.... Agel's book is of note as the most illustrated book in this field. Although they're all in black and white, the number is way beyond any other book's attempt. This book is a standard paperback size, 368 pages with a 96 page photo insert. Most pages contain several images, some are full page, but the screen resolution of the images is quite fine, they are printed on fine white paper and thus the images are nicely detailed. The images in the insert are mostly scenes from the film, but they also include many behind-the-scenes peeks at some of the technical magic on screen. Apart from the insert, there are a few frames reproduced from the MAD magazine version of the film, also the instruction sheet from the Aurora model of the Pan Am Orion III Space Clipper. I can recommend this book for its text content alone, but the photo insert made it literally my constant companion through the 1970s. A bookshelf neighbour for Agel should be Piers Bizony's 'Filming the Future', a larger book with a smaller number of larger, rarer, colour images.

This is just an indispensable book for Kubrick fans. I lost my copy some years ago in a move and have bitterly regretted it ever since. Not just a puff piece but a virtual encyclopedia of everything related to the film, including the MAD magazine parody. Please put this back into print!

I share A Reader's below opinion. This is one of the best film books I've ever read. Besides going into extensive detail about 2001, the book also harks back to an era when people thought both science and movies could actually transform humankind for the better. Today most people probably rightly expect nothing from science but corporate-sponsored dangers (psychotropic drugs, laser weaponry, etc.); and nothing from movies but dumb, loud, soulless, merchandising vehicles filled with digital fireballs. I realize both science and the movies have always produced both good AND bad. And I have no use for unrealistic, slimy, we-CAN-win-in-Vietnam-style optimism. Still, much of the period's optimism, realistic or not, pertained to noble goals (civil rights, fighting poverty, etc.), and Agel's book (about a movie from the pessimistic director Stanley Kubrick, ironically enough), has that nobly optimistic feeling.

Falsetto's guide to Kubrick is as Dante's to the Inferno: that is, DIVINE. Never mind the price, this book is worth it! Easy to read, scene breakdowns ( sometimes shot-by-shot ), and narrative patterns. Read another review for what they're like, I won't waste time trying to recite something too perfect to recite:
This is the DEFINATIVE Kubrick book. It offers descriptions from The Killing to Eyes Wide Shut, and it does a good job. Thank you God for Stanley Kubrick, and thank you God for Mario Falsetto
for telling about him!

Falsetto blends thoughtful, intellectual critques of Kubrick's work focusing on his editing choices and the tension between subjective and objective storytelling. It is by far the first comprehensive analysis of Eyes Wide Shut to be included in a book on Kubrick's style. Falsetto's discourse illuminates previous themes that never occurred to me such as the fact that the narrator in Barry Lyndon probably represents the eighteenth century aristocratic viewpoint, and therefore is not really an objective storyteller at all. Falsetto's articulate analysis of Kubrick's narrative themes are completely engrossing and fascinating without ever getting lost in technical jargon. His analysis is particularly right on when discussing such an underappreciated work such as Full Metal Jacket. He argues that Kubrick was aiming for hyperrealism, and that many of the scenes seem very surreal thus penetrating the heart of what war is about. I highly recommend this thoughtful and well thought out book to anyone interested in a fresh look at one of the greatest filmmakers who ever lived.

Falsetto really takes us inside the creative process of the Stanley Kubrick with his book STANLEY KUBRICK: A NARRATIVE AND STYLISTIC ANALYSIS. It is more than just an hommage to the late film master (there are plenty of those out there already), rather, it is a clever and insightful excursion into what makes Kubrick one of the great film artist of all time. The author is tracing the stylistic development of Kubrick's career, through carefully selected examples from some of his powerful films (THE KILLING, PATHS OF GLORY, LOLITA, 2001, A CLOCKWORK ORANGE, BARRY LYNDON among others). At the same time, he brillantly analyzes the way Kubrick is telling us story with images and sound, his method for organizing the material into a structured and conceptual cinematic "whole". STANLEY KUBRICK: A NARRATIVE AND STYLISTIC ANALYSIS should be seen as a serious (but nevertheless entertaining) investigation into the heart of Kubrick's work, and I strongly recommend it to anyone who appreciate good comprehensive writing about the master.

