At the beginning of the article I would like to ask you three questions:
<h1 class="pgc-h-arrow-right" > in your mind, what is the status of director Kubrick? </h1>
<h1 class= "pgc-h-arrow-right" > how do we define a director who doesn't even have an Oscar for best picture? </h1>
<h1 class="pgc-h-arrow-right> Kubrick was an exaggerated director? </h1>
The number of awards for a film director is an important criterion, but for the world-class film master, Kubrick, who has only won an Oscar once (2001: A Space Odyssey won the Best Visual Effects award of the year), how should he be evaluated?
(There was a ranking about "Interstellar" in the previous article that everyone did not recognize, but the truth is that the award grade of Interstellar is very low)
Stanley Kubrick (July 26, 1928 – March 7, 1999) was an American film director, producer, screenwriter, and cinematographer. He is often quoted as one of the greatest filmmakers in the history of cinema. His films are mostly adaptations of novels or short stories, covering a wide range of genres, known for their realism, black humor, unique cinematography, extensive set designs and evocative use of music.
Kubrick can be said to be the promoter of dark cinema and the pioneer of new science fiction films. You can think of him as a master of suspense thrillers, and you can say he's a master of using montages.
In short, this director, who is called "the closest to God", the director who is known as the jewel of the Oscar, the wizard director who is the fourth most influential director in the world, deserves our respect.
But how do we express the fact that he didn't win an Oscar for best director or that a film is not an Oscar for best picture?
We can only think of it this way: Kubrick's films did not mean much at the time, just like Stephen Chow. That kind of forward-thinking, epoch-making film is obviously accepted and praised later.
Therefore, now we can only whisper a sigh: "Zhongni said that he had seen Zhiren, and Jun could be described as a pearl left in the sea." But fortunately, his films are still worth savoring by every viewer.
<h1 class= "pgc-h-arrow-right" > Kubrick's directing skills</h1>
Kubrick films usually involve the expression of inner struggles, viewed from different perspectives.
He was very careful not to present his own views on the meaning of the film and to let them be interpreted. He explained in a 1960 interview with Robert Emmett Kinna: "When a painting is finished, I always find it very difficult and a writer or film critic asks, 'Now, what do you want to say in the picture?'" I don't want to be considered too conceited for using this analogy, and I like to remember what Elliot said to a man who asked him— and I believe it was a wasteland — what he meant by the poem. He replied, 'I mean what I said.' If I could say anything different, I would say".
Kubrick likened his film understanding to pop music, because, regardless of personal background or intelligence, Beatles records could be appreciated by Alabama truck drivers and young Cambridge intellectuals because their "emotional and subconscious minds were far more similar than their intelligences." He argues that the subconscious emotional responses experienced by the audience are far more powerful in film media than in any other traditional form of language, which is one of the reasons why he often relies on the absence of dialogue and emphasis on images and sounds in films for a long time.
In a 1975 interview with Time magazine, Kubrick further noted: "The essence of dramatic form is to make an idea appear in people without explicit explanation. When you say something directly, it's not as powerful as when you allow people to discover it on their own. He added: "Realism is probably the best way to dramatic debate and thought." Fantasy may be most able to deal with mainly unconscious subjects."
< h1 class="pgc-h-arrow-right" > praise for Kubrick</h1>
Steven Spielberg commented that Kubrick "told stories in a way that was contrary to the way we were used to receiving them" and that "no one can take better pictures in history".
Orson Wells, one of Kubrick's biggest personal influences and favorite directors, said: "Among the people I call the 'younger generation', Kubrick seems to me to be a giant.
Kubrick continues to be cited as a major influence by many directors, including Christopher Nolan, Todd Field, David Finch, Guillermo Del Toro, David Lynch, Lars von Trier, Tim Burton, Michael Mann and Gaspar Noor. Many filmmakers imitated Kubrick's creative and unique use of camera movements and frames, as well as the music he used, including Frank Darabont.
