Lolita review

Number 600 on the top 1000 films of all time is Stanley Kubrick’s black-comedy, psychological thriller ‘Lolita.’ 

English academic Humbert Humbert (James Mason) arrives in Ramsdale, New Hampshire, to spend the summer there before staring work. He soon marries his landlady Charlotte Haze (Shelley Winters) but then becomes infatuated with her fourteen-year-old daughter Dolores “Lolita” Haze (Sue Lyons.)

This is a film that needs no introduction. It, and Vladamir Nabokov’s book it was based upon, are highly controversial due to their themes of paedophilia. The film was even considered ‘unfilmable,’ so I was surprised by its underwhelming nature. Admittedly, I haven’t read the book nor am I fully familiar with the story, but I was expecting something more lurid.

Compared to modern-day films, Lolita was incredibly tame. Granted, Kubrick was up against the strict production code and studio restrictions meaning he had to tone down the erotic aspects of Humbert and Lolita’s relationship, but I was still expecting something more. I understand that Kubrick couldn’t be explicit, but I thought there would be more subtle references to the film’s darker themes.

Perhaps I’ve been misled by the film’s sensational reputation. If I had been more familiar with the original story, I would know differently, but I can only judge the film based on what I’ve seen.

The characterisation of Humbert and Lolita also surprised me. Mason played Humbert as a retiring and reserved academic, which he was, but he seemed an unlikely candidate to be attracted to his step-daughter. I understand that depicting him as an unshaven, over-weight slob in a singlet would be a cliché, but I did not find Mason to be a believable nonce.

To get round the censors, Kubrick upped Lolita’s age from twelve, as she originally was in the book (I know that much at least) to fourteen. Sue Lyon was fourteen, but was cast, because she looked older. The producers wanted audiences to believe that Lolita could be a sex object. I can understand why they would change her age, but I don’t agree with deliberately casting an actress who looks older than her years.

It changed the dynamic of her character and the dynamic of her relationship with Humbert. Compared from fourteen to twelve, you’re slightly more mature and aware of your surroundings and of your own sexual desires. This added sentience transformed Lolita from an innocent victim to even an unrealising participant of Humbert’s predatory behaviour.

But as I’ve said ad nauseum, I am not familiar with the original text, so I could very well be mis-reading the film. I do think that my opinion might be different if I had read the book first, but based on what I’ve seen, I wasn’t a fan of Lolita.

Top Ten Golden Oldies on the top 1000 films of all time

 There is no agreement as to when exactly the Golden Age of Hollywood started and ended. Some sources say it began in 1915 with the release of the horrifically racist In the Birth of a Nation and stretched well into the 1960's.

However, I will be sticking with the general consensus that the Golden Age of Hollywood occurred between 1930 and 1960 - dominated by the five big studios of MGM, Warner Bros, RKO, 20th Century Fox and Paramount, as well as the "little three" studios of Universal, Columbia and United Artists.

This is a list of what I think are the top ten films from the Golden Age of Hollywood that also features on the top 1000 films of all time. This list of Golden Oldies is in no particular order except for chronology.

It happened One Night (1934) Columbia Pictures

Coming in at 132 on the top 1000 films of all time is Frank Capra's romantic-comedy: 'It happened One Night.' Starring Clark Gable and Claudette Colbert, it was the first only three films to win the five big Oscars: Best film, Best Actor, Best Actress, Best Director and Best Adapted Screenplay. Only One Flew Over the Cuckoo's Nest and The Silence of the Lambs have only repeated this feat.

But it is easy to see why 'It Happened One Night' was so heavily awarded. Yes, it is cheesy and predictable in the way that many of the older films often were, but it still has an undeniable charm.

It was very much a sleeper hit with Gable and Colbert giving great performances which turned this film into a real classic.

The Great Dictator (1940) United Artists

How do you talk about the Golden Age of Hollywood and not mention the legendary Charlie Chaplin? Although he is best known for his silent films, Chaplin gives one of the best speeches in film history.

In many ways, this black comedy was Chaplin's first foray into the world of sound cinema. It was a great satire of the horrors that were occurring in World War Two Europe. Coming in at number 52 on the top 1000 films of all time, if there is a Charlie Chaplin film you're going to watch then it should be this one.

Casablanca (1942) Warner Brothers

Speaking of World-War-Two, let's talk about this brilliant romantic-drama. It focusses on the cynical Rick Spader (Humphrey Bogart) who is slowly drawn into helping the Czech resistance movement as they combat the Nazis.