After reading this compilation of texts about the late-great filmmaker Stanley Kubrick, I got the feeling I knew more than before about the master. PERSPECTIVES is filled with details about his films and about the way he worked as an artist. It is an important contribution to Kubrick studies. This anthology edited by Falsetto covers the first period (i.e. from his second film KILLER'S KISS) all the way to his (next) to last production (the incredible war flick FULL METAL JACKET). It even includes an article by Kubrick himself, as well as a piece wrote by Anthony Burgess on Kubrick's adaptation of his famous novel A CLOCKWORK ORANGE. Overall, I would recommend this book to anyone interested to know more about Kubrick's work or about cinema in general. It is a must-read for any Kubrick aficionados and, as far as I know, the only serious compilation of writings about this true genius of cinema. By far one of the best book on the master to date. Let's hope that the author or the publisher will reprint it in a paperback format, so that more people will have access to it.

Jenkins writes a book that needed to be written for the longest time: an in-depth examination of the process by which Kubrick has created his various masterpieces. Save for his films made prior to "The Killing", Kubrick has only worked from adaptation. And he has chosen material that has stumped filmmakers, material that in some cases was considered unfilmable. An outstanding, well written, researched, and thought out book. Highly recommended for writers, students of film, and devotees of Kubrick.

This is almost an academic text that examines every possible nook and cranny of Kubrick's last seven films (Strangelove, 2001, Clockwork, Lyndon, Shining, Full Metal and Eyes Wide Shut). Though certain technical and historical aspects are noted, Rasmussen focuses on the stories, themes and concepts of the films themselves. Each film is given its own chapter where an almost scene by scene analysis dissects their unique symbolic elements, psychological themes and aesthetic qualities. "Stanley Kubrick : 7 Films Analyzed" is either a great companion for admirers, or a 'skeleton key' for those that never fully understood what made Kubrick such a important figure in modern cinema.

It's a pleasure to see this book back in print. Although Ciment's analysis is a little heavy on the semiotic side, he does an interesting job of illuminating the various thematic threads in Kubrick's work. Profusely illustrated, the book juxtaposes various stills to show the recurrance of visual motifs in each and every one of Kubrick's films (though he manages to miss my absolute favorite -- the imaculate bathroom). There are roughly two essays in the book, one dealing with Kubrick the modernist and the other on Kubrick's use of the fantastic. However, the real gems of this tome are the various interviews, three conducted with the man himself (four if you count a Q&A conducted by mail) following the releases of Clockwork Orange, Barry Lyndon and The Shining. Somehow the author got Stan to open up in a way, that I've never seen him do in any other interview (the exception being the one for Playboy in '68). This edition also contains some fine interviews, some recently added, with Ken Adam, Jack Nicholson, Malcolm McDowell, Diane Johnson and Marisa Berenson. There is an added chapter on Eyes Wide Shut (which in part explains why it took him so long to do the film) and a memorial essay which gives a fine and tender goodbye to a great director and good friend.

I am glad Mr. Ciment waited until Kubrick's oeuvre was completed before updating what is, indeed, the very last word on this very unique artist's films. Everything is here from the first edition which was out-of-print for quite awhile plus the films that were made after. With Stanley Kubrick's death we now have the very best study of the themes, techniques and recurring visions of a very singular artist. Anyone who wants to understand the evolution of Stanley Kubrick can disregard all the other flawed books out there and put this one on the shelf as a keeper. With detailed analysis and tons of pictures, any serious fan of his films will appreciate this as only the subtitle says it is - the definitive edition.

I have this book. 5,6 years ago, I bought this at second hand book store. So book I have is second handed one, and Japanese special edition. As other reviewers say, it's very very great pity that this book is out of print now. I think some publisher had better make new edition title, added to a visualy wondeful film-Eyes Wide Shut!! If you have found it at bookstore and you are a Kubrician, you must take it, buy it, bring it your home, and enjoy these so many precious fotos or very important his interviews in this book. I have various books about Kubrick, but this Michel Ciment's Kubrick is the best book in published ones ever I think. Do your best for finding one!! All your efforts for this book would not be wasted, EVER!

The book that started many people reading science fiction in earnest and still probably Clarke's best known work. I have always thought it a good book, but certainly not one of Clarke's best. The beginning is still one of the best I have ever read as Clarke looks at primitive proto-humans and suggests that the monolith, representing an extra-terrestrial super-intelligence stimulates them into acquiring skills that appear basic but could mean the difference between survival and extinction at the hands of the less intelligent yet vastly more powerful beasts around them. The subsequent stages i.e. the discovery of the monolith on the moon, the voyage of the Discovery, the quirks of space travel, the showdown with the HAL computer and then the final denouement out by the moons of Saturn must have been awesome when the book was first written; today, many decades later, they are inevitably dulled. Yet having said that, the story itself is gripping: the struggle of humanity in the face of odds, with a kindly helping hand at the right time - almost in some ways an experiment in a vast laboratory. The story is humbling, suggesting as it does the sheer insignificance of earth in the universe (a Clarke specialty unlike Asimov who goes the opposite direction). As always, Clarke's writing style is top drawer - sparse to the point of terseness at times (this is a very short book for all its huge time horizon), yet filled with subtle humor and sly digs at ourselves.

