Kubrick. Kubrick is a behemoth. By every metric it is Hitchcock and Kubrick as #1 and #2. Kubrick has the most top 100 all-time film (5) which I think is as good as any metric to use. If you’re talking volume—he’s behind Hitchcock and maybe Ford or Bergman but on a per film basis, and as a stylist, there’s no one superior to Kubrick. The only non-masterpiece he made from 1964 to 1999 was Full Metal Jacket and even that ended up as my #1 film of 1987 (an admittedly weak year at the top). If boiled down I think the art of cinema is, firstly, about visual beauty and formal rigor and I think you could make a strong case Kubrick is the single best at both.
Best film: 2001: A Space Odyssey. I almost moved it to my #1 slot this year. Yes, it’s beautifully photographed and visually designed, but the gobsmackingly genius formal achievement is what may ultimately put it in my #1 slot.
Total archiveable films: 12
top 100 films: 5 (2001: A Space Odyssey, A Clockwork Orange, The Shining, Paths of Glory, Barry Lyndon)
top 500 films: 8 (2001: A Space Odyssey, A Clockwork Orange, The Shining, Paths of Glory, Barry Lyndon, Eyes Wide Shut, Dr. Strangelove, Full Metal Jacket)
top 100 films of the decade: 8 (2001: A Space Odyssey, A Clockwork Orange, The Shining, Paths of Glory, Barry Lyndon, Eyes Wide Shut, Dr. Strangelove, Full Metal Jacket)
most overrated: Dr. Strangelove is slightly overrated at #48 of all-time on TSPDT but the easy choice here is Lolita which TSPDT puts at #721 of all-time. If I expanded my top 500 to 1000 I still wouldn’t get to Lolita. I haven’t seen it in ages so I hope I’m wrong, but I actually thought, visually, it was a clear step back from Paths of Glory (that’s no insult) and Spartacus.
most underrated: Paths of Glory #243 all-time on TSPDT and I’m nearly 200 slots higher on it. Kubrick is telling a story with the tracking shots (both in the trenches and in the officer’s chateau) and with the detailed mise-en-scene rich in their individual beauty and formal juxtaposition. It’s a stylistic and formal theme through is work.
gem I want to spotlight: The Shining uses the technological innovation (the Steadicam) to continue the brilliance he started in the 50’s with Paths of Glory. The house is a set-piece, one of cinema’s greatest, and Kubrick leaves no detail in the mise-en-scene unturned. He’s even more obsessed with symmetry (those hallways!) here than his previous (already crazy rigorous) works. The use of color is up there with the best work in the decade. The tracking shot of Jack going into the ballroom…sublime…
stylistic innovations/traits: Like Hitchcock there is just too much to choose from. Experts and cinema lovers could (and have) put together supercuts highlighting his use obsessively composed mise-en-scene, consistent themes in his films, use of music, etc. He may be the greatest technician in the history of cinema and is perhaps cinema’s greatest overall perfectionist. And how about “event cinema”? Every Kubrick movie from 1968 to 1999 was an event. Broken out there’s Steadicam/tracking work (Paths of Glory, 2001, The Shining, opening of Full Metal Jacket). Steadicam/tracking. Barry Lyndon may be the pinnacle of cinematic natural lighting, costume décor. Rigor—both formal and visual along with symmetry in set design. From a narrative and thematic standpoint there’s a profound emptiness or coldness in Kubrick’s world- whether it be in war, marriage, space, family, or the future.
top 10
- 2001: A Space Odyssey
- A Clockwork Orange
- The Shining
- Paths of Glory
- Barry Lyndon
- Eyes Wide Shut
- Dr. Strangelove
- Full Metal Jacket
- The Killing
- Spartacus
By year and grades
| 1955- Killer’s Kiss | R |
| 1956- The Killing | HR |
| 1957- Paths of Glory | MP |
| 1960- Spartacus | HR |
| 1962- Lolita | R |
| 1964- Dr. Strangelove | MP |
| 1968- 2001: A Space Odyssey | MP |
| 1971- A Clockwork Orange | MP |
| 1975- Barry Lyndon | MP |
| 1980- The Shining | MP |
| 1987- Full Metal Jacket | MS |
| 1999- Eyes Wide Shut | MP |
*MP is Masterpiece- top 1-3 quality of the year film
MS is Must-see- top 5-6 quality of the year film
HR is Highly Recommend- top 10 quality of the year film
R is Recommend- outside the top 10 of the year quality film but still in the archives
The debauchery, degeneracy, hypocrisy, ennui, and the deceiving nature of high societies and authorities is a constant theme in Kubrick’s movies.
“A film is – or should be – more like music than like fiction. It should be a progression of moods and feelings. The theme, what’s behind the emotion, the meaning, all that comes later.“
A shame Kubrick abandoned his own principles in the last section of Eyes Wide Shut. It’s all tell and not show. There’s a tendency for Directors to get preachy late into their careers. Not only Kubrick here but also Martin Scorsese in Killers of the Flower Moon with his radio station disaster and rather embarrassingly Fracis Ford Coppola throughout Megalopolis. Although this film has a lot more problems than just dialogue and writing. Some truly terrible VFX and CGI at times. And it’s no surprise to learn the whole VFX crew was fired mid way through the production.
@Malith – Imagine if Heaven’s Gate ended the same way as Killers of the Flower Moon. These films have a similar premise.