< h1 class= "pgc-h-arrow-right" > below is Kubrick's ranking of 13 films</h1>
13: Eye-opening ring
Eye-opening ring
Kubrick's in-depth study of the human psyche has produced impressive film productions. As Kubrick's closing work, the film Eyes Wide Shut has always been known for its rich and obscure metaphors. If one of the hallmarks of a good movie is to impress viewers in different ways and provide countless interpretations and perspectives, then the film is undoubtedly a success — some people think it's a love film, some people think it's a thriller; some people think that the director wants to explore gender issues, some people think that the movie is full of political metaphors, and in baidu encyclopedia related entries, the film critic quoted believes that the film reflects "maintaining marriage requires not only courage to face crises, but also enough ability to survive crises, as well as luck." Thus, this was interpreted as a "marriage apocalypse."
12: Fear and desire
Fear and desire
It was Stanley Kubrick's first feature film. The script was written by his high school classmate, the poet Howard Sackler, and the filming was financed by Kubrick himself, mostly borrowed from his father, uncle and friends. The work, like Kubrick's later films, was so full of surrealist symbolism that only one art distributor was willing to distribute and screen, while Kubrick considered the film to be a mere intern, and he only agreed to screen it privately, and repeatedly wanted to destroy the copies. Nevertheless, the film won some critics acclaim, especially in photography.
11: Killer's Kiss
Killer's Kiss
Boxer David Corden (Jamie Smith) lives alone in a modest apartment rental room with a beautiful dancer, Irene Kane, living across the window, whom David gradually becomes attracted to. One night, David returns from a game and suddenly finds gloria about to be raped, and he rushes in to save his sweetheart. It turns out that the rapist is the owner of The nightclub where Gloria works (Frank Silvera), who has to endure humiliation in order to make a living. Two frustrated people are in harmony, so they agree to leave the sad place and find their happiness. David goes out to raise money for the trip, and the nightclub owner, furious when he learns of Gloria's imminent departure, sends thugs to kidnap her...
10: The Shining
Shining
While it deviates from Stephen King's novel, Stanley Kubrick's The Shining is a chilling, often baroque journey of madness—exemplified by an unforgettable twist by Jack Nicholson. In 1998, the 511st issue of Hong Kong's Film Biweek magazine named "50 Must-See Hollywood Horror Films" from 1921 to 1997, and The Shining ranked first. The review read: "Watching horror movies is like taking sleeping pills, and the more you watch it, the less terrible it feels." Even the horror film classic "The Exorcist", after watching more, will be numb, and will never be afraid again. There are special examples or exceptions to everything, and the More You Watch The Shining, the more terrifying it becomes. The Shining gives a new definition to modern horror. "Movie master Stanley. Kubrick's horror masterpiece The Shining is a film that frightens the souls of the audience. Stanley. Kubrick weaves nightmares for the audience with a calmness and calmness rarely found in Hollywood directors, convincing people that there is indeed an inexplicable evil force between heaven and earth, which will highlight the viciousness at any time.
9) Clockwork orange
Clockwork orange
Disturbing and thought-provoking, Clock Orange is a cold, dystopian nightmare with a very dark sense of humor. This is one of the most peculiar films in the history of cinema and one of the most famous banned films. Since its inception, not only has it provoked much debate to this day, but scenes of violence have been imitated by many teenagers. For this reason, it has been banned in many countries, such as the United Kingdom, where it has been banned for nearly 30 years – until the death of the film's director, Director Kubrick, that it was able to meet British audiences. In addition to the issue of violence, the film is also related to "brainwashing" - in the Western world, "brainwashing" seems to be the most terrifying topic, even more than the perverted killer, because "brainwashing" means the complete erasure of individuality, the complete interference of individual freedom.
