A Space Odyssey
1968, 141 minutes, Metrocolor, Cinerama, 2.21:1 Super Panavision 70. Directed, produced, and co-written by Stanley Kubrick. A science-fiction epic starring Keir Dullea and Gary Lockwood, 2001 features some of the greatest cinematography and special effects in cinema history, with Kubrick’s trademark symmetrical framing accompanied by graceful Viennese waltzes. Largely devoid of dialogue, its impact comes from a series of ambiguous episodes that culminate in a psychedelic reel of abstract images.
Kubrick is visible as a reflection in the astronauts’ helmets during some sequences, and he also provided the breathing soundtrack for Dullea and Lockwood’s spacewalking scenes. As the film’s special effects supervisor, Kubrick won his only Academy Award. A documentary, A Look Behind the Future (1967), includes footage of Kubrick on the set, and he was photographed by Antony Armstrong-Jones for Life magazine (vol. 60, no. 20; 20th May 1966) during the making of the film.
Nineteen minutes were cut from 2001 by Kubrick after preview screenings, and two of the intertitles were also added at this time; a prologue and voiceover were cut after the exhibitors’ preview. The film’s Cinerama version, identified by the Cinerama logo in the end credits, included an overture, an intermission, music played over a black screen before the overture, and exit music played after the end credits. There was also a non-Cinerama version, in 35mm, with four-track stereo sound.
A Clockwork Orange
1971, 136 minutes, Warnercolor, 1.66:1. Directed, produced, and written by Stanley Kubrick. A near-future dystopian fable starring Malcolm McDowell as a young hooligan brainwashed by an oppressive political regime. The brutal violence of A Clockwork Orange marks a stark contrast to the grandeur of 2001, though both films have the same balletic grace and both are ultimately explorations of free will. It was filmed entirely on location, in contrast to the totally studio-bound 2001.
The film was originally rated ‘X’ by the MPAA, and the version first released in US cinemas was the uncut ‘X’ version. The following year, Kubrick withdrew the film from US cinemas and modified two sequences with milder alternate takes. This modified version was reclassified ‘R’ by the MPAA, and the ‘R’ version was rereleased in US cinemas to replace the original ‘X’ version. In British cinemas, the original ‘X’ version was the only version to be screened, though in 1974 Kubrick withdrew the film from Britain altogether after he received death threats. (It was rereleased in Britain in 2000, after Kubrick’s death.)
1975, 184 minutes, Eastmancolor, 1.66:1. Directed, produced, and written by Stanley Kubrick. An account of the rise and fall in the fortunes of Redmond Barry, played by Ryan O’Neal. Barry Lyndon is yet another complete contrast, the shocking brutality of A Clockwork Orange being replaced by this sumptuous and restrained period drama. Kubrick’s technical perfectionism paid dividends when he used Zeiss lenses originally developed for NASA to film in candle-light.
1980, 143 minutes, colour, 1.85:1. Directed, produced, and co-written by Stanley Kubrick. A horror film starring Jack Nicholson and Shelley Duvall, in which the caretaker of a haunted hotel attacks his wife and son with an axe. Using the new SteadiCam to its fullest potential, Kubrick’s cameras prowl menacingly around literal and metaphorical mazes, and Nicholson gives a characteristically manic performance as Jack. The voice of Charley, the radio weather announcer, was played by Kubrick himself; Kubrick’s reflection is visible in an office window in the opening scene; and (like Alfred Hitchcock in Psycho) Kubrick wielded the knife himself when it was used to slash Nicholson’s hand. His daughter, Vivian, directed a behind-the-scenes documentary titled Making the Shining for the television series Arena, broadcast in 1980.
After the film’s premiere (running 146 minutes), Kubrick cut a short scene outside Durkin’s shop and an explanatory epilogue with Duvall in hospital before the US general release. Kubrick then cut the film a second time (to 119 minutes), before its European general release (trimming the sequences that revealed Jack’s history as an abusive father). Italian, Spanish, and German inserts were filmed to replace the English-language text seen in Jack’s manuscript. The film was initially released on video in the Academy ratio, which was Kubrick’s preferred format. The end credits, originally blue, are white on most video releases.
