كروز/ كيدمن/ كوبريك در چشمان باز بسته

by Alexander Walker, چیستا یثربی (Translator), سمیه نوری (Translator)

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. Black-and-white illustrations throughout, 8 pages of color.

Genres: Film, Nonfiction, Art, Media Tie In, Biography

Paperback

First published January 1, 1971

About the author

Alexander Walker was a film critic and author of a number of biographies and books on the film industry.

Reviews

[?0?0?0 · Rating 2 out of 5]

"Stanley Kubrick, Director" is split into two (make your duality joke here): the first part covers his work up to "A Clockwork Orange" while the second half runs up to his final movie. What this book is good at is packing behind the scenes bits with facts about Kubrick and his work most people at this point already know. And that's the problem: there's nothing much here that shows how Kubrick worked, what tools he used and why, what crew members were hired and for what qualities, what Kubrick did when he wasn't busy being some sort of god to the author of the book, and on and on. Let's take one movie and one example for me to show what I'm speaking about: "Barry Lyndon", depending on what day you ask me, his best movie. To shoot the candlelit scenes in said movie, Kubrick, as is now well known, had Carl Zeiss build him a 0.7 t stop 50mm - this gets the most passing of passing statements. Why is that? This book came out in 1999, long before the Kubrick exhibit and well before other books on the subject? Why write so much about what any person can observe on the screen and then when it comes to topics that people such as myself buy this book for, those aspects are hardly touched on? This book is chapter after chapter of the author just explaining, in his own way and often with tenuous connections to previous Kubrick movies, what any spectator can see for themselves on the screen. At one point the author admits to being on the set of "The Shining" only to spend the entire chapter kvetching about the supernatural elements of the movie whilst trashing an entire genre whilst telling us what we see on the screen when he's not busy proclaiming his love for Jack Nicholson whose talent combined with Kubricks' is apparently more than enough to justify the way Shelley Duval was treated on set . . . yes this book has issues and offers very little for the would-be-filmmaker or any reader interested in the subject. Each of us can watch Kubrick's movies and write down into a book what we saw on the screen: not all of us, like Mr. Walker, had access to Kubrick, the person, so I guess . . . that's why this book even exists?

[Navid · Rating 3 out of 5]

برای عاشقان سینما علی‌الخصوص «استنلی کوبریک» کتاب خوبی است.
حتماً بایستی قبل از خواندن این کتاب تمام (یا حداقل بخشی) فیلم‌های کوبریک را دیده باشید.
کتاب حجم کمی دارد و بیشتر صفحات را عکس و متن-نوشته تشکیل داده‌ و احتمالا یکی دو روز خواندنش زمان نمی‌بره.

[Jonathan Grant · Rating 3 out of 5]

Interesting, but nothing really new. Would've been more interested to hear about the production of Barry Lyndon.

[Rumi · Rating 3 out of 5]

I haven't watched all of Kubrick's movies enough times to appreciate them, so I only read the introduction, epilogue and the chapters about:
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb
A Clockwork Orange
The Shining
Eyes Wide Shut

I'm very glad I came across this book! Having it on me for short term loan from the library in the midst of my exam period, it gave me many hours of pleasurable plunging into stories I know and love, and the way they are told, while rewatching beautiful movies.
It's true that I can never get enough jibber jabber about my favourite movies, even with a conversational partner as unresponsive as a book (I have to say it's rather pleasant to be on the other side for a change, listening instead of endlessly torturing anyone who shows the slightest interest :p). But this collection of analyses is brilliant! Doesn't it always feel refreshing to find critique whose main purpose is not to sound smart?
The detailed descriptions were well thought out and provided me with a bunch of new ideas (excitement passing through!). The main value for me, however, was the insight it provided - not so much into Kubrick's mind, but to his creative process. In the end it all comes down to work - lots of it - even if you're Stanley Kubrick. Which is a lesson that successful people are always keen to preach about in various different words and forms, but I think we could all safely agree it comes out better when it secretly forms itself in your head as you imagine the set of a brilliant director, and his persistent inner workings spanning over many years to produce a few of the world's best movies.

[Sean · Rating 3 out of 5]

Came upon a very beat up free copy of this, an edition from the early '70s, when A Clockwork Orange was Kubrick's latest. So, what the heck, I read it. Not bad, not great. Some good analysis of themes and filmmaking technique, but on the whole, too much plot summary, too little in the way of deeper thinking. Or maybe I already know too much about Kubrick and these movies to get much out of this.

[J.D. · Rating 3 out of 5]

A must for the fans. The analysis is okay in most cases. Sadly, the very las movie, Eyes Wide Shut is barely covered and with so many errors consisting of misquotations and plain-wrong descriptions of plot that it made me actually angry. Either way, most of the book is fine.

Oh, at least in my edition, there are no sources at all, which is ridiculous. Also, the pictures suck.

[Moien Nayebi · Rating 3 out of 5]

من البته نسخه‌ی فارسی کتاب به ترجمه‌ی حسام اشرفی رو خوندم.

کتاب خوب و جالبی بود راجع به سینمای کوبریک هر چند مباحث بیشتر راجع به محتوای آثار بود و زیاد به تکنیک و فیلم‌برداری و از این قبیل نمی‌پرداخت.