8: Barry Linden
Barry Linden
The irony is full of this film, and Barry Linden is a complex character film of unfortunate people destined by Georgian society. There are many places where Kubrick is crazy, and for this film, what makes people think he is crazy is that almost all the costumes of the main characters are shot in real costumes at that time. Just think about the details of borrowing these clothes from the museum, insurance, dry cleaning, sewing, and returning them. But the bigger headache is how to find a unified style in that pile of clothes that looks real and not messy in front of the camera. Even if there is a museum costume for people to choose from, if not a person with the ultimate idea, will ignore the subtle differences between the first 10 years or the last 10 years of the costumes of this period. In addition to this, there are hairstyles and makeup. Crazy people are always extra sharp. This sullen film is already very good at grasping the rhythm and scale, and the narrator's sometimes cynical tone is like reading the novel itself directly
7: Lolita
Lolita
Kubrick's Lolita adapts its seemingly unsuitable source material with a stealthy comedic style and James Mason's brilliant performance, transforming the controversial novel into a refreshing novel without sacrificing its essential strengths. This is not Nabokov's but Kub's Lolita, Peter Cyrus's one-man show. He tore off the camouflage of Humbert's passion and beauty in the book, showing the true side of the story, the ugly obscenities that were completely contrary to Nabokov's pursuit of beauty. He highlights the main lines of crime and paranoia, a fighting game between two men, a satire of desire. Fiction aside, this is just a dry social satire note. 6: Full metal shell
Full metal housing
Stanley Kubrick's all-metal jacket, which sometimes has a strong, tightly constructed and dark comical hue, may not boast of the most original subjects, but it is very effective in conveying them. "Discrimination" oozes everywhere in the film, the discrimination of instructors against soldiers, the discrimination of soldiers against civilians, the discrimination of civilians against prostitutes, the discrimination of war against life, the discrimination of the author against war... The whole film has only a few moments of warm scenes, a lot of black humor occupies the main space, which is where the film is clever, those military songs and dirty words can make people laugh, but when you laugh, it also shows that you have become a numb spectator.
5: Spartacus Spartacus
Spartacus
Kubrick's Restorative Sword and Sandal Epic with its outstanding performances and epic moves is a true classic. This film is a film that celebrates the pursuit of freedom and liberation by the ancient Roman slave fighters, telling the story of the ancient Roman slaves led by Spartacus, who rebelled against the tyranny of the slave owners, but were eventually suppressed. The film cost $12 million and ends with more than 8,000 Spanish soldiers as extras. Kubrick took over as the director a week after filming began, and the producer Douglas's control of the film's style and the cinematographer's withdrawal from the crew caused the film to resemble the classical style of the epics of the 1950s and 1960s, so Kubrick refused to recognize the film as his work.
4:2001: Space Odyssey
2001: A Space Odyssey
Kubrick's 2001: A Space Odyssey is one of the most influential of all science fiction films and one of the most controversial. I think that's enough to sum up the film —probably the greatest sci-fi movie of all time
3: The Path of Glory
The Road to Glory
The road to glory is for politicians, not soldiers, and in all wars, it is a matter of one success. Kubrick spoke of the cruelty of war, but this cruelty does not come from the enemy, but from his own people, not from the distortion of the individual, but from the nature of human nature. The beginning of the Kubrick style. The Glorious Road is an extraordinary humane war film by Stanley Kubrick with an impressive, protracted battle sequence and knockout ending.
2: Killer
killer
A well-crafted film whose ideas are more thoughtful than the violence of fashion, Killer established Stanley Kubrick's position as a filmmaker with unusual visual and control. This film is an early work by Master Kubrick, probably the fourth feature film, with a certain narrative exercise nature. Although he does not yet see a strong library style in this film, nor does he add his classic understanding of "sex", his genius for film rhythm and audiovisual scheduling has been revealed.
1：奇爱博士 Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb
Dr. Strange Love
Stanley Kubrick's brilliant Cold War satire is still as amusing and poignant today as it was in 1964. This so-called Dr. Love, Kubrick's book, lost to the romance film Lady in the Oscar for Best Picture that year, which may be Kubrick's closest year to the Oscar for Best Director, I think there should be many people who think the same, why did this film fail?
At the end of the conclusion, let's recall the previous question: What is Kubrick's status in your hearts? When we evaluate a director who doesn't even have an Oscar for best picture, how do we define his status? Was Kubrick an exaggerated director?
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