S is for Stanley (2016)

In life Stanley Kubrick threw a wall of secrecy around himself, his family and his creative process. Since his death the myth of Kubrick as an eccentric loner has ebbed away. In it's place we have a picture of a man who loved family, friends, and pets as much as the movies.

S is for Stanley is a puts another piece of the puzzle into place, telling the story of Kubrick's chauffeur, assistant and friend Emilio D’Alessandro. Born in Italy, he moved to the UK, working as a taxi driver in London. One fateful day, he got a call to move a giant phallus to the set of a film called A Clockwork Orange. Kubrick took a shine to him and his driving skills, and thus began a thirty year adventure. Emilio spent his days ferrying around the director, his props, and other aspects of his professional and private life.

I was concerned that this might be a cheap cash-in, someone on the periphery of Kubrick's life, vying for their fifteen minutes. It soon becomes clear that this is not the case. As unlikely as the anecdotes might sound, they are all backed up by photographic and documentary evidence, from the garage full of memories in D’Alessandro's home. The subject could easily have been self aggrandizing but he comes across as humble and sincere.

The running time is brief but it doesn't feel rushed, only focusing on an intense but relatively brief time in the whole of both men's lives.

The seemingly mismatched pair, had some things in common, both immigrants, both family men. It was also the differences between the men that bonded them. D’Alessandro, with his aspirations of being a Formula One driver, had no connections to the film industry. Indeed, he never actually saw one of his Kubrick's films until after his death.

Kubrick was a demanding boss. When a film was in production, he could pile one job after another onto D’Alessandro, who seemed to accept it all with good grace.

It may have been recorded elsewhere, but this was the first time that I had seen details of how frail Kubrick was at the end of his life, relying on oxygen tanks. There is a heartbreaking anecdote of him  being too frail to break up a tablet to feed to one of his cats. This was the great director with the fearsome reputation, who had driven the likes of Malcolm McDowell and Shelley Duvall to tears. Now, he was too weak to tend to one of his beloved pets.

This is a must for fans of Kubrick, and for everyone else there is an unlikely but warm and touching story about two unlikely friends.

Room 237: Being an Inquiry into The Shining in 9 Parts (2012)

All works of art should be open to interpretation and debate, but how important is it to be able pin down a definitive meaning? Moreover, to what extent do we have the right to say what an artist’s intentions were? The fascinating and compelling documentary Room 237 explores these issues via some weird and wonderful theories about Stanley Kubrick's The Shining, from supposed Holocaust symbolism to the seemingly impossible geography of the Overlook Hotel.

Director Rodney Ascher takes the decision to let the people with the ideas talk without interruption, and let the audience make up their own minds. Keeping the interviewees all off camera, the screen is instead filled with a mix of images, mostly from The Shining, (although there is miscellaneous stock footage, and scenes of people sat in a cinema, taken from Lamberto Bava’s Demons), which have been re-cut, played backwards and forward, with certain scenes looped, and certain images emphasised. For anyone who has seen the film several times, this makes for a slightly disorientating experience, watching familiar source material in a completely new context.

Some of the speakers make interesting points regarding the layout of the hotel or the blatant continuity errors, but seem happy to conclude that, if they are deliberate errors, their primary function is to disorientate the viewer and add to the feeling of the world of The Shining being an unreal one.

However, the words of those that claim to see a coherent and definitive layer of symbolism in The Shining quickly start to sound like the kind of poorly constructed arguments that float around things like the September 11th attacks. The proponents often start by fixating on one element (A German typewriter/The collapse of the Towers), blend elements of the real (footage from the film/footage from news broadcasts) with the fictional or speculative (Kubrick wanted to highlight the /the US Government demolished the Twin Towers, or maybe the Jews did it), and the latter is used to as the context to interpret the former.

The "Moon Landings" theory is a classic example of this approach. Start by fixating on one element 

then take bits of dialogue from the film, particularly Jack's "Have you ever thought, for a single solitary moment about my responsibilities to my employers?" speech, mix with something completely baseless, in this case the idea that Kubrick helped fake footage of the first moon landing, and interpret: The Shining is Kubrick’s way of saying sorry to his family for getting involved with the deceit of the US Government.

Where they lack imagination is being unable to believe that someone/something as powerful and organised as Kubrick/The Government, could possibly NOT have some overarching plan, or, even more unthinkable, could be capable of simple human error. They also seem unable to accept that the primary function of The Shining is simply to disorientate and disturb the audience, an opinion I am inclined towards, based both on my viewings of the film, and a quote from Jan Harlan, who was not only the Executive Producer on the film, but also Stanley Kubrick's brother-in-law:

"The audience is deliberately made to not know where they're going. People say The Shining doesn't make sense. Well spotted! It's a ghost movie. It's not supposed to make sense."

Room 237 does raise an interesting question of to what extent the audience can take control of the meaning of a work from an artist, especially one who is no longer alive to confirm or deny the more outlandish theories. It certainly sounds, at the very least, presumptuous to say definitively “well what Kubrick meant was…”, but if you can see the story of the decline of the Native Americans in The Shining, fine. Marvelling at how people join up the disparate dots of their ideas is a fun game, and part of what makes the documentary so enjoyable. As each absurdity was trumped by another, the audience I saw it with frequently laughed aloud. However, it did not always feel they were doing so in a mocking way, as sometimes it felt more like the laughter produced when you are shown a particularly baffling magic trick.

From StaticMass.net: Deconstructing Cinema - A Clockwork Orange

With an unflinching mix of sex, brutal and stylised violence, themes of government mind control, and a charismatic anti-hero lead character, Stanley Kubrick’s A Clockwork Orange has long been a magnet for commendation, criticism and controversy.

Read the full article HERE