Full Metal Jacket
1987, 116 minutes, colour, 1.85:1. Directed, produced, and co-written by Stanley Kubrick. Starring Matthew Modine and R. Lee Ermey, this is Kubrick’s take on the Vietnam war, and, though it once again displays his typically outstanding camerawork, Vietnam seems an unusual choice of subject given the notable cinematic predecessors dealing with the same topic. Kubrick played the part of Murphy, the radio announcer. The film was initially released on video in the Academy ratio, which was Kubrick’s preferred format.
Eyes Wide Shut
1999, 159 minutes, DeLuxe colour, 1.85:1. Directed, produced, and co-written by Stanley Kubrick. A psychological thriller starring Tom Cruise and Nicole Kidman, released shortly after Kubrick’s death in 1999. The narrative concerns marital jealousy and temptation, and it seemed to prefigure the collapse of Cruise and Kidman’s own marriage. Eyes Wide Shut was the subject of intense speculation and rumour, climaxing in a frenzy of anticipation. The increasingly lengthy periods between Kubrick’s completed film projects caused much online debate. The secrecy in which Kubrick shrouded each of his productions, and his seemingly endless filming schedules, added to the internet gossip.
Although Kubrick had edited the film before he died, he had neither completed the sound mix nor recorded the music. The precise state of the film circa March 1999, at the time of his death, may never be known.
The scene in which Cruise and Kidman kiss in front of a mirror was released in isolation as a teaser trailer at the ShoWest trade fair before the film’s general release. The same scene, as it appears in the film itself, is shorter, is cropped on all four sides, and utilises an alternate take for the moment when Kidman removes her glasses. The film was initially released on video in the Academy ratio, which was Kubrick’s preferred format.
In America, cloaked figures were digitally inserted to mask the simulated sex in the film’s orgy sequence, in order to secure an ‘R’ rating from the MPAA. (Like A Clockwork Orange, the film’s extensive nudity is exclusively female and largely gratuitous.) The digital figures were, thankfully, not present when the film was screened in the UK. However, for the UK release the orgy scene was censored in a different way: a recital from the Bhagavad Gita during the Meditations music in the orgy scene was removed and replaced. Italian inserts were filmed to replace the English-language text in the warning letter handed to Bill and the newspaper article he reads.
Kubrick on Kubrick: Interviews
Kubrick avoided public appearances, television interviews, and photographers, though he spoke to journalists with surprising frequency, as this first comprehensive list of Kubrick’s interviews demonstrates. Kubrick also published some of his screenplays, and wrote several published articles and letters; these activities are all listed here. Entries are listed according to the date of their first publication. (Kubrick: The Last Interview, by Adrian Rigelsford and Kim Meffen, published in TV Times on 4th September 1999, is not included, as it was a hoax published by the magazine in error.) The interviews list has been revised and expanded in collaboration with Filippo Ulivieri.
Camera Quiz Kid... Stan Kubrick
Stanley Kubrick, 22, Plans to Make Movie for $50,000
Young Man with Ideas and a Camera
By Way of Report
By Way of Report
Kubrick Another Boy Film Producer
Non-Pro Features May Set a Trend
Sultry New Siren and New All-Around Movie Wizard Spark ‘Fear and Desire’
Snap Hundreds, Says ‘Boy Genius’
More Action, Less Talking in Movies
24-Year-Old Is ‘Factotum’ of New Film
Of Pictures and People: New Drama, ‘Kiss Me, Kill Me,’ Filmed Here in Its Entirety
Gilles Jacob, 1957
Alexander Walker, 1957
Pfeift auf hübsche Mädchen
Bonjour M. Kubrick
Twenty-Nine and Running: The Director with Hollywood by the Horns... Dissects the Movies
Conversation with Stanley Kubrick
‘Lolita’ Bought by Screen Team
Very Funny Relationship
Film Fan to Filmmaker
The Changing Face of Hollywood
Boy Genius Holds His Own Amid the Alumni
The Hollywood War of Independence
No Art and No Box Office
California Movie Morals: Hollywood Bypasses the Production Code
Pueblo, 21st October 1959
The Artist Speaks for Himself: Stanley Kubrick
Bob Thomas, Associated Press, 1960
Stan Kubrick’s Mettle Tested by ‘Spartacus’
Teenager Will Play ‘Lolita’: She’s Sue Lyon of TV Show
Schoolgirl Gets Lead in ‘Lolita’
$12 Million Risk Taken by Douglas
Hailed in Farewell: ‘Spartacus’ Gets Praise of Pleased Director
Stanley Kubrick... Thirty-Two-Year-Old Director of a $12,000,000 Movie
Mr Disney and Mr Kubrick
Interview with Kubrick
Love Before Breakfast...