When I saw the movie 2001, I was completely confused. I understood the basic plot line but didn't understand any of the nuances. I found the end especially baffling.

Reading the book cleared up my confusion and answered my questions (and created a few more). The premise of the book is excellent. Instead of having a typical face-to-face run-in with aliens, the characters in the book come upon evidence of alien intelligence: a black monolith which pre-dates modern history. As they try to discover who left the monolith, questions are answered and many more questions arise. The storyline was unique, and although the characters were underdeveloped they were believable. The imagery in the book was wonderful: I could picture Jupiter, Saturn, and the moons of the planets as Clarke described them. I found it amazing how accurate his descriptions were considering what we know now about these heavenly bodies compared to what they knew at the time the book was written.

I would recommend this book to science fiction fans who aren't interested in violence. This doesn't have any of the wars or combat that many SF books have. I would also recommend it to technical-oriented people who have an interest in learning more about astronomy.

One might think that 2001 the book was based on the screenplay for 2001 the movie (it's written on the back of the book). However, after reading the epilogue before I read the story (oops), I found out that Clarke worked on the two projects simultaneously. The book is actually very well written, with the technical expertise of any good science fiction writer. It does not read like a screenplay at all; it keeps you interested throughout the whole book.

The two different yet related conflicts in the book are well chosen. The struggle between man vs. machine on board the Discovery is similar to the conflict of man's insatiable curiosity vs. the vastness of space. Human beings have always been longing for contact with another race of beings, and this first contact is described flawlessly by Arthur C. Clarke. Clarke also portrays the worst case scenario of modern technology: a computer that is capable of malice and has control over human lives.

All in all, this book is one of science fiction's best and a must-read, whether you've seen the movie or not.

In Stanley Kubrick: Interviews (University Press of Mississippi), we have more of the voice of Kubrick than anywhere else. The interviews go chronologically and run the gamut from short three-page profile throwaways to massive, 30-page question-and-answer marathons. Many are worth noting: Jeremy Bernstein's profile dates from 1966 but is still fresh and amazingly well-written and candid, and Eric Nordern's interview with Kubrick for Playboy is insightful and worth reading for the Master's (mostly incorrect) predictions of immortality and space travel by the year 2001. Another excellent interview comes from Joseph Glemis, who talks to Kubrick about all of his films up to Clockwork Orange, and there are two interviews with Gene Siskel that are worth reading, too.

Simply put, this is a fine volume that should belong to every Kubrick fan. Most of these interviews, if not all of them, are long out of print and the book is 98% worthwhile. Moreover, reading the words of Kubrick is like reading poetry-he did retain the right to extrapolate and modify his answers before any interview was published-with each sentence and word well chosen. Only complaint: there are no interviews with Kubrick regarding The Shining; why this film was left out is curious. Gorgeously printed with a spartan design, sturdily bound, set in Stone serif, rag right, this is a very reader-friendly book.

Considering the fact that Stanley Kubrick rarely gave interviews, this book is a godsend. Compiling articles and interviews over a span of several decades, "Stanley Kubrick: Interviews" offers a fascinating insight into one of the cinema's greatest directors. Many of these have been widely reprinted already, but it's great to see them all in one collection. Once you've bought this book ...get the Stanley Kubrick Collection DVD box set!

Stanley Kubrick is a person that the world over should miss. This book captures a part of his mystique, of why he was such a beautiful and intriguing person.

This slim, yet concise book provides an excellent behind the scenes look at one of filmdom's most famous directors. James Howard has done an excellent job of demolishing the myths which surround Kubrick and presenting a fascinating portrait of a virtuoso whose eye for detail is arguably unsurpassed in film history. Howard reveals that Kubrick's slavish attention to details was such that he considered placing toothbrushes on the set of BARRY LYNDON which were authentic in details to those actually used in the nineteenth century.

