Vincent LoBrutto's Stanley Kubrick: A Biography
Reviewed by Brian Siano
Film critic David Denby once compared Stanley Kubrick to the enigmatic
black slab of his landmark film 2001: A Space Odyssey; "A force of
supernatural intelligence, appearing at great intervals amid high-pitched
shrieks, who gives the world a violent kick up the next rung of the
evolutionary ladder." While it's an apt comparison, it still doesn't quite
capture the strangeness of Kubrick's career. Consider...
Other directors of Kubrick's generation, such as Sidney Lumet and John
Frankenheimer, have passed through periods of genius and decline,
relevance and irrelevance, top-dollar productions and second-tier scripts.
Most directors make a reputation with consistent themes or subjects; the
gangsters of Coppola or Scorcese, Lumet's feel for New York City,
Speilberg's boys' tales, Woody Allen's Manhattan aesthetes. Oliver Stone
and Spike Lee maintain their reputations by staying newsworthy. Kubrick,
living in comparative seclusion in St. Albans, England, earned the title
"the invisible man" in a recent BBC documentary.
A major film director can turn out a film every two years, provided he
works steady and can get the studio backing. Stanley Kubrick has commanded
our interest since 1956's The Killing; and in the forty years since
then, he has turned out only ten films.
And apart from two war films, Paths of Glory and Full Metal
Jacket, each of these films is utterly unique. Two are science
fiction; one awe-inspiring and optimistic, the other horrifying and deeply
cynical about the human condition. There's an historical epic done within
the Hollywood system (which Kubrick has disowned), and a
deliberately-paced tale of a failed rake of the 18th century. And then
there's Lolita, Dr. Strangelove, and The Shining...
And not even the enigmatic black slab could have negotiated Kubrick's
contract with Warner Brothers which, I suspect, is at least half the
reason why Hollywood respects him so much. The new project, Eyes Wide
Shut, includes Tom Cruise, Nicole Kidman, Harvey Keitel, and Jennifer
Jason-Leigh in the cast -- and Kubrick has allowed not one word of its plot
to be leaked to the press. (The best guess is that it's an adaptation of
Arthur Schnitzler's 1928 novel Rhapsody, a long-time Kubrick
favorite.) And as for that fabled right of Final Cut... the studio doesn't
even see Kubrick's films until he's finished with them.
Vincent LoBrutto's book is the first in-depth biography of Kubrick and,
given the length and impact of its subject's career, it's long overdue.
(And it will apparently be doing competition with John Baxter's upcoming
Kubrick biography, due out in 1997.) Until now, Kubrickophiles knew only
the basics of his early years: the fascination with chess and photography,
the staff job at Look while still in his teens, and the eventual
shift in interest to motion pictures that brought forth documentaries and
low-budget, independent thrillers like Killer's Kiss and The
Killing. LoBrutto has managed to flesh out the Young Kubrick, and by
more than a little.
It's heartening to know that Kubrick didn't spring up as a full-blown
genius all by himself; he and Alexander Singer, now a respected television
director, enjoyed a friendship of mutual interests, inspirations, and
support. Other acquaintances at the Bronx's Taft High School, such as
composer Gerald Fried, writer Howard Sackler, and actor-director Paul
Mazursky, moved in and out of Kubrick's circle as well. His tenure at
Look is covered in exhaustive detail, with nearly every photo
spread of Kubrick's catalogued and described. LoBrutto has even managed to
track down such lost items as Kubrick's industrial documentary The
Seafarers and his second-unit work on a 1950's TV biography of
Lincoln. LoBrutto has given us, for the first time, an account of how the
awkward but intense photography buff grew into Stanley Kubrick the Film
Artist.