@Harry- I see a connection with The Irishman. The protagonist is someone who takes orders from others.
@Harry- I hadn’t thought of it before. But you make a good point with the Heaven’s Gate comparison. I love the ending in Heaven’s Gate. Killers of the Flower Moon was a bit of a disappointment to me given the lofty expectations. I didn’t feel this film earned the runtime it had like The Irishman which was pretty damn perfect outside of some minor deaging issues and that regrettable grocery store scene. I also love these rural community based films. The River (1984) is another.
Stanley Kubrick films I have seen ranked:
1. 2001: A Space Odyssey (1968) – MP
2. The Shining (1980) – MP
3. A Clockwork Orange (1971) – MP
4. Barry Lyndon (1975) – MP
5. Eyes Wide Shut (1999) – MS/MP
I saw The Shining (1980) in IMAX. It was an incredible experience and my first time going to an IMAX of a classic re-release. The opening sequence along the mountainside, the use of Steadicam when Danny rides through the hallways, and of course the final chase scene through the maze are all amplified by the massive screen. The score is amplified as well of course, especially the stereo reverb and echoes. I have seen the film at least 20 times before and yet the IMAX takes it to another level. It is utterly mesmerizing
@James Trapp- love this good for you and thanks for sharing back here
@Drake- The pages for Relic (2020) and The Go-Between (1971) are not working.
@Drake – While it does not change the overall quality, I do think IMAX enhances the cinematic elements of film. Have you seen any of your top 100 films in IMAX? This was the first for me but I hope to see more. Apparently 2001 A Space Odyssey (1968) had an IMAX in 2018
Question for anyone who wants to chime in:
If you had a 5 film wish list for an IMAX experience?
@JamesTrapp-
Lawrence of Arabia
2001: A Space Odyssey
Blade Runner
Ran
Heat
@AP – I considered Heat, the sound design during the Los Angeles Bank shootout would be insane
Blade Runner is a great pick as well, incredible world building
IMAX
Lawrence of Arabia
Apocalypse Now
Aguirre, the Wrath of God
2001 Space Odyssey
Seven Samurai
@James Trapp- not all Imax- but I’ve had some nice big format IMAX or 65/70mm experiences- 2001, Lawrence of Arabia… I saw Apocalypse Now Redux in theater, Heat I saw in theater
@James Trapp- In my recent viewing of The Shining I noticed that in both 2001: A Space Odyssey (3rd section) and The Shining the narrative involves 3 people in an isolated environment for an extended time and one of them begins to mulfunction.
@Drake – Who in the current generation of directors is Kubrick’s successor in your opinion?
Final Ranking and Grades:
MP
# 1 Barry Lyndon (1975)
# 2 2001: A Space Odyssey (1968)
# 3 The Shining (1980)
# 4 A Clockwork Orange (1971)
# 5 Eyes Wide Shut (1999)
# 6 Paths of Glory (1957)
# 7 Doctor Strangelove (1964)
# 8 Full Metal Jacket (1987)
HR/MS
# 9 The Killing (1956)
HR
# 10 Spartacus (1960)
R/HR
# 11 The Killer’s Kiss (1955)
R
# 12 Lolita (1962)
@James Trapp-Doesn’t Ingmar Bergman have 8 masterpieces?(The Seventh Seal, The Virgin Spring, The Silence, Winter Light, Cries and Whispers, Autumn Sonata, Fanny and Alexander). I expect him to get the #1 spot in a new update. His depth is incredible as well. Only Hitchcock and maybe Scorsese can compare
@Malith – I have not got to him yet. I am saying that out of the Director Studies I have done only Scorese matches Kubrick in terms of MP. Kurosawa is not far behind with 7
You actually only listed 7 Bergman films but I am assuming you meant to add Persona. Of those 8 films I have seen 5 of them: Persona, The Seventh Seal, The Virgin Spring, Winter Light, and Cries and Whispers
@James-Ah. Persona should be there too. But you do have a good point for Kubrick being the best of all time. Although Bergman’s case seems stronger with much more depth and similar or more masterpieces. What are you going to do next after Kubrick? Joseph Losey?
Maybe I am wrong. But doesn’t Scorsese have like only 5/6 MP. That’s the same as someone like Polanski
@Malith – I do think I am going to do Losey next, I have found enough of his films for a Study.
Regarding Scorsese I think these 8 films are MPs and in this order:
# 1 Raging Bull (1980)
# 2 Goodfellas (1990)
# 3 Taxi Driver (1976)
# 4 Casino (1995)
# 5 The Irishman (2019)
# 6 The Departed (2006)
# 7 Mean Streets (1973)
# 8 Age of Innocence (1993)
This site has ranks The Irishman as a MS, Casino as borderline MP, and The Departed as a borderline MP. So only 5 straight MP but The Departed page says leaning MP so depending on how you want to view a borderline MP. Essentially this site has 7 MP level films for Scorsese and I have 8 so I don’t think it is a huge difference.
@James-You are ranking The Age of Innocence too low imo. It is a very polished film unlike say Mean Streets
@James – Age of Innocence at #8 is crazy, it holds so much more cinematic brilliance than the three films you hold above it.
@Malith@Harry – perhaps you two are correct. Scorsese’s top 3 is clear to me, the order does not really matter as all 3 are so great there is not really a wrong answer. I would stand firm on Casino at # 4, I view it as much closer to Goodfellas than the general consensus.
