A fascinating if problematic early film from Stanley Kubrick, perhaps the most obsessive of the great auteurs of the 1960s, made just on the cusp of a run of cinematic masterpieces.
Fascinante, se siente como un paseo por el parque, para ser de Stanley Kubrick tiene una atmósfera bastante amigable y relajada, las actuaciones son buenísimas, la química y tensión sexual entre Lolita y Humpert son inminentes y convincentes, por otro lado, el personaje de Charlotte es demasiado exasperante, se nota a leguas que siente envidia de su propia hija.
I didn't know this was a comedy.
Sue Lyons is a stunner.
The usually realiable Peter Sellers, fails here.
His schtick was over the top, not funny, and really took me out of the movie.
But James Mason nails his part. Sad, tragic, fully aware of the consequences of his life decisions.
Stanley Kubrick's adaptation of the Vladimir Nabokov classic isn't as racy as the new one by Adrian Lyne, which opens in theaters tomorrow. But it's a lot funnier, thanks in no small part to the casting of Peter Sellers as a mystery man of many accents and Shelley Winters as Lolita's silly mother. [01 Oct 1998]
Where Nabokov was witty, Kubrick is sometimes merely snide, but fine performances (particularly from Peter Sellers, as the ominous Clare Quilty) cover most of the rough spots.
Vladimir Nabokov's witty, grotesque novel is, in its film version, like a bee from which the stinger has been removed. It still buzzes with a sort of promising irreverence, but it lacks the power to shock and, eventually, makes very little point either as comedy or satire.
A truly funny movie - noticeably well acted by James Mason, Shelley Winters, and Peter Sellers. Mason conveys gentlemanly smoothness, followed by detestable smoothness, and finally panic and paranoia. Winters conveys unabashed desperation, and Sellers - somehow conveys pure range and genius, though you would be hard pressed to explain how or why. One of Sellers' characters - Quibly, in terms of voice - is clearly doing a Kubrick impersonation. Lolita herself was cast perfectly - she is able to convey total confidence, wit and command over others (even though the story of course involves a clear case of indefensible abuse of her character). The visual introduction to her is perhaps Kubrick's best direction in the movie. While the story is relatively nonsensical, and as far as I can tell, inconsequential (At least without exploration of the sexual dynamic) - you do feel witness to lovely film-making. The very beginning, and very end, of the movie utterly bored me. I do, however, discount the ending of Kubrick films as something he is both bad at, and apathetic to.