Casablanca went onto win the Best film Oscar. It has a list of endlessly quotable lines, as well as the archetypal, reluctant hero played by Humphrey Bogart. Also starring Ingrid Bergman and Claude Rains, it's no wonder that Casablanca ranks at number 29 on the top 1000 films of all time. Now, here's looking at you, kid.

It's a Wonderful Life (1946) RKO pictures

Elf? Muppet Christmas Carol? Home Alone? Die Hard? The best Christmas film is It's a Wonderful Life. You heard it here first. Frank Capra's supernatural drama focusses on George Bailey (James Stewart,) a suicidally-depressed man who's taken on a magical journey where he is shown how bad life would have been if he had never been born.

No other film since has really keyed into the power that Christmas has to bring people together. Although RKO released this film to a lukewarm reception, it's gone onto become the 23rd best film on the top 1000 films of all time. There are some who might dismiss it as cheesy, overly-sentimental rubbish, but that's Christmas for you.

The Treasure of the Sierra Madre (1948) Warner Bros 

We've returned to Old Bogey with John Huston's Western. Humphrey Bogart, Tim Holt and Walter Brennan star as three prospectors looking for a mythical lost treasure in Mexico. All three lead actors give terrific performances, and the cinematography is astounding.

This intense, gripping film foregoes the usual tropes of a Western, in favour of an in-depth precautionary tale about the dangers of greed. I'm not the only one who thinks so as it comes in at 94 on the top 1000 films of all time.

Strangers on a Train (1951) Warner Bros

Alfred Hitchcock had to feature on this list, but the question was which film? The Birds features too late to qualify. Psycho, North by Northwest and Vertigo are all too obvious while the 39 Steps and the Lady Vanishes are all a bit ridiculous. Instead, I opted for the under-rated Strangers on a Train.

This film noir clocks in at 210 on the top 1000 films of all time. While some film noir *cough cough* the Big Sleep, it doesn't stumble over itself trying to be as smart as possible. Instead it presents a tense story revolving around a chance encounter of two strangers on a train. One stranger, Bruno (Robert Walker) is a psychopath who suggests murdering Guy's (Farley Granger) estranged wife if Guy murders Bruno's father. Cue a dangerous game of cat-and-mouse.

Yes, it is unlikely, as is much of Hitchcock's films, but comparatively-speaking, it is one of his most straight-forward films.

On the Waterfront (1954) Columbia Pictures

I could have been a contender. I could have been somebody.

These lines won Marlon Brando his first Best Acting Oscar. And he won this by starring as Terry Malloy, a New Jersey dock-worker turned hero in Elia Kazan's crime-drama that comes in at 118 on the top 1000 films of all time.

On the Waterfront tells a powerful story about the importance of standing up for what's right. It won a further seven Oscars including Best Supporting Actress for Eva Marie Saint.

On the Waterfront is a film that will live long in your memory long after the curtain has been drawn.

Rebel without a Cause (1955) Warner Bros

Legendary James Dean only starred in three films before his untimely death - one of them was the amazing Rebel without a Cause, which features at 458 on the top 1000 films of all time.

Receiving a posthumous Oscar nomination, he stars as Jim Stark - a lost, young man living in 1950's LA. There are some who might dismiss this film as whiny and edgy, but it perfectly encapsulates the alienation of a post WW2 generation, as well as every other successive generation questioning their place in the world.

It also stars Natalie Wood, another actor who died far too young.

12 Angry Men (April 1957) United Artists

12 Angry Men is 8th on the top 1000 films of all time - that is the highest placed of any film from the Golden Age of Hollywood.

Courtroom dramas aren't for everyone. Some can find them dull and lacking in action, but Sydney Lumet struck gold with his poignant story of twelve jurors deciding if a young man is guilty of murder or not. It has a brilliant cast led by Henry Fonda.

12 Angry Men is a claustrophobic, suffocating affair that presents many moral quandaries which it leaves up to the viewer to solve.

Paths of Glory (December 1957) United Artists

Forget The Killing, Barry Lyndon or the Shining. This is one of Kubrick's best films, second to only Full Metal Jacket. It is even better than 2001: a Space Odyssey. I said what I said.

Kirk Douglass plays Colonel Dax fighting to save three of his men from being unfairly shot for cowardice. It is a brilliant moral-drama that explores the horrors of war. At times, it is explosive, at others it is understated, but it is always entertaining. It also highlights the devastating effects of PTSD - a condition that was poorly understood at the time.

Featuring at 56 on the top 1000 films of all time, I would argue that it should be a few places higher Not only is it one of the top ten Golden Oldies, but one of the best films I've seen.

