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4.0 out of 5 stars
Great book on a complex genius, Mar 16 2002
This review is from: Stanley Kubrick Director (Paperback)
"Stanley Kubrick, Director" is probably the best book I have read yet on this great, but often debated about, filmmaker (I have yet to read Ciment's book, though, which I hear is much better) Kubrick was known for making controversial movies being "harsh" to his actors. The films examined in this book are his most well known and cover his various themes about humanity: "Fail Safe" machines going haywire (Dr. Strangelove), the dehumanization of men into machines and vice versa (2001, A Clockwork Orange, Full Metal Jacket) and man in collision with destiny and the past (Barry Lyndon, The Shining). To date, this is the only major book made with the cooperation of Kubrick himself. The photographs in each chapter are taken from still frames from the actual films. The author provides brief summaries for each photograph, showing its use of lighting, camera placement or relation to another Kubrick film (Slow Motion shots, light used is from the light source one would expect at the actual location). According to the author, anything in Kubrick's movies has symbolism or some meaning to it, and this is where the book's only flaw is. Camera angles, lighting, set design and decoration even phrases numbers and placements of objects can be interpreted to have some meaning. He also has interesting ideas about the movies (One of my favorites is his belief that the soldiers in Full Metal Jacket's boot camp are lab mice being experimented and reconditioned on). However, this can also be very, very helpful to understand the films more. The author shows that each Kubrick film can have more depth than meets the eye (If you still think "2001" is only about boredom, you need this book). Just make sure you have seen the movies before reading for there are major plot spoilers.
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4.0 out of 5 stars
Not definitive but still intriguing, Aug 30 2001
This is an interesting book, with a huge number of photographs detailing most of Kubrick's films. (The only ones not examined in depth are 'Fear and Desire,' 'Killer's Kiss,' 'The Killing,' 'Spartacus,' and 'Lolita.') The book is organized chronologically, with a small section in the middle of the book about Kubrick's use of color and an epilogue detailing Walker's personal encounters with Kubrick at the end. It is fun to read about Walker's stories about Kubrick, which shed some all-too-needed light on the personal life and motivations of the reclusive filmmaker. On the whole, Walker's analyses of Kubrick's films are good, not great: I think he is really off-base in praising Tom Cruise's acting in 'Eyes Wide Shut' and in denigrating Kubrick's use of the occult in 'The Shining.' However, his analyses of 'Barry Lyndon' and 'Full Metal Jacket' were astute, and he successfully links certain themes and motifs throughout all of Kubrick's films. Finally, although normally I don't like a huge amount of pictures in a book because of how they always jack up the price, here the pictures are well-chosen and either help jog your memory about the films or help you understand them if you haven't seen them. I will say that some of the pictures were much larger than they needed to be - I didn't need a full two-page spread of the atomic bomb exploding in 'Dr. Strangelove' - but that's a minor criticism. All in all, a generally fun book.
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4.0 out of 5 stars
Full Paper Jacket, Nov 6 2000
This review is from: Stanley Kubrick Director (Paperback)
This may be, as the notes above claim, the "most comprehensive" book yet written on Kubrick. And it's clear the author's personal relationship with him enhances understanding of his films. But it's also obvious that the book was rushed onto the shelves to capitalize on the publicity surrounding Kubrick's last film and the director's death -- unless, of course, the typos and printer errors are an artistic statement about mankind's pointless quest for perfection... The strongest part of the book is in finding subtle similarities among the films, both in style and content, and in tracing the evolution of the director's ability to put his ideas onscreen. But the writing is occasionally overblown, presenting obvious points as if they were major revelations. The section on 'Kubrick's Use of Color' is almost laughable, looking like a four-color decoy for the rest of the book's cheaply done b/w. its analysis pretty much boils down to 'He used a lot of red.' An editorial description above refers to 'frame-by-frame' analysis, but that's pretty misleading. There is some detailed technical insight, but not for every film. And in sections that discuss particular sequences, the accompanying photos are often on different pages. The section on EWS is pretty splapdash. But there is also some really interesting stuff here. It's just too bad they didn't spend a little more time sealing the cracks.
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