My primary criticism of the book is that it was billed as "complete survey of Kubrick's career -- including EYES WIDE SHUT." Well, yes and no. Though the book did include a chapter on Kubrick's last film, I was disappointed to find that Howard had written the book before the film's release. Commentary on Kubrick's swansong are thus limited to rumors of the sort which Howard diligently sought to dispel in the earlier chapters of the book. Apparently, the book was rushed into publication to coincide with the release of EYES WIDE SHUT and to cash in on Kubrick's untimely death. If a second, revised edition were to be released (which included Howard's knowledgeable critique of Kubrick's last film) this book would merit four stars. Recommended with reservations.

I would really love to give this book three and a half stars, but unfortunately that's not an option here. This book gives a detailed account of Kubrick's films, including history of the shooting, cast and crew comments, and excellent photos. The only problem I have with the book is the author's completely biased view of Kubrick. I understand that having a fan write the book makes perfect sense, but any quote that is of a vaguely negative nature toward Kubrick is treated with total horror and disdain. Kubrick was a genius -- there's no doubt about that -- but he was not perfect, and Howard refuses to acknowledge this.

That particular issue aside, this book is essential for anyone who's a fan of the late, great Stanley Kubrick.

James Howard's Stanley Kubrick Companion surveys all the films of Kubrick's career, including Eyes Wide Shut, his 1999 latest. Chapters examine plots, approaches, and styles unique to Kubrick's film projects. This is a highly recommended pick for students of film in general and science fiction film in particular.

I found it particularly interesting that Kubrick's very adult final movie was based on a short story written back in 1926. Kubrick fans know his movies are full of interesting camera angles and great characters, but underlying all his movies are a combination of temptation and agony. He was a master of titillating the senses and arousing curiousity but not quite giving you what you wanted to see. I was a little surprised, then, when his final movie seemed to leave little to the imagination.

I was surprised by the other reviews on this site that claimed the original story was overly risque. While the story was similar in concept, I found it rather tame compared to the movie. One reviewer said the main character had an infatuation with underage minors. Were we reading the same story here?

I enjoyed the movie but critics complain the movie was too focused on overt sexuality and shock value. Perhaps that's true. It's unlike his previous works which left more to interpretation of the viewer. I do agree that Kubrick attempted to solve the mysteries that were left unanswered in the story. I believe the movie would've received higher acclaim if he remained focused on the tension regarding the affairs of the heart.

One final note, as another reviewer noted, the screenplay differs from the final work. As he/she correctly pointed out, many of Kubrick's works were written "on the fly" as additional ideas and modifications to the original script were incorporated during production.

Anyone confounded by Kubrick's unsuccessful, if interesting, final film should take a look at the book on which it was based. It's one of the greatest books from this century that I've read. It is unfortunate that Kubrick could not transform it into a better movie, as maybe he could have at the height of his powers. The screenplay (or shooting script, anyway) is also included here, and after reading them both, it's easy to see why he failed. Kubrick's movie is basically a transcript of the exterior action that takes place in a book that deals mostly with the internal. Kubrick tries to illuminate the internal struggle with music, set design and mindscreen shots, and while all this adds to the unsettling atmosphere of the film, the core of the book, and the meaning of the events are lost. This is not helped by a sloppy job of updating the novel to 1990s New York. Most of Kubrick's movies (if not all) were based on novels (some great, some not so great), and one of his greatest talents was always to single out what he found to be the core of the novel, and the ability to shape it into his own vision (and in the process, infuriating some of the original writers). But in this case, Kubrick has updated the novel only superfically, and ultimately, he missed the point of the book. It's a shame, because it should have made a marvellous movie, and I feel it could have been one of his greatest achievements. Despite all this, Schnitzler's book stands on its own, and if nothing else, perhaps the movie will lead to something of a rediscovery of this masterpiece.

This is an incredible book. To read the original story, "Traumnovelle," is an enthralling experience. To think that it was written in 1926 adds to its mystique. The screenplay was worth looking at, though at times I felt it was more of a transcription than a screenplay. The narrative follows the final movie cut's directing instructions too closely, though there are some very minor deviations. I'd rather read the original script rather than a shooting script. The short story differs from the movie greatly. It a captivating read, and I can see why Stanley Kubrick spent most of his life wanting to see it on the screen. I think reading the short story gave me an appreciation of what Mr. Kubrick added to it to make it a remarkable film. The structure from the original story is vastly improved in that there is a confrontation of what the main character witnessed. In the short story, it is left up in the air as to the true nature of what he saw, with the strongest suggestion being that it was harmless debauchery of aristocrats. One aspect of the short story that was not explored (and thankfully so) in the movie was the main character's obsessive longings after extremely young women (including the young daughter of the rental costume owner). You'll have to see "American Beauty" for those scenes.