We do learn that the picture of "crazy Stanley," encouraged through
rumors and gossip columns, is pretty much untrue. No, dear reader, he
doesn't drive at ten miles an hour wearing a football helmet, and he
doesn't put his actors through eighty-five takes of every scene. Kubrick
is very much the "control freak par excellence," as screenwriter
Michael Herr called him, but no more so than Oliver Stone or David Lean:
he always has a good reason for making some pretty extreme demands. Yes,
he did send a three-foot-long Telex to a lens developer, explaining how to
build a mount for a super-powerful zoom lens that wouldn't lose as much
light as other lenses. Yes, he did personally select which theatres would
show Full Metal Jacket, citing a Lucasfilm study on crappy film
projection conditions. This is a man who, by transatlantic telephone,
arranged for a New York theater to be repainted for the first run of A
Clockwork Orange. And the section on Kubrick's aborted Napoleon
project is priceless; one can't help but smile at the thought of Kubrick
estimating the costs of flu vaccines and barracks construction for the
projected 50,000 extras required for the massive battle scenes. (One
wishes Kubrick would take advantage of computer technology to restart this
dream project.)
LoBrutto has acquired many terrific interviews with Kubrick's early
associates, and these are among the liveliest of the book. But he was
hobbled by the inaccessibility of his subject, and I suspect that many of
the people with whom Kubrick has worked with -- especially in later years --
may not have been available or willing to be interviewed at length. So,
apart from several extremely good interviews, later chapters read less
like a narrative, and more like a very well-summarized scrapbook. The
reader will notice a lot of source-citing phrases in the quotes, such as
"Kubrick told Tim Cahill," and "Douglas Milsome told Ron Magid" and
"Christiane Kubrick told Valerie Jenkins of the Evening Standard."
The passages from Kirk Douglas and Tony Curtis on Spartacus are
taken from their respective autobiographies, and there's little on the
making of 2001 that isn't in Piers Bizony's fine book 2001:
Filming the Future.
Now, sometimes a biographer can make these arrangements read well, as
Frank Brady did in Citizen Welles, but a really good writer can
make it read like a novel -- like Philip Norman did in Shout! The
Beatles In Their Generation. But a lot of biographies of filmmakers
are written by buffs who may have encyclopedic knowledge of films and pop
culture, but of little else; one gets a sense from many authors that the
only world that matters is one of classic scenes and innovative
techniques. LoBrutto isn't a groupie or a fanboy, and he's more
clear-headed than most film biographers, but one reads Stanley Kubrick:
A Biography while imagining ways to improve it. We learn what
Kubrick did, and sometimes we get the how, but the only whys
we get are those explicitly stated in LoBrutto's source materials.
LoBrutto hasn't managed to put himself into the intellectual climate of
the time, and Kubrick winds up as a kind of enigmatic black box with a
gargantuan talent.
This is a shame, because Kubrick's uniqueness as a filmmaker comes from
his intellectual engagement with the rest of the world. The chapter on
Dr. Strangelove needs a background on nuclear deterrence theories
of the time. (My own suspect for Strangelove's model was Rand strategist
Herman Kahn: try reading On Thermonuclear War, or Fred Kaplan's
wonderful study The Wizards of Armageddon, and you'll see why). How
did Kubrick's research into the 18th century influence the pacing of
Barry Lyndon? What did novelist and critic Diane Johnson, not
exactly known as a horror-film scriptwriter, bring to the screenplay of
The Shining? And as far as Spartacus goes, it's difficult to
read a child's-primer passage like "Dalton Trumbo did not like Howard Fast.
In their only face-to-face meeting, Fast berated the screenwriter for not
holding Marxism classes while in prison," without feeling that something's
been summarized a tad too hastily. I wish LoBrutto had traded notes with
film historian Duncan Cooper, whose series of Spartacus articles in Cineaste (Vol.
XVIII, No.3, 1991; et al.) are indispensable.
LoBrutto's Stanley Kubrick: A Biography is clearly a work of
love. To serious Kubrick fans, it may not be quite as satisfying as other,
more analytical studies, such as Alexander Walker's Stanley Kubrick
Directs or Michael Ciment's indispensable Kubrick. But the
qualities of LoBrutto's book far outweigh the shortcomings I've described,
and it will probably stand as the definitive biography of one of our
greatest living film artists.
Stanley Kubrick: A Biography
by Vincent LoBrutto
New York: Donald J. Fine Books, 1995
610 pages, Illustrations. Hardcover $29.95