Alexander Walker's Stanley Kubrick, Director is the only book ever written with Kubrick's cooperation. This new edition, revised and expanded to discuss all of Kubrick's films -- including Eyes Wide Shut -- again received the approval of the reclusive director, who before his death allowed the use of illustrations taken directly from his films' frames. The result is a frame-by-frame examination of the inimitable style that infuses every Kubrick movie, from the pitch-perfect hilarity of Lolita to the icy supremacy of 2001: A Space Odyssey to the baroque horror of The Shining. The book's beautiful design and dynamic arrangement of photographic stills offer a frame-by-frame understanding of how Kubrick constructed a film. What emerges is a deeply human study of one remarkable artist's nature and obsessions, and how these changed and shifted in his four decades as a filmmaker.
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Ulrich Ruchti is an award-winning designer of international reputation.
Sybil Taylor is an author, editor, and journalist.
Alexander Walker is the author of over twenty books.
A longtime friend of Kubrick's who remembers the days when the great director was mysteriously collecting Japanese science fiction movies in what turned out to be preparation for 2001, Walker rankled Warner Bros. and the Kubrick estate when he printed a rave review of Eyes Wide Shut weeks before the movie was released. In this book, he offers a similarly enthusiastic tour through the Kubrick oeuvre, from the first film (Fear and Desire, 1953) to the last (Eyes Wide Shut, 1999). Walker describes Kubrick as a guarded, suspicious, obsessive, controlling, paranoid workaholic, and makes us feel that he's bestowing a compliment. Each movie is given a thorough analysis, reinforced by the extensive use of stills in each case. He explains what that black obelisk in 2001 is and elaborates the various parallels between Kubrick and the character Jack Torrance in the filming of The Shining. Perhaps unavoidably, however, the section on Eyes Wide Shut seems merely to be a synopsis and lacks the detachment and detail that characterize the other chapters. One can only wish that Walker had waited for some critical perspective on his friend's final work. Nevertheless, its eulogistic tone aside, Kubrick fans everywhere will relish this as the definitive book on the director. (Sept.)
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