As always, this was a hard list to put together and there were many films that did not make the cut. Did I miss out any? Let me know in the comments below.

The Killing review

 Number 244 on the top 1000 films of all time is Stanley Kubrick's 1956 film noir 'The Killing.'

Johnny Clay (Sterling Hayden) is a career criminal planning one last heist before settling down with his lover Fay (Coleen Gray.) He assembles a crack-crew of five other criminals to rob the local racetrack.

Sadly, the Killing was a film that suffered badly from unwanted studio interference. Studio execs demanded Kubrick include narration, which only functioned to give exposition. Or rather, to beat the audience around the head with exposition. It really slowed up what should have been a fast-paced crime-thriller. It was an unnecessary inclusion.

Otherwise, this would have been a very interesting film noir, even if it didn't bring anything new to the genre. It has the same morally-grey characters you would see in the Big Sleep, but without the overly-convoluted plot. Yes, the Killing employs a non-linear narrative, but I don't think this particularly complicated things.

The Killing also had the old familiar trope of the femme fatale: Sherry (Marie Windsor) wife of one of the gang who is plotting to double-cross him and run off with his share. And, of course, you had the low-key lighting and endless supply of men smoking cigarettes.

Yes, the fight scenes looked very silly, but the Killing was an interesting watch. It was one of Kubrick's earliest films, but also one one of his most influential, influencing the likes of Quentin Tarantino. It's just a shame that the studio couldn't keep their grubby hands away from Kubrick's work.

Barry Lyndon review

 Number 228 on the top 1000 films of all time is Stanley Kubrick's 1975 epic historical drama 'Barry Lyndon.'

Based on William Makepeace Thackery's novel 'the Luck of Barry Lyndon,' Barry Lyndon (Ryan O'Neal) follows the eponymous Irish rogue as he wiles his way into the upper echelons of society through marrying the rich widow Lady Lyndon (Marisa Berenson) and ingratiating himself into her family and life.

Barry Lyndon really surprised me. As you may have gathered from some of my other reviews, I neither care for epics or period dramas of which Barry Lyndon was both. They're vague, overly-long and tedious. They're so boring. Yet I found Barry Lyndon to be very watchable. 

Did it need to be three hours long? Absolutely not. The pacing was incredibly slow, which was hardly helped by how the accompanying musical score was slow, serene and happy. That hardly helped to ratchet up the tension. Plus there were lots of shots of the characters sitting around doing very little.

But despite all that I thoroughly enjoyed Barry Lyndon. As a character, Lyndon is pretty despicable. He is charming on the surface, but he also has a darker side which regularly comes out when he doesn't get his way. However, he is still interesting to watch. I was intrigued to keep watching just to see whether he gets his just desserts or not, which *spoiler alert* he inevitably does. O'Neal made him a charismatic and three-dimensional character. It worked well enough to stop him from becoming a cliched cartoon villain.

Another reason period-dramas don't work for me is either the lack of stakes or stakes being so artificially produced that they become over-blown and contrived. Neither of these was the case with Barry Lyndon. There was plenty of drama. It was presented in a natural and authentic way, as we see Lyndon navigate obstacle after obstacle. He goes from duelling a rival to fighting for the English in the Seven-Year war to fighting for the Prussians in the Seven-Year war to becoming a gambler and hustler to marrying the widowed Lady Lyndon and then coming full-circle by duelling his stepson Lord Bullingdon. It is quite a journey.

Barry Lyndon really surprised me. I went into the film absolutely dreading it, but it was thoroughly entertaining. I guess you can't judge a film by its genre classification.

My top ten films of all time

 In 2015, I embarked on the challenge of watching the top 1000 films of all time. Six years later, I am sadly only 307 films into my quest, but I've watched enough to films to form my top ten list.

Most of these films I've only watched because of this list, but one or two of my all-time favourites have also slipped in. Apart from my number one film, which I'll save until last, this list is in no particular order.

The top ten list

City of God (2002)

One thing that I've loved about this challenge is that I've been able to witness the best that World Cinema has to offer. And City of God is undoubtedly the best. It tells the unflinching story of two boys growing up in the drug-fuelled favelas of Rio De Janerio. It is a brutal and painfully realistic look of how drugs can destroy somebody's life. Expect a roller-coaster that doesn't slow up for a minute.

Old Boy (2003)

Another classic of World Cinema. This Korean film is a revenge thriller focussing on Dae-su Oh who seeks vengeance on the man who locked him up for fifteen years. Brimming with gorgeous Korean proverbs, this film will keep you guessing all the way to the shock ending which is one of the biggest twists in movie history.

