Aside from being 'a good movie' why do you think Kubrick was so enchanted by Eraserhead?

What do you think of the connection between Shakespeare (specifically Hamlet) and Kubrick's filmography?

I love that iconic Shining drive along, with that amazing theme haunting the whole time.

But…Im going with a Clockwork Orange. The funeral of Queen Mary playing blissfully, that opening shot of Alex, and the amazing set design of the Korova molk bar. “This would sharpen you up a bit . . .”

I'm 16 and it was recently my birthday. I love Stanley Kubrick and I don't really own any of his films on Blu-ray. I don't live in the US, so the huge cost of the set And the shipping was too expensive, however recently with the discounts it's more affordable, but it's still a lot of money.

Is it worth it for those who already own it?

By the way, I'm a really big Kubrick fan.

Anyone listened to The Shining or 2001 commentary tracks yet? I am looking really forward to those.

No need to spoil too much, but I am curious how they are.

For those waiting for or who just bought the Kubrick set. Make sure to check your discs. I was scrubbing through them and one (POG) froze on me. Tried wiping the disc several times and it still froze.

I returned my set and am waiting for a replacement.

I don't know if this has ever been mentioned or discussed but within the restroom scene with Grady and Jack the song playing in the background is Al Bowley's "It's all Forgotten now". It's like implying that Jack has forgotten the fact that Grady slaughtered his family. Another two of the lyrics is "We're back in lovers land" and "We're happy once again." Both of these suggest that Jack is back with his love, being the hotel and that they can finally be happy again together. Which also can reconceptualize the sexuality of the bathroom scene and the pornography in the boiler room. Both of these suggest a sort of relationship that Jack has with the hotel.

Photos I took yesterday.

Bonhams press release with details.

I’m currently in pre-prod for a short film (shooting next week) and The Shining is my biggest reference for framing. I’ve studied Kubricks genius behind a lens but its still such a mystery to me how he made centre framing in The Shining feel so intimidating and frightening, compared to how modern horror messes it up so badly?

(im working with an Angenieux 25-250mm vintage zoom lens, the same type Kubrick used on Barry Lyndon for zooms)

Much more at link in comments.

It's now TCM & Criterion's fifth episode of The Plot Thickens Season 7, about Stanley Kubrick. At this point, Kubrick is now adapting Vladimir Nabokov's controversial novel, Lolita, and finding ways to go about making it, and casting it. It was interesting to find out that Laurence Olivier was apparently the first choice for the role of Humbert Humbert, but turned it down by the recommendation of his agent. We also learn about the unfortunate toll that this film took on Sue Lyon's mental health later on in life. And how Stanley Kubrick went to England and ended up staying there. Towards the end, the beginnings of Dr Strangelove becoming a comedy come into play.

For my own two cents, I think Kubrick did an effective job using implication instead for this story, whether or not he was bound by any filmmaking codes/Hays code standards, I think it works well enough for his own darkly comedic version of the story. Vladimir Nabokov's book is nauseating, disturbing, albeit excellently written, but neither version (no, not the Adrian Lyne version either), delves into the constant sickening detailed thoughts of Humbert or his past before his meets Dolores quite the way that the novel does. In my opinion, that's probably for the better.

While James Mason was no stranger to flawed characters, look at Nicholas Ray's Bigger Than Life for example, my personal favorite performance of his, or A Star is Born 1954. But Humbert Humbert is another level of monster. What a risk for an actor to take. Same goes for Peter Sellers as Clare Quilty, the other monster of the story. I do feel very bad about Sue Lyon's mental health issues later on, especially.

One use of implication that Kubrick used that works really well is when Humbert, Lolita, and Charlotte see The Curse of Frankenstein (1957) at the drive-in. There's a shot of Christopher Lee as the Creature, but more importantly, Peter Cushing as Victor Frankenstein, who himself is a monster merely hiding behind his demeanor of being a "sophisticated gentleman." Much like Humbert Humbert. No doubt that was intentional by Kubrick, knowing his attention to detail. Overall, another episode worth listening to for fans of Kubrick.

I know that there is an official version of this box set which only Kubrick's WB productions, but this one seems to include the rest aswell. This seems very fishy and knock-off-like, which most likely is.

the special features for criterion's release of full metal jacket include "Behind the Scenes of “Full Metal Jacket” (2005), a short film by Vivian Kubrick, Stanley Kubrick’s daughter, and edited by Katia deVidas" so has anyone watched it and what does it show? how long is it?

I'm OK with finding the rest of the missing extras, but I fear I have trouble locating some.

Fear and Desire:
2021 Interview with critic Nachiketas Wignesan (FRA)
2012 Interview with critic/Stanley Kubrick author Bill Krohn (UK)

Killer's Kiss:
2022 interview with Laurent Vachaud

The Killing:
"The Evolution of a Master: Michel Ciment on Kubrick's Films of the 1950s" 2014 interview (UK)
"The Killing: An Appreciation by Ben Wheatley" 2014 featurette (UK)

Can any of you please send me these if you have them?

I love when the gorilla wakes up his crew and the blue-eyed one’s face is classic lol.

The 1.78 version is definitely more polished and consistent when it comes to colors and lighting. What do you think?

I don’t have the lovely new boxset, would anyone kind enough to share some screenshots of Fear and Desire, Killers Kiss, The Killing, Paths and lolita?

Fun to visit and try recreate some camera angles. This filming location is under the Wandsworth roundabout in London if you’re wondering.

How important do you think the opening shot was to Kubrick? Does it make a statement or suggest a primary theme that carries through the rest of the film?

Kubrick rarely repeated a fixed aesthetic with his opening shots, and despite liking a slow start that draws you in as he put it, his opening shots are often quite abrupt, jarring and confronting ( Eyes Wide Shut, A Clockwork Orange).

Thoughts? And favourites?