A Money Matter
Oriental Invasion on - but Peacefully: ‘Lolita’ - A Report from London
‘Ban Lolita’ Rumpus Before Film Is Shown
‘Ban This Dangerous Film Lolita’
Vine St. Looms as New Theater Row
MGM to Release ‘Lolita’ in Spring
The East: Kubrick’s and Sellers’ New Film
How to Make a Film That Can’t Be Made
Meet Sue: Here’s Our Lolita
Milwaukee Journal, 3rd June 1962
Sue ‘Lolita’ Lyon a Well Kept Secret
Really the Real Lolita?
‘Lolita’ On Screen... For Adults Only
La fuga di Lolita
Kubrick Escaped Interference by Taking ‘Lolita’ to England
Nymphets, Naiveté, and a New Star
‘Lolita’ Held Production of Artistry
New York World Telegram and Sun, 13th July 1962
Controversial Film ‘Lolita’ Stars Unspoiled 16-Year-Old
Sue Lyon: Star of the Year’s Most Controversial Movie - Lolita
David Lewin, Daily Express, 1963
Stanley Kubrick’s Point of View
Coming: The End of the World
Kubrick’s Sellers Takes Four Parts
Everybody Blows Up!
Stanley Kubrick and Dr. Strangelove
‘Nerve Center’ for Nuclear Nightmare
Kubrick ci parla del suo film su un generale demente che scatena la guerra atomica
Kubrick Explains ‘Movie of Absurd’
A Bombastic Bit of Irony Is Ready to Be Let Loose
Atomic Bomb Spoofed - Grin and Bear It
The Ubiquitous, Multifarious Sellers
Anthony Quinn Having Ball In Paris
The Bomb and Stanley Kubrick
Do They Hit the Target?
The Directors: The New Creators and Rulers of the Movie Realms Reveal the Skills and Egos That Go Into Their Art
Stanley Kubrick and Joseph Heller: A Conversation
How to Learn to Love World Destruction
The Astonishing Stanley Kubrick
What Makes Kubrick Laugh? It’s the Bomb
Stanley Kubrick: A Filmmaker Obsessed
The Strange Case of Dr. Strangelove
Director Says Movie Industry ‘Must’ Use More Negroes
Ten Questions to Nine Directors: Stanley Kubrick
How Mr Kubrick Learned to Stop Worrying
Herald Tribune, 1965
The Sunday Times Magazine, 1965
’strangelove’ First Planned as Serious Film
Beyond the Blue Horizon
Beyond the Stars
Sex and Dr. Strangelove
Space Film by Kubrick Will Break Image of Madmen and Monsters
Somebody Up There Likes Me, I Hope
Happiness Is a Filmmaker in London
Bernard Asbell, 1966
Is It Strangelove? Is It Buck Rogers? Is It the Future? Offbeat Director in Outer Space
2001: An Informal Diary of an Infernal Machine
Kubrick, Farther Out
How About a Little Game?
Interview with Stanley Kubrick
L’Odissea del 2001
Ulysses in Space
Sight and Sound
Picture of a Girl on Her Way to the Moon Thirty-Three Years from Now
Loew’s Capitol, New York, 1st April 1968
The Territorial Imperative of Stanley Kubrick
Tomorrow Will Decide if Kubrick has Goofed
It’s a Fantastic World - Wrapped in Reality
Kubrick’s Sure ‘2001’ to Click
In 2001, Will Love Be a Seven-Letter Word?
Give Me the Moon, Baby...
Kubrick Trims ‘2001’ by 19 Mins, Adds Titles to Frame Sequences; Chi., Houston Hub Reviews Good
So Who Wants to Die on the Moon?
Kazan, Kubrick, and Keaton
‘2001’ and ‘Hair’ - Are They the Groove of the Future?