I do not think there is much of a gap between # 5 and # 8. I have not watched Age of Innocence nearly as many times as the 3 above so rewatches may boost it above. But for now I am okay with the order. Excited to revisit in the future
# 5 The Irishman (2019)
# 6 The Departed (2006)
# 7 Mean Streets (1973)
# 8 Age of Innocence (1993)
@James Trapp- Congrats on the Kubrick study- keep up the fantastic work
@Drake – thank you, I just hope I did the man justice
Study Summary:
Stanley Kubrick is The GOAT in my estimation although Scorsese is my personal favorite and has a GOAT case himself. There are several other auteurs who have arguments but for me its Kubrick and I have felt this way for years, so this is not just a case of recency bias
From a stylistic standpoint Kubrick’s arsenal is endless. There are the tracking shots in Paths of Glory (1957), the Steadicam in The Shining (1980), zooms in Barry Lyndon (1975), slow motion shots in A Clockwork Orange, montage in opening of Full Metal Jacket (1987)
I love this Kubrick Quote:
“When you think of the greatest moments of film, I think you are almost always involved with images rather than scenes, and certainly never dialogue. The thing a film does best is to use pictures with music and I think these are the moments you remember. Another thing is the way an actor did something: the way Emil Jannings took out his handkerchief and blew his nose in The Blue Angel, or those marvelous slow turns that Nikolai Cherkassov did in Ivan the Terrible.”
Say Clockwork Orange and I think of that incredible opening shot of the Droogs hanging at the Korona Milk Bar. Say The Shining and I think of Nicholson’s face in close up in the “here’s Johnny” scene. Eyes Wide Shut I think of the shot of Cruise inside the mansion being summoned by Red Cloak. There are so many incredible shots throughout the filmography, I could go on and on here. In fact, I cannot really remember much of the dialogue from some of his best films like Barry Lyndon but there are countless images that pop in my head at the mere mention of the film
Kubrick’s best work has infinite rewatch value as they are endlessly fascinating works of art that remain thoroughly analyzed and debated to this very day. I love the following Kubrick quote regarding the ending of 2001: “How could we possibly appreciate the Mona Lisa if Leonardo had written at the bottom of the canvas: ‘The lady is smiling because she is hiding a secret from her lover.’ This would shackle the viewer to reality, and I don’t want this to happen to 2001”. In particular 2001: A Space Odyssey, The Shining, and Eyes Wide Shut are 3 of the most fascinating films as far as potential interpretations/readings go
It’s possible even likely that Kubrick has the greatest horror film ever with The Shining; the best science fiction film with 2001: A Space Odyssey; the best satire with Doctor Strangelove; the best period drama with Barry Lyndon. He never made the same film twice but still retains his authorship throughout his filmography (excluding some of his earlier films where he did not have total artistic control). Furthermore, Kubrick also does not seem to have any clear influences, or at least nothing that really jumps outs. When 2001: A Space Odyssey (1968) was released it was so unlike any other film that had ever been made that many people had absolutely no idea what to make of it. A Clockwork Orange (1971) may not have been quite as experimental as 2001 but it also blew people’s minds whether they were appalled, intrigued, loved it or hated it
Kubrick’s films are stunningly beautiful. He uses color just as well as almost anyone. Think of the green and red Christmas lights throughout Eyes Wide Shut or the kaleidoscope of color near the end of 2001, or even the bathrooms in The Shining. Along with the use of color is the incredible symmetry. His films contain shots with surgical like precision such as Danny riding through the halls in The Shining or take your pick from about 100 shots from 2001
The music Kubrick uses perfectly matches up with the imagery of his films although 2001 is an exception. Roger Ebert said the following regarding Kubrick’s use of classical music in 2001: “North’s score, which is available on a recording, is a good job of film composition, but would have been wrong for “2001″ because, like all scores, it attempts to underline the action — to give us emotional cues. The classical music chosen by Kubrick exists outside the action. It uplifts. It wants to be sublime; it brings a seriousness and transcendence to the visuals” Beyond 2001, Kubrick’s use of music is phenomenal. The haunting music used in the opening of A Clockwork Orange could not be a more perfect match with the utterly bizarre image of Alex and his fellow Droogs at the Korona Milk Bar. Same with the ominous music during the opening credits for The Shining as you have the sweeping helicopter shots slowly tracking the car driving through the treacherous highway along the mountain.
The set pieces are incredible with the Fictional Overlook Hotel from The Shining, the Mansion from Eyes Wide Shut, the War Room from Doctor Strangelove, and the Spacecraft Discovery One from 2001.
Kubrick has a whopping 8 MP. Of all my studies so far only, Scorsese can match this total.
Kubrick has 4 of the 50 best films ever in my opinion with Barry Lyndon (1975), 2001: A Space Odyssey (1968), The Shining (1980), and A Clockwork Orange (1971). Eyes Wide Shut (1999) and Paths of Glory (1957) are arguably all time top 100 films. Picking between 2001 and Barry Lyndon for the # 1 spot was difficult and I do not think you can really go wrong, but I went with Barry Lyndon by the smallest of margins. The Shining at # 3 is the greatest horror film ever in my opinion and possibly the only true “epic horror film”. Of contemporary auteurs perhaps Ari Aster is the most likely to pull off something similar. I don’t think The Shining is really even that far behind the top 2. A Clockwork Orange may not be quite as shocking as it once was (though still highly disturbing) but its overall quality has not dropped one iota and I have Kubrick’s best 4 films as top 50 of all time
Even some of his earlier films impressed me more than I expected such as A Killer’s Kiss (1955) which is obviously a very minor work for Kubrick. Unlike say Welles, Truffaut, or Tarkovsky it took Kubrick several films before he made a Masterpiece but once he hit his stride there was no going back
I like Barry Lyndon over 2001. My observation on here has been that the latter is number one of all-time for most participants. I think BL is more consistent cinematically, some bits of 2001 kind of get stale (the talking with his daughter, the talking in their meeting, other such moments).