Rang De Basanti (2006)

We've come to the realm of Indian cinema. 3 Idiots was a close second but Rang De Basanti edges it for the sheer power of its narrative. Following the story of a British film maker who is producing a documentary about early leaders of Indian independence, this film will have you laughing, crying and everything in between. Sure there are a lot of musical numbers, but what else can you expect from Indian cinema?

The Hunt (2002)

Onto an absolutely fantastic Danish film. Lukas (Mads Mikkleson) is a school teacher falsely accused of sexually abusing one of his students. A witch-hunt ensues and the whole town turns against him. In a film where truth and lies merge into one, you'll be on the edge of your seat. This outstanding film blew me away.

Full Metal Jacket (1987) 

Forget The Deer Hunter or Apocalypse Now, Stanley Kubrick blew every other war film out the water with his brutal portrayal of the Vietnam War. Full Metal Jacket left me in absolute awe. From Vincent D'Onofrio to Lee R Ermey to Adam Baldwin, this film is littered with acting talent. Some might say that the film is unbalanced and mismatched, but I think the two halves compliment each other beautifully. A must-see.

Her (2013)

Finally we're onto a film with slightly more happy subject matter. I say slightly as Her will still be tugging at your heart strings. Rom-coms aren't my thing which is why Her surprised me so much. Subverting the genre with a science-fiction twist, Her tells the story of lonely divorcee Theodore Thwombly (Joaquin Phoenix) who falls in love with an operating system voiced by Scarlett Johanson. With much to say about the importance of human connection, Her  is a very underrated film.

Three and Out (2008)

Speaking of underrated, we come to the Indie British black comedy Three and Out. Panned by audiences and critics alike, I must be the only person in the world who would put Three and Out, on a top ten list, but I am. Paul Callow is a train driver/writer who wants nothing more than to leave the hustle-bustle of London and write on an island. When he runs two people over with his train, his colleagues tell him that if he runs over a third person, TFL will pay him off with ten years wages. Ensue hilarity and heartbreak as Paul tries to find his third victim. Mackenzie Crook, Colm Meaney, Imelda Staunton and Gemma Arteton all turn in winning performances. But perhaps this film is an acquired taste.

The Full Monty (1997)

I have never officially reviewed this film as I watched it long before I started this challenge. However, it remains one of my favourite films ever. Having won the Bafta for the best film in 1997, this movie was adored by many. We follow a bunch of former steel workers and layabouts becoming strippers in the hopes of improving their lives. While the premise might sound spurious, the execution is anything but. The Full Monty tackles themes like masculinity, father-son relationships and suicide in powerful ways. Tom Wilkinson and Mark Addy are great in supporting roles, but can we all agree that Robert Carlyle is one of the best actors that Scotland has ever produced?

Snatch (2000)

Out of all these films, Snatch is the one film I could watch over and over again. A fantastic crime-caper, Snatch will have you laughing in the aisles. We see two interlinking narratives: one follows boxing promoter Turkish (Jason Statham) as he navigates the criminal underworld, but we also see every gangster in London trying to get their hands on a rare diamond. Snatch is one of the most quotable films ever with brad Pitt offering his most unlike-Brad Pitt performance ever, as the Gypsy bareknuckle boxer Mickey O'Neil. Bloody hell, does he do that Irish accent well?

The Godfather (1970)

Finally, we have reached my number one film of all time. What can I say about this film which hasn't been said already? Everybody knows Nino Rota's magnificent score, they know Marlon Brando as mafia don Vito Corleone, his son Michael as his reluctant protege, played by Al Pacino. This film reignited Hollywood's fascination with the mafia. At three hours long it is paced brilliantly with every shot pushing forward the narrative. It is not just the best gangster movie of all time, but the best film of all time. After all, it was the subject of my ten-thousand word dissertation. Let's just not talk about the Godfather part three.

Honourable Mentions

I've watched too many great films to not include at least a few honourable mentions. These are all great films in their own right, but not quite good enough to scratch the top ten.

Requiem for a Dream (2000)

Originally RFAD was in my top ten but I demoted it because it's too upsetting to watch again. Amazing for sure, but too heartbreaking for repeat viewings. Charting the self-destruction of four drug addicts in New York, RFAD is the best anti-drug PSA you'll ever see with a killer theme tune and fast-paced editing. Watching this film gave me the best high but with an absolutely awful come down.

The Princess Bride (1987)

This subversion of the traditional fairy-tale still stands up even after thirty years. with so many quotable scenes and iconic characters, the Princess Bride will have you rolling in the aisles and reaching for the tissues. Cary Elwes, Mandy Patinkin, Robin Wright, Andre the Giant...the amazing cast goes on and on. And who can forget one of the most quoted film lines ever: "Hello. My name is Inigo Montoya. You killed my father. Prepare to die."