Filming 2001: A Space Odyssey
Front-Projection for 2001: A Space Odyssey
Kubrick’s Message Is Nonverbal
Ignore the Audience at Your Peril: Kubrick’s ‘2001’ Revisited
For the First Time, Kubrick Explains His Space Odyssey
Stanley Kubrick Raps
Le film de l’annee: 2001 de Stanley Kubrick
Playboy Interview: Stanley Kubrick
Stanley Kubrick Answers Questions about Film ‘2001: A Space Odyssey’
Le second berceau de la vie
Belief in Life Elsewhere in Universe Inspired Stanley Kubrick’s Film ‘2001’
Entretien avec Stanley Kubrick
A Talk with Stanley Kubrick
Kubrick Watches Bronfman’s Flight
The Making of Kubrick’s 2001
Stanley Kubrick Directs
Mind’s Eye: A Clockwork Orange
Kubrick: Degrees of Madness
Kubrick’s Brilliant Vision
Kubrick Tells What Makes ‘Clockwork Orange’ Tick
This Violent Age
A Clockwork Utopia: Semi-Scrutable Stanley Kubrick Discusses His New Film
Nice Boy from the Bronx?
Kubrick’s Creative Concern
Kubrick: ‘Chacun de nous tue et viole’
Interview with Stanley Kubrick
A propos de Orange méchanique
Why Kubrick Thinks ‘A Clockwork Orange’ Ticks
Helena Faltysova, Film a doba vol. 18, no. 8, August 1972
Stanley Kubrick: Stop the World
What Stanley Kubrick Has up His Sleeve This Time
Film Company Denies IRA Intimidation
Stanley Kubrick: A Film Odyssey
Les sentiers de la gloire
Kubrick’s Grandest Gamble: Barry Lyndon
Barry Lyndon, comment Stanley Kubrick a réalisé un chef d’œuvre
Stanley Kubrick’s Time Warp
How I Learned to Stop Worrying and Love ‘Barry Lyndon’
Kubrick’s Done It Again
Kubrick Almost a Legend
Kubrick à L’Express: ‘Je suis un detective de l’histoire...’
Filmen Ist Detektivarbeit
‘Barry Lyndon’ du pur cinema
‘Barry Lyndon’ le nouveau film de Stanley Kubrick ‘Orange méchanique’
La gran adventura de Kubrick
Stanley Kubrick’s Barry Lyndon
’superman’: Leaping Tall Budgets
The Man of Many Myths
Alexander Walker, Los Angeles Herald-Examiner, 23rd May 1980
Stanley Kubrick’s Horror Show
Kubrick: Critics Be Damned
’shining’ and ‘Empire’ Set Records
Kubrick: ‘Tous les fous n’ont pas l’air d’etre fous’
Il faut courir le risque du subtilite: Une rencontre avec Stanley Kubrick
‘Oui, il y a des revenants’
Gänsehaut der Luxusklasse
Vicente Molina Foix, El País vol. 2, no. 59, 20th December 1980
Peter Sellers: The Authorized Biography
Cinque film contro Rambo
Stanley Kubrick parle de Peter Sellers
Stanley Kubrick’s War Realities
Stanley Kubrick’s Vietnam
Dig a Foxhole! We’re Fighting in ‘Nam Again
Vietnam on Thames
I’m Always Surprised by the Reactions to My Films
Stanley Kubrick, at a Distance: The Director Does Vietnam His Way - in London
1968: Kubrick’s Vietnam Odyssey
The Rolling Stone Interview: Stanley Kubrick
Heavy Metal: Full Metal Jacket or How Stanley Kubrick’s Marines Learned to Stop Worrying and Love Vietnam
Es ist ein Glück das der Krieg so fürchterlich ist
Stanley Kubrick: Der liebe Gott des Kino
Sind Sie ein Misanthrop, Mr Kubrick?: Gesprach mit dem Full Metal Jacket Regisseur
Vietnam, Wie es wirklich war
Kubrick bei der Arbeit
Françoise Maupin, Le Figaro, October 1987
Un entretien avec le realisteur de Full Metal Jacket: Le Vietnam de Stanley Kubrick
Kubrick übers Filmemachen
The Professionals Reveal Essence of Filmmaking
Ich würde liebend gern mehr Filme machen
An Interview with Stanley Kubrick, Director of Lolita
Entretien avec Stanley Kubrick sur Full Metal Jacket
Entretien avec Stanley Kubrick: “Full Metal Jacket” (Suite et fin)
Written by Stanley Kubrick
Articles and Essays
Words and Movies
Why Sue (‘Lolita’) Lyon Was Guarded as If Actress Was an Atomic Bomb
How I Learned to Stop Worrying and Love the Cinema
The Directors Choose the Best Films
Why They’ll Never Ban the Bomb
Kubrick sur Full Metal Jacket
A Clockwork Orange
Full Metal Jacket
Eyes Wide Shut
Letters to the Editor
Les Sentiers de la gloire: Pourquoi avez-vous choisi les soldats français?