And I like the shout out for Killer’s Kiss, I was pleasantly surprised as well. It’s underrated. Fear and Desire OTOH is as bad as its reputation lol.
@Vaanilla – There really is not a wrong answer. I agree Barry Lyndon is more consistent although I am not sure there is anything quite like the “Stargate Sequence” from 2001 which is about as thrilling a cinematic experience as I have ever had.
Yeah, I have no intention of ever watching Fear and Desire. Some people will watch it just for the sake of being a completist which I get, but I do not mind skipping a film due to negative reviews and/or negative reputation amongst Cinephiles.
@Vaanila-Saying talking with his daughter is a quiet moment in 2001 is pretty silly. It is precisely the point and a clear companion with the latter scene of one of the astronauts talking to his family on his birthday.
How about the lady in the bathtub scene in Barry Lyndon? I didn’t see visual beauty there. Also the one off weird use of a freeze frame on Ryan O’ Neal’s butt when he is climbing the carriage at the end is pretty weak. But Barry Lyndon is probably more rigorous formally with the constant use of zoom in/zoom out.
I don’t care that it’s the point. It’s flat. You can do quiet and more visually interesting. There’s no serious effort of mise-en-scene there, just a moving planet wallpaper in the window and it goes for minutes, it’s a scene and not a throwaway frame, with dull dialogue on top. That’s the standard you get when you’re put up among GOAT candidates against Kane and Joan where no frame or transition is wasted. And yes, the BL bathtub scene is a painting like pretty much everything else. The lighting alone bodies the daughter Skype scene, and there’s a blocking effort in the composition with the maids. It’s also more significant on the narrative side. And it also features a use of the zoom to tie into the larger form.
@Vaanila-I haven’t studied every frame of these two films closely. But the talking with his child is not by any means a throwaway scene. It is connected. Odd to bring that up. Disturbing or cold is precisely the point of that scene. How can you do that by having bright colours or moving the camera?
2001 is rigorously structured. It’s certainly more unique than Barry Lyndon is. And there is nothing in Barry Lyndon that touches the terminating of HAL sequence or even the song with the waitress having zero gravity and the stunning 360 degree shot when she enters the pilot room
Eyes Wide Shut (1999)
Notes:
Starts off with Tom Cruise as Doctor Bill Hartford and Nicole Kidman as his wife Alice Hartford (they were married in real life during this time)
2:30 Christmas Tree in background
3:30 orange lit room
4 min immaculately lit house at Victor Ziegler’s Christmas party, glowing orange in well-lit room with Christmas lights in background, the Jazz music and piano create a relaxing environment
7:30 handsome, smooth man hits on Alice, his smoothness is comedic exaggeration
9:10 Christmas lighting in background with orange lighting in foreground
11:38 Bill walking with 2 beautiful young women, one on each side, who are hitting on him
12:56 gorgeous shot of staircase that Bill ascends followed by quick cut to Ziegler with hooker who overdosed in a room at Ziegler’s while the rest of the party is happening
19:58 rare use of pop song in Kubrick film
21 min Bill back at work is crosscut with shots of naked Nicole Kidman changing clothes
26:37 blue lit background noticeable contrast with orange lighting in frame
34:40 for those who don’t think Cruise can act, his face listening to Alice’s story about fantasizing about the random sailor is incredible, I like Kubrick holding shot on Bill’s puzzled face
38:35 tracking shot through hallway
46:21 Christmas lights in frame in addition to other uses of green and red
51:24 great two-shot with double profile shot with close up on faces
52:25 even the prostitute’s room has Christmas lights
55:14 beautiful shot of exterior of Jazz Club where Bill’s friend
55:41 beautiful use of red lighting
56:17 stunning use of neon lighting inside Jazz club
57:38 soft focus consistent with dream like nature of film
1:03:32 Bill loves showing his card verifying that he is a doctor
1:05:13 frame in frame with red and blue in background
1:11:36 shot of the exterior of the Mansion, blue lighting with orange lighting from interior
1:12:52 Inside the mansion a secret society with people wearing venetian masks and black robes
1:14:08 Man in center dressed in red and conducting some type of ritual while everyone else in black, a circle of women remove their robes
1:18:16 tracking shot of naked woman in mask advising Bill to leave
1:20:12 series of dissolves and montages of sex throughout the mansion
1:24:50 montage of Bill stared at by masked individuals has sinister undertone
1:26:50 Bill forced to remove mask in front of everyone in Mansion
1:27:52 high angle shot from perspective of woman on balcony
1:31:54 Bill returns home in early morning, blue tinted frame with orange lighting contrast
1:32:15 blue lighting contrasted with orange lighting in background
1:39:23 green and red throughout mise en scene
1:49:21 haunting piano music as Bill retraces footsteps looking for Nick
1:54:26 slow pan across apartment, followed by Bill again imagining his wife with the sailor
2:02:40 haunting piano music as Bill walks the streets of NYC at night while realizing he is being followed by a man
2:07:54 sterile hospital noticeable contrast from much of the rest of the film
2:11:44 Ziegler’s house again, green lights above the red pool table
2:13:15 Ziegler and Bill shown on screen one at a time isolated in the frame throughout their conversation which is cryptic much of the time
2:17:54 great shot with Ziegler and Bill diagonally opposites in the frame with pool table in the middle and (presumably) expensive paintings throughout the room
2:25:02 Bill at end of journey turns off Christmas tree lights inside his home
2:26:23 Venetian mask on bed in his home, leads to emotional breakdown from Bill
Thoughts:
Kubrick’s final film, sadly he passed before its official release date though at least he was able to finish it. It is a mesmerizing film and certainly a great film to go out on
The production design, costume work, lighting, and music create a fascinating and beautiful film that is unlike any other that I have seen. It does not fit neatly into any one particular genre and is not confined by plot.