Mary and Max (2009) 

This Australian stop-motion, claymation dramatic comedy absolutely blew me away. I've never heard of it before, but it was simply fantastic. I've never seen anything like it before or since. Following the unlikely relationship of the two titular characters, this film is pure arthouse. If you're looking for something completely different, a movie with offbeat humour, a unique visual style and the most haunting rendition of Que Sera Sera, Mary and Max is the film for you.

Grave of the Fireflies (1988)

I watched this film once many years ago and it was too upsetting to watch again, hence why there is no review. I've grown up on Studio Ghibli, so one of their films had to make an appearance on this list.  Spirited Away and My Neighbour Totoro were also in the mix, but Grave of the Fireflies is undoubtedly the best. Set in the twilight days of WW2 Japan, we watch a teenage boy and his little sister desperately try to survive the war. When you watch this, make sure you have the tissue box handy.

Untouchable (2011)

This French feel-good comedy drama rounds off my list nicely. I rewatched it the other day and it was still as magical as ever. Following the story of quadraplegic billionare Philippe and his unconventional carer Driss, this film holds a special place in my heart because of my own work as a carer. The anti-climactic ending is the only thing that stops it from going on my top ten.

So there we have it. My top ten films with a few HMs. But with 693 films left to watch, this list is far from being set in stone. Watch this space.

Paths of Glory Review

Number 56 on the top 1000 films of all time is Stanley Kubrick's powerful anti-war film Paths of Glory starring Kirk Douglas.

Paths of Glory is set in WW1 France.  General Mireau-a General Haigesque character, who lacks in any type of military strategy decides that the best way to take a German anthill is to throw waves of men at it.  When machine-gun fire stops their advance and they begin to retreat, General Mireau (George Macready) orders for his own artillery to open fire on them to stop them from retreating.  Thankfully, the artillery commander staunchly refuses to in the first of many acts of bravery.  To disguise his own incompetence, he puts three innocent soldiers on trial for cowardice to disguise his own in competence.  In their trial, their commander Colonel Dax (Kirk Douglas) fights to acquit them of the accusations.

Cowardice is the central theme of this film. Kubrick's exploration of this theme is the key reason why this film works so well.  Paths of Glory engages sensitively with the condition known as Post-Traumatic Stress Disorder or Shellshock.  During WW1, it was not recognised as a medical condition and those soldiers who suffered from it were accused of cowardice.  Some were tried and executed.  Unfortunately, the same thing happens in this film.  When General Mireau inspects the men, one of them breaks down upon realising that he he may never see his wife again.  Mireau immediately demands that this coward be removed from his army.  This was a subtle, but powerful way of engaging with a controversial subject.

Out of all the characters, Colonel Dax is undoubtedly the bravest.  He is most privy to General Mireau's incompetence.  When the three soldiers are on trial for cowardice, Dax fights tooth and nail to have them acquitted, despite the obvious bias of the court.  Douglas' passionate portrayal of Dax contrasted well with Macready's malevolent portrayal of Mireau.  It also showed that in war, there are always heroes and villains on both sides.  One man's good is another man's evil.

The film builds towards a bittersweet conclusion.  Due to the corrupt nature of the court, the three men are sentenced to execution.  Firstly, seeing the three men's reaction their fate was very interesting.  One of them breaks down in tears, another faces it stoically and the third takes his frustration out on the reverend who has come to read them their last rites.  These images are made all of the more powerful, due to how unjust they are.  None of them are cowards.  They just have the misfortune to serve under a general who would rather execute his own men than admit that he is wrong.  And this is exactly what happens.  I was half-expecting some deux ex machina to save all three men, but I'm glad it didn't.  It made their deaths all the more tragic.

The film's most poignant image comes at its ending.  The night before Lax's company are due to go back to the front, they are all gathered in a tavern laughing, drinking and watching a stand-up comedian.  The comedian brings out a pretty German girl leading to heckling, cat-calls and jeering.  For a second, I was scared that the girl would be taken advantage off.  However, what actually happened was far more powerful.  The girl started singing a German ballad and one by one the soldiers start singing with her.  This is the strongest example of the collective identity that soldiers share, as well as the loyalty that have towards each other.

All in all, this is a powerful film that is told succinctly.  It is understated, but heavy-hitting. It engages well with extremely sensitive subjects.  However, most importantly, it explore the separation  that exists between a man's courage and his cowardice.