Lolita (1962)

Within a matter of weeks after the novel Lolita by Vladimir Nabokov was released in America, Kubrick and personal producer, James B. Harris, were already setting out plans for a movie based on the infamous novel. The book itself had been bathed in controversy even as the author began writing it in 1947, during which year Nabokov himself described his upcoming release as 'a short novel about a man who liked little girls'. Upon its completion in 1954, many publishers refused to be associated with the novel, labelling it as pornographic. The manuscript was sent to Paris where the Olympia Press obliged to bring out an English language edition in 1955. After three years of criticism, particularly over scepticism about the book's artistic relevance and integrity, G.P. Putnam's finally agreed to publish the novel. Within days sensational reviews were appearing for the novel around the world, and just as quickly the book became a literary landmark and a huge financial success for Nabokov.

Unfortunately for Kubrick, the filmed version seemed doomed from the outset, almost permanently muted by the film censorship standards of the time. A distribution deal with a major marketer would be impossible without an authorised seal of approval from the Industry's Production Code Administration, a feat made even harder by the pure sexual perversity of the storyline; a love affair between a man and a child, surrounded by the ever-present aura of incest. Kubrick was quick to rule out any chance of a film made purely for teen titillation and promised censors that he would reduce the sexual content dramatically, instead drawing innocent humour from the conflicting relationship between the two age groups. Of course, Kubrick could have quite easily ignored all censors completely and made a movie of extreme cult status. But he desired something more than the title of the darling of America's arthouse movie circuit, and the kind of infamous reputation he had gained from films such as Paths of Glory and The Killing. Even more he wanted to stray from the torrid affair of directing another man's film, as he had experienced the year before with Kurt Douglas in Spartacus. Lolita, in Kubrick's mind, was a ticket to open independence, both financially and artistically. Firstly, however, they needed the Seal.

At first, all must have seemed lost to Kubrick and Harris. Columbia Pictures, United Artists and Warner Brothers all rejected the idea. After months of hot negotiation, Seven Arts agreed to put up the money, and MGM to distribute. The screen rights were purchased for 125,000 dollars by Kubrick and Harris and soon after Nabokov was asked to write a script. He saw this is as a perfect opportunity to iron out any 'complications' between his novel and the film that may occur during filming.

After seeking an early retirement from his professorship at Cornell University, Nabokov moved to Los Angeles in early 1960, where he began writing the screenplay. Whilst Nabokov was busy with that side of production, Kubrick was just as occupied with the job of casting. James Mason was chosen to play Professor Humbert after some stiff competition from Errol Flynn for the job. Shelley Winters was chosen soon after to play Lolitas mother, and Peter Sellers, later to be casted in Dr. Strangelove, was chosen as Clare Quilty. And, despite being at the tender age of thirteen, Sue Lyon was casted as Lolita. She was said to photograph much older than first suggested. Once casting was completed and it seemed all was running like clockwork, Nabokov suddenly complicated matters by sending Kubrick a mammoth 400-page script, which was quickly rejected after Kubrick claimed it would run for seven hours. In a matter of months a shorter version was written, which was accepted by Kubrick but in fact used only sparingly during filming.

By December of 1960, Kubrick had finalised the shooting script, one specifically designed to stray from the sexual perversions of Humbert and Lolita and rather transform it into a black-comedy thriller. This was done by a vast number of detailed alterations during filming. Kubrick planned to convey all forms of sexual foreplay through various glances and stares between principal characters. In perhaps the biggest departure from original novel, the gripping scene during which Humbert kills Quilty after finding out that Lolita and Quilty are involved in an affair instead comes at the beginning of the movie. Rather than letting the viewers wait eagerly for Lolita and Humbert to have sex, they are instead anticipating the fate of Quilty with some kind of morbid fascination, the kind of which only Kubrick could conjure. The only erotic scene during the entire movie is the fairly placid toenail painting scene, played both during the opening credits and also later in the movie.

Despite the extreme modifications, the Hollywood Production Code officials still wanted changes after a private viewing of the first cut. The seduction scene, even though it had been toned down beforehand, was still required to be changed if the film was to be properly approved. Kubrick, disappointed by the pedantic attitude of Code officials, finally agreed to the changes. The sought-after Seal was bestowed upon Lolita, and the Catholic Legion of Decency gave it a "Separate Classification" in exchange for all power over advertising and a set audience restriction of over 18.

After 3 years of negotiations and deliberations, Lolita at last opened in New York in June of 1962. With the aid of some suggestive advertising, including a poster of a bikini-clad Sue Lyon licking a lollipop and titled with the words "How did they ever make a movie of Lolita", the film opened to strong box office takings. The attraction was short-lived, however, as mixed reviews discouraged many viewers, as did the bland reports from viewers themselves. Rather than seeing a film which suggested only teen sex and sensuality, audiences were greeted with a classic Kubrick film of cool irony. Despite not living up to expectations in terms of both financial and critical achievement, it definently gave Kubrick the exposure he desired. And, surprisingly, the man around so much of the film was maintained, Vladimir Nabokov, was kind in his response to what must have surely been a disappointing result for him also. He was quoted as saying that: "the film demonstrated I had wasted six months of my time" but that Kubrick and the cast deserved "the highest praise". He described several scenes throughout the film, including the killing of Quilty, as "masterpieces".