The Christmas Party at Ziegler’s has a dream like vibe between the piano and orange lighting with shallow focus. The Christmas lighting in the scene with Cruise’s Bill at the Jazz Club is perhaps even more spectacular. There is red and green in the mise en scene throughout the film even beyond Christmas lights
Stanley Kubrick is known for his technical brilliance of course but his understanding of human nature is fascinating, here he is examining human sexuality, wealth, and power. The Christmas party scene can be read as a sort of façade as the immaculate beauty of Victor Ziegler’s house during the party feels like a fantasy as every aspect feels so carefully designed, including the overly formal way people talk at events like this, especially when they greet each other. This surface level behavior is contrasted with Ziegler acting out his more primal desires as shown shortly after in a scene in which he is showed taking hard drugs and having sex with a young woman who overdoses
The Mansion where the secret society sex party is an incredible set piece with the choreography, use of color, costume work, etc. It serves as a stark contrast to the Christmas party at Ziegler’s given that you have people acting out on their primal sexual desires without having to deal with all the formal politeness and small talk. The actual amount of screentime inside the Mansion is probably about 15/20 minutes of a 160 minute film which is actually a positive as they maximize the intrigue
Kubrick makes use of cross cutting in several of the earlier scenes such as Dr Bill checking the breasts of attractive women at work and Alice changing in front of mirror. There are many images of naked females in this film but in very different contexts, not all are meant to be erotic
Cruise is excellent as always, same for Nicole Kidman; they were actually married in real life during the making of this film and divorced not long after. It is speculated that Kubrick’s demanding perfectionist attitude and the long shooting process played a major role in this. Sydney Pollack is excellent in his brief screentime as a master of the universe type with his wealth and connections to powerful people. He has a subtle menace to him even, so he seems to genuinely like Doctor Bill. The way he moves the pool stick in the scene near the end reminds me of the physical movements of the man in red at the Mansion who was performing a bizarre ritual
This film is ostensibly about sex/relationships and those are key themes, but it is just as much about power. Kubrick takes what could be categorized as a satirical view of this particular subject. Kubrick’s low opinion of mankind is on full display with callous individuals like Ziegler who despite being charming at times, have little respect for most of the people around them. The death of young woman is struggled off as a minor concern so long as powerful people can remove themselves from any blame, whether that is legal, moral, or both
There is not much traditional comedy like much of Dr Strangelove but some more subtle humor; I love the way Cruise’s Bill always brings up that he is a doctor even in situations where it is completely irrelevant or the smooth talking seducer that dances with Nicole Kidman’s character, he is practically a caricature
Extremely minor complaint but I did not love the last minute and final line. It seemed like an attempt for some type of closure in an otherwise ambiguous film that produces more questions than answers
Verdict: MP
Great work. I recently saw 2001: A Space Odyssey and The Shining and noticed two very similar shots/sequences. First is the very low camera placement looking up shot when Jack is trying to open the kitchen door in The Shining and when Keir Dullea is trying to open the machine room to disable HAL in 2001. Also the bizzare eyes up expression on Jack’s face in The Shining at the end is eerily similar to Keir Dullea’s expression in the final section of 2001 when he is travelling through time and space and lands in a futuristic world.
@Malith – thank you, some similarities for sure, just checked them out. There are similar shots I have noticed throughout this Study but I really do love some of his low angle close ups like this one from Full Metal Jacket
https://film-grab.com/2010/07/10/full-metal-jacket/#bwg874/53935
@James
I think the final line fits very well, it’s only fitting that his last film goes out on his trademark nihilistic worldview with that acid line. That couple has no hope. They’re keeping their eyes shut per the title, the actual problems are still unaddressed and in the air. I don’t see closure.
The film is rather faithful to the source material of Schnitzler, but it actually changes the happy ending and closure for this murky but very likely doomed resolution. It’s perfectly Kubrickian.