Mr Kubrick on: Lolita and the Press
Now Kubrick Fights Back
Stan Kubrick to Detroit News
The Films of Frank Capra
The Killer Inside Me
National Film Theatre, London, June 1985 [Bill Rowe retrospective]
This Is Your Life: Arthur C. Clarke
Stanley Kubrick, 17th January 1994
D.W. Griffith and His Wings of Fortune
Mostra internazionale d’arte cinematografica
The Kubrick Estate
Following his death in 1999, Kubrick’s family permitted Jon Ronson, Bernd Eichhorn, and Alison Castle to visit Childwickbury Manor (his home near St Albans) and catalogue his archives. Ronson made a documentary for More4 (Stanley Kubrick’s Boxes, 15th July 2008). The props and documents Bernd Eichhorn discovered were shown as part of an extensive Stanley Kubrick touring exhibition beginning in 2004, and an exhibition catalogue (Kinematograph XX: Stanley Kubrick, 2004) and documentary (Stanley Kubrick: The Exhibition by Katia de Vidas, 2005) were also released. Alison Castle edited two enormous, lavish books: The Stanley Kubrick Archives (2005) and Stanley Kubrick’s Napoleon: The Greatest Movie Never Made (2009).
Jan Harlan, Kubrick’s brother-in-law, directed A Life in Pictures (2001), a feature-length documentary with extensive and rare footage of Kubrick; he also co-edited a book about AI with Jane M. Struthers: Artificial Intelligence - From Stanley Kubrick to Steven Spielberg: The Vision Behind the Film (2009). Christiane Kubrick, the director’s widow, wrote A Life in Pictures (2002), featuring a large selection of Kubrick photographs. In 2007, Kubrick’s archives were transferred from Childwickbury to the University of the Arts in London. In 2014, two books were produced in cooperation with the Archives: The Making of Stanley Kubrick’s 2001: A Space Odyssey (four volumes, by Piers Bizony) and Stanley Kubrick: New Perspectives (edited by Tatjana Ljujic, Peter Kramer, and Richard Daniels).
Kubrick’s Look Photographs: 1945-1950
At high school (from 1942 to 1946), Kubrick took pictures for the school magazine (Portfolio) and yearbooks. He also sold images to Look magazine, and worked as a photojournalist for the publication until 1950. One of his Look photographs, a portrait of Montgomery Clift, was also published in Flair magazine (vol. 1, no. 8, September 1950); another, taken in the Copacabana nightclub, was published in Quick magazine (Are Nightclubs Old-Fashioned?, 26th November 1951). After leaving Look to become a director, Kubrick had no further photographs published, with one exception: a colour self-portrait for the cover of Newsweek (vol. 79, no. 1; 3rd January 1972).
Kubrick’s photographs were included alongside other Look images in the exhibitions Look at America (1957) and Only in New York: Photographs from Look Magazine (Donald Albrecht and Thomas Mellins, 2009), and the books Our Land, Our People (Edward A. Hamilton and Charles Preston, 1958), School Photojournalism: Telling Your School Story in Pictures (Edward A. Hamilton, 1958), and The Look Book (Leo Calvin Rosten, 1975). Look reprinted two of Kubrick’s photographs after he left the magazine: a portrait of Richard Rodgers and Oscar Hammerstein (12th July 1955), and a photo of cannabis (Dope Is Threatening Our Youth, 13th March 1951). The Look photographic archives are currently held at the Library of Congress in Washington and the Museum of the City of New York.