با تمامی این اوصاف بعضا موقعیت‌های فیلم‌ها رو خوب شرح می‌داد یا نوع برخورد کوبریک رو که با مکان‌های فیلم‌هاش مخصوصا تو «راه‌های افتخار» بررسی می‌کرد جالب بود.

[Connor Reed · Rating 3 out of 5]

An interesting expose on some of the films of Kubrick. I thought the overall analysis of style and purpose was good, but that he ended up grasping at straws to link the films together.

[William Dury · Rating 3 out of 5]

Insightful review of the director’s work with chapters devoted to “Paths,” “Dr. Strangelove,” “2001,” “Clockwork,” “Barry,” “Shining,” “Full Metal,” and “Eyes Wide Shut.” I’m puzzled by Mr. Walker’s description of Mr. Kubrick as “a filmmaker possessed of a large misanthropic streak in his cinematic outlook,” (237). I’ve come across this before and find it puzzling. The worlds Mr. Kubrick creates can be fairly described as misanthropic, brutal, cruel, whatever, but that is not the same thing as saying Mr. Kubrick is misanthropic. He does cast a chilly clear eye and no, we are rarely petted and reassured. That we struggle on is more reassuring to me than a more optimistic outlook that does not survive the light of day. (Forgive the purple prose, I have the flu and am disoriented by a cheap cough medicine that apparently has a higher alcohol content than Jim Beam).

Loved re: “Barry Lyndon,” (245), “Dramatic close-ups are rare to nonexistent; we are being taken on a guided tour with the guide’s polite but firm instructions, ‘Don’t go too near the pictures.’”

[Ryan Splenda · Rating 5 out of 5]

Ulrich Ruchti provides a wonderful visual analysis of ALL of Stanley Kubrick's films. What I like most about this book is the fact that Ruchti definitely supplies intense film criticism for each film, but does not lose himself in highfalutin and bombastic academic prose that many film critics tend to do.

Ruchti also provides many stills from Kubrick's movies to aid in the analyses that are made throughout the book. One of the highlights is the section devoted to Kubrick's use of color in his films. It is a small section that is presented in full color, but the analytical breakdowns that are provided with it truly show the artistic quality that Kubrick possessed as a filmmaker.

Trust me, this book will not disappoint any person who is a lover of film and film criticism, and it is definitely a MUST READ for all Kubrick lovers.

[Joe Noir · Rating 1 out of 5]

For a film book that calls itself a "visual analysis" this volume has the worst image reproductions of any film book I've ever seen. Most of them are black and white, and so poorly reproduced they make every film look like "Battleship Potemkin". There are only eight pages of color images, but the color is washed out and looks sun faded. Only "2001", "Barry Lyndon", and "Eyes Wide Shut" are represented in the "color" section. Seriously, it looks as if they ran the videos and took photos of the television screen. Also, you will find that several films are not covered in any depth whatsoever. This is a poor tribute to Kubrick.

[Filippo Ulivieri · Rating 3 out of 5]

Riedizione ampliata e aggiornata del volume Stanley Kubrick Directs del 1972. Il primo saggio critico su Kubrick scritto con l'approvazione del regista, grazie all'amicizia decennale col giornalista Alexander Walker. Il volume presenta un'analisi puntuale dei film Orizzonti di Gloria, Il Dr. Stranamore, 2001: Odissea nello Spazio, Arancia Meccanica, Barry Lyndon, Shining, Full Metal Jacket e Eyes Wide Shut, supportata da moltissimi fotogrammi riprodotti in b/n. Con un'intervista dello stesso autore a Kubrick, del 1972.

[Olivia · Rating 5 out of 5]

Having seen all of Kubrick's works (except for "Fear and Desire", of course), I find pleasure in reading the analysis and stories behind each film of his. The next time I see Kubrick's films again (which I definitely will), I would have different perspectives towards them.

[Hamid · Rating 2 out of 5]

به نظرم چسباندن چند مطلب انگليسي آمد كه قبلا خوانده بودم ولي به هيچ كدام استناد نكرده !!!

[Bryn · Rating 3 out of 5]

Not too bad, but does too much arse-licking.

[Rodrigo Jimenez · Rating 4 out of 5]

Great insight into the mind of a genius.

[Ned Bajic · Rating 5 out of 5]

Though the book has only a sprinkling of Kubrick quotes and covers his work up to A Clockwork Orange, this is still essential reading for the fans.

[Mark · Rating 2 out of 5]

Hardbound, illustrated, book of Kubrick films with threadbare analysis of work - does not even work as summary. Beautiful film still shots are there and that is all.

[Ian Robinson · Rating 3 out of 5]

good photos, but light on depth.

[Vasanth · Rating 4 out of 5]

Must for all Kubrick Fans !!!

[Peter Webb · Rating 5 out of 5]

Without doubt the best book ever written about Stanley Kubrick, who gave his approval. The author Alexander Walker is certainly the most intelligent and insightful film 'critic' (I loathe the term) I have ever read. The book is a fascinating read, providing analysis and insight that enhances one's experience of the films it describes.

When I started writing as a teenager, this book was one of a handful that were always on my desk.

For devotees, and anyone contemplating a career in film making, this is essential reading.