@Vaanilla – I suppose you could say its more of a “life goes on” ending. But it seems to imply that their marriage is safe and intact even with Kidman’s Alice saying she doesn’t like the word “forever”. Cruise’s character goes through this odyssey without a clear goal or purpose, or at least not one that’s easy to summarize with a single word or sentence. From a plot standpoint nothing is reconciled in regards to the fates of several of the characters. The ending and final line does not seem nihilistic to me, particularly the mood which is almost jovial
Kubrick is deconstructing sex as a tool of power between people and attacking bourgeois values and illusions of morality, faithfulness and civility, there’s nothing safe or intact about the relationship. Cruise goes on a night rampage where he comes close to cheat several times, and may or may not have put his family in danger, in reaction to the simple fact of learning that women have sexual fantasies and being taunted on it by his high on weed wife. She has fantasies of seeing him ridiculed on his manhood on another occasion and can’t even keep it for herself. The “we need to fuck” rings hollow and shallow. I don’t see the interpretation for a safe and intact marriage. It’s a bullshit band-aid to not address the broken trust. The not liking the word “forever” is just another hint at not having conviction in the durability of the union, and of a desire for freedom and an escape route.
I mean it’s Kubrick, Occam razor applies. His view of humans and their social comedy is reoccurring throughout his total body of work. There’s a lot of Belle de Jour and La Notte in EWS, it’s pessimistic.
@Vaanilla – “nothing safe or intact about the relationship”
I think it is probably safe on a surface level. In a scene early in the film, the Ziegler character and his wife were warmly greeting guests at the Christmas Party they were hosting, then about 10 minutes later Ziegler is in a room where a prostitute has OD’d. I am not saying that is going to be Bill and Alice’s future as Bill seems to be very different from Ziegler.
Bill is naive in a charming sort of way. His odyssey is not really based on his urge to have sex at that moment. He is not upset, angry, or dissatisfied with his marriage. I don’t even think he is really jealous per se (as many reviews label him). What sets him off is that one of his life long assumptions has been directly challenged and he is not sure how to deal with it. I do like that the film never really makes clear exactly what Cruise’s Bill is looking for. Perhaps he is trying to test or confirm his initial assumption.
Full Metal Jacket (1987)
Notes:
1st Half
Opening credits with montage of young men joining the Marines getting haircuts
Starts off with a tracking shot of the profane and intimidating drill instructor Sergeant Hartman circling the room where the young men getting haircuts now stand. Sergeant Hartman is played by R. Lee Ermey who at the time was not a professional actor. He also happens to be hilarious turning insults into an art form
2:28 I don’t look down on “a bunch of racial slurs” you are all equally worthless
3:13 symmetry of hall and great blocking
3:14 Hilarious John Wayne joke leading to his new nickname “Private Joker”
4:07 slightly low angle close up on angry Hartman
5:52 Leonard introduced and shortly after given the nickname “Gomer Pyle”
8:26 gorgeous orange silhouette during sunset
10:20 great tracking shot as Hartman moves through barracks
11:05 great composition of the recruits lying in bed with their rifles repeating a hilarious mantra comparing the rifle to women, sex and violence are of course interlinked
12:47 reverse tracking shot of rifle march
17:23 slow motion highlighting Pyle’s struggles
18:23 Joker claims he does not believe in the Virgin Mary after yells at him but Joker smartly does not change his answer which impresses
18:48 pan upward capturing activity throughout the frame in a way that is similar but not exactly the same as the zoom outs Kubrick uses throughout Barry Lyndon (1975)
22:06 zoom out at rifle range from targets to a shot of the entire field
22:53 split diopter shot…I believe
23:55 slow zoom in as Hartman
24:24 great blocking/framing
28:24 abrupt change in look and audio as we go from open field in daytime to disquieting score in night scene with an intense blue lighting filling the frame leading to Leonard being assaulted by every member of the platoon including a reluctant Private Joker via socks filled with soap bars, apparently this is referred to as a “Blanket Party”
30:52 slow zoom in on Leonard’s face with noticeable difference following the night assault
32:23 another slow zoom shot on Leonard’s face which is becoming increasingly disturbing
32:36 reverse tracking shot of Hartman walking up and down hall
36:16 Pyle is shown to be skilled with a sniper rifle
36:23 excellent blocking
37:44 reverse tracking shot followed by dissolve edit
38:25 triangle composition
39:54 close up on the crazy looking face of Pyle followed by immediate cut to blue lit night with same eerie music and overall look with earlier “Blanket Party”
41:18 Joker walks in on Pyle sitting with crazed look on his face and rifle
43:37 Pyle and Hartman with standoff which then turns into a slow motion shooting and killing of Hartman followed by Leonard’s suicide via rifle to the mouth ends the 1st half
2nd Half
Starts in Vietnam with Joker and “Rafterman” hanging on street corner, both working for newspaper Stars and Stripes (newspaper)
48:17 dissolve and tracking shot
52:33 beautiful shot at night
56:08 combat for the first time
57:58 low angle shot from Joker’s perspective looking up at superior
59:00 helicopter shot
1:03:10 nice dissolve to Joker’s “Born to Kill” on helmet and a zoom out as camera pans over a row of dead bodies