An exhibition of Kubrick’s photographs curated by Michel Draguet, Stanley Kubrick: Photographer, opened in 2012, and its catalogue was published as Stanley Kubrick: Fotografo. Donald Albrecht and Sean Corcoran curated the exhibition Through a Different Lens: Stanley Kubrick Photographs in 2018, which was accompanied by an extensive catalogue. Rainer Crone curated three exhibitions of Kubrick’s photographs, all with accompanying catalogues: Stanley Kubrick: Still Moving Pictures - Fotografien 1945-1950 (with Petrus Graf Schaesberg, 1999), Stanley Kubrick: Fotografie 1945-1950 (2010), and Stanley Kubrick: Visioni e finzioni 1945-1950 (2011). Selections of Kubrick’s Look photographs have been published in three further books: Stanley Kubrick: Ladro di sguardi - Fotografie di fotografie 1945-1950 (1994), Art by Film Directors (Karl French, 1994), and Stanley Kubrick: Drama and Shadows - Photographs 1945-1950 (Rainer Crone, 2005).
A copy of this first comprehensive list of Kubrick’s photographs is included in the Stanley Kubrick Archive at the University of the Arts, London, and it was reprinted in Stanley Kubrick: Fotografie 1945-1950 - Un narratore della condizione (Rainer Crone, 2010). Unless stated otherwise, all images were photographed in New York and published in black-and-white. Entries are listed according to the date of their first publication.
Truman and Roosevelt
Kids at a Ball Game
Psychoquiz: Are You a Fatalist?
Look vol. 10, no. 1, 8th January 1946
Teacher Puts “Ham” in Hamlet
A Short-Short an a Movie Balcony
A Woman Buys a Hat
Meet the People: How Many Times Did You Propose?
How a Monkey Looks to People............And How People Look to a Monkey
Buy Victory Bonds
Meet the People: What Was Your Childhood Ambition?
Psychoquiz: Do You Have Imaginary Illnesses?
Meet the People: How Would You Spend $1,000 in a Week?
Bronx Street Scene
Johnny on the Spot
Midsummer Nights in New York
Meet the People: What’s Your Idea of a Good Time?
Television: It Will Start to Grow Up
Meet the People: What Part of America Would You Like to See This Year?
How to Spot a Communist
Meet the People: Why Do You Wear a Mustache?
Life and Love on the New York Subway
Photocrime: Cobb Reasons It Out
Meet the People: What Is Your Favorite Way of Loafing?
Baby Wears Out 205lb Athlete
First Look at Mirror Bewilders Baby
While Mama Shops
Meet the People: What Was Your Worst Experience?
Meet the People: Do You Have Any Desire to Go West?
Meet the People: What Celebrity Would You Like to Marry?
Fun at an Amusement Park
Look vol. 11, no. 15, 22nd July 1947
Look vol. 11, no. 16, 5th August 1947
In Amerika Habe Ich die Freiheit Gefunden (I Found Freedom in America)
Look’s 5th Annual All-America High School Track Team
Family Full of Health: The Jantzens Enjoy Keeping Fit
The 5 and 10
Meet the People: Children Tell How They Should Be Punished
Walkathon: The World’s Wackiest Show - It Gets 4,000 Customers a Night
Look vol. 11, no. 20, 30th September 1947
Teen-Agers Take Over a Radio Station
Look vol. 11, no. 22, 28th October 1947
Look vol. 11, no. 23, 11th November 1947
Look vol. 11, no. 24, 25th November 1947
Meet the People: Who Stands Pain the Best?
Look vol. 11, no. 25, 9th December 1947
High Button Shoes
Look vol. 11, no. 25, 9th December 1947
Look vol. 12, no. 1, 6th January 1948
Help Your Doctor Diagnose Appendicitis
It Happened Here
Miss America Goes to the Methodist Youth Conference
Photocrime: Death in a Flash
The Case Against Universal Military Training
The Boss Talks It Over with Labor
Art Gallery Dalí Exhibition
Look vol. 12, no. 8, 13th April 1948
Wash Day in a Self-Service Laundry
Rheumatic Fever: Childhood’s Most Neglected Disease
Meet the People: Meet President Truman?
