Archive for Doctor Strangelove

Kubrick Boxes

Posted in FILM with tags , , , , , , , , , , , , , , on April 23, 2019 by dcairns

Mr. George Swine!

When I first handled Michel Ciment’s magisterial Stanley Kubrick, my friend Robert pointed out something unusual about the pictures, which were glossy and coffee-table-suited, but also — “He’s making connections.” I’m not sure a movie book had done that, previously.

(Obviously, I should have connected the fights in THE DAY OF THE FIGHT [where SK proves it’s not a proper documentary by filming the big match flat on his back at the pugilists’ feet], KILLER’S KISS and BARRY LYNDON, and Tom Cruise’s street-crazy palm-punching in EYES WIDE SHUT with Nicholson’s rather more compelling version in THE SHINING, the vehicular love scenes in STRANGELOVE and 2001, etc, etc…)



Posted in FILM with tags , , , , , , , , , , , , , , on April 2, 2019 by dcairns

The opening and closing shot of every Kubrick feature film.


Some of these films seem to be talking to each other.

KILLER’S KISS, which in Kubrick’s own revised filmography stands as his first feature (he suppressed FEAR AND DESIRE, top) is the only film ending with anything so conventional as a clinch, but way down at the end EYES WIDE SHUT ends with Nicole’s four-letter suggestion, thus closing a circle of a kind.

The forested hillsides of FEAR AND DESIRE seem to echo those of THE SHINING but if you’re looking at what the shot’s DOING, the real rhyme is between DR. STRANGELOVE and THE SHINING.

STRANGELOVE to CLOCKWORK ORANGE is the sequence I really stand by.

It’s sometimes hard to know what IS the last shot. BARRY LYNDON earns two images, the last live image and the Epilogue card which is clearly part of the film and makes a nice connection with LOLITA and THE SHINING. Likewise LOLITA gets the last shot of Mason, which loops back to the first scene (Peter Sellers is about to emerge and say “I’m Spartacus” just as we hastily fade out), and its final super-title. THE SHINING’s closing shot I’ve represented with two images because it’s a rostrum move.

SPARTACUS is an outlier — I chose to use the first shot of Saul Bass’s title sequence, because the first shot of the film proper, I believe, is by Anthony Mann before he was fired. And the hand makes a nice rhyme with LOLITA…

A Kubrick Shot

Posted in FILM with tags , , , , , , , , , , on February 22, 2016 by dcairns


Quite late in ONE-EYED JACKS, directed by star Marlon Brando after Stanley Kubrick departed the project, there is an unmistakable Kubrick shot.

We follow Brando, a prisoner, and Karl Malden and Slim Pickens, his captors, into the jailhouse. The party advances towards us then turns to head screen right —


— tracking screen right, the camera passes THROUGH a wall —


— through various cells, following Brando and Malden and Pickens —


— emerging at the the stairs to a tower —


— and as the characters start to climb, the camera begins an ascent also…

Then the shot stops abruptly, cut off by a rather jagged angle change which abandons the phantasmal fluidity — having declared that prison walls can’t hold it back, the camera abruptly gives up the ghost-walk and jerks to a higher angle. Understandable, in a way — Brando is about to kick Pickens downstairs, and this is not the kind of action I, personally, would care to stage repeatedly (or at all!) at the end of a long, complicated camera move. Better make it a single, locked-ff shot and then the only thing that can go wrong is the stunt itself. With luck, you can just do it once and hope “Slim” doesn’t crash through the set wall.

What’s incredibly striking is how Kubrickian the shot is — under the influence of Ophuls, Kubrick was tracking through walls A LOT in THE KILLING, and would do so even more in LOLITA, the project he jumped ship onto immediately after his collaboration with Marlon ceased to seem tenable. (After LOLITA, Kubrick’s camera loses its power to become intangible and pass through solids — I don’t recall any instances of permeation in STRANGELOVE.)

The second striking thing — or maybe this struck me first — is that the shot is totally un-Brando-like. His filming so far ha been decent enough, elegant even, but he hasn’t shown any interest in long, fluid camera movements. Arguably he doesn’t show much interest here either, hacking into the shot as soon as he is decently able — sooner, even.

One would be tempted to assume that Kubrick filmed this sequence before his untimely departure, and maybe Brando chopped it up, contemptuously — but all accounts suggest SK left the film before photography began. What gives?


My best guess is that maybe the set was prepared to Kubrick’s specifications — and it must have looked surreal, all those jail cells with a missing back wall — with a specific shot in mind. In filming there, Brando was certainly tied into one good angle — a long, graceful track-and-crane shot would be the only alternative to a series of choppy entrances and exits. Based on his usual approach, Brando might have preferred to put the camera at one end of the cells and have the characters approach from the far end, and perhaps the incomplete cells made this impractical.

If the whole thing is coincidence, I think it’s an interesting one, a novice filmmaker falling into the style of another director he’s just fired.

Incidentally, many versions of Kubrick’s departure have been told, most of them involving a script meeting and a bell or gong. What story did YOU hear?

Also, incidentally — Kubrick stole Slim Pickens for DR. STRANGELOVE after Peter Sellers wriggled out of playing Colonel Kong. And Slim Pickens and Katy Jurado were stolen by Sam Peckinpah, who had been fired from this project by Kubrick and Brando, when Peckinpah remade the story as PAT GARRETT AND BILLY THE KID.