1:05:09 Joker’s intelligent insights fall on the deaf ears of his moronic superior
1:06:19 great frame in frames
1:07:50 stare down with bizarre insults
1:11:36 wide angle shot during combat
1:18:00 montage of low angle shots with characters shown isolated in frame
1:21:00 tv interview montage
1:27:00 march through the ruins consisting of bombed buildings, smoke, fires, de
1:31:28 slow pan up to high angle POV from enemy with weapon in foreground
1:34:34 zoom in followed by slow motion
1:41:58 “let’s go get some payback” orange tinted frame
1:43:13 orange tinted frame from fire during payback/revenge sequence
1:46:10 overhead shot of enemy sniper barely alive and begging for a mercy kill leading to debate
1:51:17 silhouette images marching through destroyed villages with fires burning all around
Thoughts:
There is a joke that this is a “half-masterpiece” with the first half being a Masterpiece and the 2nd half being something other than a Masterpiece. Obviously this is an oversimplification but there is certainly an element of truth here although the 2nd half is stronger than I previously thought
The close up shots are essential early on giving full weight to the intimidating nature of the Hartman, some impressive blocking and framing. The frames early on are filled to the brim or close to it creating an intimate dynamic which is fitting given the conformity of the marines. It seems fitting that Kubrick shoots in 1.33:1 aspect ratio but the theatrical release altered to 1.85 to 1
There are some great performances here but undoubtedly the # 1 has to be R. Lee Ermey’s profane and intimidating drill instructor Sergeant Hartman. It is a truly hilarious performances as he lobs insults as easily as he breathes…His performance here would be a great double-billing with J.K. Simmons in Whiplash (2014). They both launch insults as easily as they breathe although the Simmons character is more manipulative whereas Hartman is relatively straightforward in his goals
It’s a disturbing sequence but I really love the look of the “Blanket Party” scene where everyone hits Leonard as there is an abrupt change in look and audio as we go from open field in daytime to disquieting score in night scene with an intense blue lighting filling the frame leading to Leonard being assaulted by every member of the platoon including a reluctant Private Joker via socks filled with soap bars, apparently this is referred to as a “Blanket Party”
There is plenty of humor despite the grim subject matter, I love how Joker’s intelligent “duality of man” is completely misinterpreted by one of his superiors or Joker with the John Wayne jokes or Joker with the “I wanted to be the first kid on my block with a confirmed kill”. I guess it makes sense that Private Joker provides the best laughs
One complaint I had in the past was in regard to the drastically different 1st and 2nd halves. They almost felt like two separate films. This remains true to a degree, but it did not bother me nearly as much as prior viewings. This is largely due to the fact that the 2nd half still maintains the films focus on the experience of the young men in Vietnam from a group perspective
Some great montages starting with the opening sequence of marine recruits getting haircuts. The TV interviews in the 2nd half use a montage of soldiers speaking their mind as they are shown one at a time isolated in frame. There is great camera movement through the film especially in the first half that captures the energy of R. Lee Ermey’s masterful performance
There are many great Vietnam films but there are 4 that seem to really stand out for me. Apocalypse Now (1979) had an allegorical nature focusing on the madness of War. Deer Hunter (1978) focuses on a trio of young men before, during, and after the War and the impact to the town/community they grew up in. Platoon (1986) puts you in the shoes of those serving and the terrifying nature of actually being in the Jungle and the intense paranoia of that experience. Full Metal Jacket (1987) contains some of the male bonding present in Platoon although Platoon is a bit more plot oriented. It is not a Vietnam film but Children of Men (2006) crossed my mind during the final 20 minutes as they march through a bombed out city in ruins
There are some gorgeous orange silhouette images during sunset early in the film. Orange is used powerfully in the last 10 min with orange tinted frame from fire during payback/revenge sequence.
A minor complaint related to form is the occasion narration from Joker, it is used sporadically. I think it should be dropped altogether or used more consistently
The Mickey Mouse March to end the film is bold but consistent with the way the film juxtaposes violence with humor as throughout the film we are reminded just how young most of these men are via their juvenile jokes and taunting one another
Verdict: MP
“All work and no play makes Jack a dull boy”
Emerald Fennell seemed inspired by this for the similar maze sequences with tracking shots in Saltburn
@Malith – amazing how terrifying Kubrick can make words on a typewriter
Interesting point on Saltburn, had not noticed it but definitely will do another viewing in near future. What do you think about Emerald Fennell making a horror film? She’s clearly interested in exploring some dark subject matter
There are elements of horror in Saltburn for sure. Especially the maze sequences. One thing I noticed in Saltburn was this seemed heavily inspired by Fennel’s real life. Setting it in 2006 means the age she went to Oxford like our main characters. The film only has minor flaws but some of the music drops are way too on the nose. There is one when Keoghan enters a wheat field naked.