How the Circus Gets Set
Look vol. 12, no. 11, 25th May 1948
He Sells Success
Deaf Children Hear for the First Time
Mooseheart: The Child City
Look vol. 12, no. 12, 8th June 1948
One-Man Track Team: Irving Mondschein Reaches for Olympic Honors
New York: World Art Center
Holiday in Portugal
Bumper Baby Crop Starts School
Will This Be the New Look for Men?
Wally Conquers Polio
Look vol. 12, no. 21, 12th October 1948
What Makes Their Eyes Pop?
Look vol. 12, no. 22, 26th October 1948
New Toy Spurs Milk Drinking
How Eight Look Photographers See Jane Greer
Kiss Me, Kate
Taft Meets the People - And Proves a Human Campaigner
America’s Man Godfrey: One of the Highest Paid and Most Listened to Entertainers in the Nation
Fight Night at the Garden: Some Fans Roar for Gore
Lobster Comes Home
The American Look Is a Proud Thing
Look vol. 13, no. 7, 29th March 1949
Chicago: City of Extremes
It Takes These 103 Persons to Stop the Music
Pint-Size Sculptor with Big Ideas: Koren der Harootian
Gridiron Show: St. Louis Stages Its Own
University Of Michigan
The 16-Ounce Look
Father’s Day for Father Berle
Montgomery Clift... Glamour Boy in Baggy Pants
Look vol. 13, no. 5, 19th July 1949
Look vol. 13, no. 5, 19th July 1949
Look vol. 13, no. 16, 2nd August 1949
Look vol. 13, no. 17, 16th August 1949
Vaughn Monroe: He Makes a Mint out of Music
Look vol. 13, no. 17, 16th August 1949
Philadelphia’s First Beaux Arts Ball
Look vol. 13, no. 20, 27th September 1949
Peter Arno... Sophisticated Cartoonist
World’s Most Escape-Proof Paddy-Wagon
Nehru: Charles Baskerville Paints India’s Prime Minister
Meet the Chairman of the GOP
A Dog’s Life in the Big City
Divorce: A Woman’s Tragedy
Celebrities Paint to Raise Money for Charity
New York Society Ball
Look vol. 13, no. 25, 6th December 1949
Look vol. 13, no. 25, 6th December 1949
Portable Porter: Luggage on Wheels
Look vol. 13, no. 26, 20th December 1949
Look vol. 13, no. 26, 20th December 1949
Howdy Doody WOWS the Kids
Look vol. 14, no. 1, 3rd January 1950
Look vol. 14, no. 1, 3rd January 1950
The Mid-Century Look Is Now the American Look
Eisenhower Is Open to Being a Republican Candidate
Don’t Be Afraid of Middle Age
Candidate Robert A. Taft
Sinatra and Kirsten Take Richmond
Rocky Graziano: He’s a Good Boy Now
Lady Lecturer Hits the Road
Big Little Art Collection
Traveling Saleswoman USA
Leonard Bernstein: Boy Wonder Grows Up
Look vol. 14, no. 7, 28th March 1950
Baseball Player Don Newcombe: Can He Win the Next 30 Games?
Phil Rizzuto: The Yankee Nipper
Ken Murray Tries out TV Talent
Look vol. 14, no. 10, 9th May 1950
The GOP Has a Roosevelt Too
Dixieland Jazz Is “Hot” Again
Double or Nothing Guests See Sights of Hollywood
Look vol. 14, no. 13, 20th June 1950
12 Children - $75 A Week
The Ballad of Peggy Lee
The Debutante Who Went to Work
The US Is Going Cowboy Crazy
What Every Teenager Should Know About Dating
Look vol. 14, no. 16, 1st August 1950
Look vol. 14, no. 16, 1st August 1950
Faye Emerson: Young Lady in a Hurry
Hair Coloring Becomes Part of the American Look
Canasta Mistakes You Can Avoid
Our Last Frontier: Transoceanic TV
Look vol. 14, no. 19, 12th September 1950
Red Rolfe: The Heart of the Tiger
Meet the People: Mind Your Manners
What Teenagers Should Know About Love
The Look All-American Baseball Team
Ballet Is Fast Becoming Entertainment for the Masses
Jealousy: A Threat to Marriage
Peter Lind Hayes Puts the Stork Club on TV
How to Check Your City’s Health
Fifty Years of Model Railroads
How Radio’s Top News Team Covers the World
© 2002-2018 Matthew Hunt