The Shining (1980)
Notes:
Starts off with overhead shot of car driving through mountain side highway accompanied by eerie music setting the films dark mood
2:50 overhead shot of the Fictional Overlook Hotel in Colorado
Jack Nicholson as Jack Torrence, a family man with a wife and 5 year old son Danny
7 min Jack doing Jack Nicholson during interview with the face tics already starting up
11:49 audio cue followed by Danny seeing horrific images of waves of blood moving in the hotel lobby and twin girls who are probably about 7 year old
17 min backstory on Jack indicates he has history of alcohol issue
17:50 overhead shot of car, repeat from opening of the film only now Jack is with wife and kid
19:30 dissolve edit from fog filled road to low angle shot of the Overlook Hotel complete with haunting score
20:30 tracking shot through lounge showing how massive it is
21:52 twin girls appear after audio cue heard by Danny
24:40 Dick Halloran the chef makes appearance
27:48 audio cues as camera zooms in on Danny with Dick Halloran speaking to him via telepathy
Tracking shot of Wendy pushing cart through empty halls
29:48 title reference, “shining” refers to telepathy
34:17 camera set near ground level capturing full shot of Overlook
34:44 tracking shots from behind Danny riding in his tricycle through the empty halls
36 min Kubrick use mirrors to frame shots
36:46 Jack throws in little hints of building anger
38:42 tracking shot of Wendy and Danny walking through the maze with eerie score
39:47 slow zoom from Jack’s POV over the miniature maze which segues into the real one
43:40 immaculate wide angle shot; Kubrick holds composition as Wendy approaches Jack
44:55 Jack already has descended into state of extreme anger
46:33 slow zoom on face of crazed Jack
47:02 surveillance angle shot of Jack typing
49:45 twin girls shot reverse shot followed by horrific images of the murdered twins with a bloody axe lying in the hallway
53:26 triangle composition with Jack, Danny, and Jack’s reflection in mirror
57:08 museum quality shot of exterior of hotel
58:24 POV shot from Danny entering Room 237
1:02:49 dissolve to Jack walking through hallway in anger
1:04:40 bright white lights in background upon the 1st time Lloyd the Bar Tender is on screen
1:11:14 slow zoom on horrified face of Dick Halloran followed by shot of horrified look on Danny’s face, the camera movements and thumping score is done perfectly
1:15:25 horrifying image of naked old woman walking at Jack
1:22:30 orange lighting in beautiful shot of Jack walking through corridor to The Ballroom
1:25:35 Kubrick can make even bathrooms beautiful
1:29:30 Grady displays blunt racism and later malice in a cryptic conversation with Jack
1:32:31 “redrum”
1:35:39 slow zoom out
1:26:47 immaculate symmetrical composition
1:42:56 low angle shot of Wendy looking over Jack’s work “all work and no play makes Jack a dull boy” on page after page of typewriter
1:43:55 camera pans from Wendy standing over typewriter to Jack over the shoulder POV shot
1:48:18 famous staircase scene that took 127 takes
1:49:13 slight orange/red glare on Jack’s face during staircase scene that I had not noticed before
1:54:06 slow zoom in as Wendy realizes snow machine is not working and she is trapped at hotel
2:00:28 REDRUM
2:04:00 ax scene
2:04:23 “here’s Johnny” with close up on Jack’s face, this is one of most memorable visuals
2:06:58 Jack limping through hallways with shoulders slumped while carrying ax leading to one of the films few jump scares
2:11:30 tracking shot in chase through the maze
2:12:40 quick zoom on Holloran followed by Wendy frightfully running through Hotel and witnessing numerous disturbing images
2:13:30 camera tracking Jack in foreground running though maze
2:14:58 blood elevator shot repeated
Thoughts:
Kubrick gives us the greatest horror film of all time, perhaps the first and only true “Horror Epic”. I have seen many great horror films but nothing that matches this level of ambition start to finish
Kubrick sure knows how to start a film…and end one… and make the middle part great too
This is probably Kubrick’s most atmospheric film. Kubrick constantly reminds you just how isolated the characters are right from the opening credits with the car driving on a winding road
with a series of helicopter shots. Throughout the film Kubrick uses tracking shots through long hotel corridors, slow pans across the room Jack writes in, and slow zoom outs. The films pacing is absolutely essential as a rushed story would have failed to adequately capture the impact of the isolation and Jack’s slow descend into madness
Nicholson’s facial tics and control are part of what gives him a unique persona. His character becomes progressively more disturbed throughout the film, and it is captured effectively with various facial expressions including Nicholson’s famous eyebrow raises. In fact, Nicholson’s face in general is an incredible asset that is hard to put into words. Perhaps only Klaus Kinski has a face that is equally capable in revealing madness. Kubrick uses close up shots of Jack’s face throughout the film which is effective in showing Jack’s gradual descend into madness; Jack does not just snap all of the sudden, it is a patient process that starts much earlier in the film than I once realized
This is one of Kubrick’s most Kubrick repeats images following audio cues throughout the film. These diegetic and non-diegetic sounds are effective in creating an association with horrific images, most notably the twin girls and the elevator shaft flooded with waves of blood
The Overlook Hotel feels so authentic that as a kid I was surprised to discover that it was fictional. The Hotel is certainly location as character, and this is where some of the fan theories begin. You have the references to Native American burial ground and the haunting 4th of July Ballroom Party photo along with references to the past atrocity with the previous caretaker, Gilbert Grady who is played by Philip Stone (one of the few actors to appear in multiple Kubrick films). There are no 10-15 minute stretches without dialogue but there are sequences of 3-4 minutes without dialogue. One of the best occurs in the Room 237 scene where Jack see’s an attractive woman naked who then transforms into an old woman, the camera cautiously floats through the corridors in several of these sequences
This is a 143 minute film which feels like an Epic but without subplots or really anything unnecessary, every scene has its purpose even Jack throwing a ball against a wall. The few jump scares are well earned, not merely thrown in like a run of the mill horror film. It’s the same with the final 15 minutes; Kubrick uses a chase scene that is otherwise horror cliché and makes it iconic and well earned as its set up early on with the maze sequence
This is easily one of the most analyzed films of all time with countless articles, books, podcasts, etc. I think this is the first movie I ever used the Internet for as I remember searching for and reading various theories and interpretations. The Shining’s presence in pop culture is undeniable, it is one of the most famous, celebrated, and iconic horror films of all time. The “red rum” scene, “Here’s Johnny”, “come play with us Danny forever and ever”, the maze chase, etc.
One of the greatest films of all time
Verdict: MP
@James Trapp– really well done here! Thanks again for sharing
@Drake – I appreciate that, it seems to get better with each additional viewing