"Stanley Kubrick, Director" is probably the best book I have read yet on this great, but often debated about, filmmaker (I have yet to read Ciment's book, though, which I hear is much better) Kubrick was known for making controversial movies being "harsh" to his actors. The films examined in this book are his most well known and cover his various themes about humanity: "Fail Safe" machines going haywire (Dr. Strangelove), the dehumanization of men into machines and vice versa (2001, A Clockwork Orange, Full Metal Jacket) and man in collision with destiny and the past (Barry Lyndon, The Shining).

To date, this is the only major book made with the cooperation of Kubrick himself. The photographs in each chapter are taken from still frames from the actual films. The author provides brief summaries for each photograph, showing its use of lighting, camera placement or relation to another Kubrick film (Slow Motion shots, light used is from the light source one would expect at the actual location).

According to the author, anything in Kubrick's movies has symbolism or some meaning to it, and this is where the book's only flaw is. Camera angles, lighting, set design and decoration even phrases numbers and placements of objects can be interpreted to have some meaning. He also has interesting ideas about the movies (One of my favorites is his belief that the soldiers in Full Metal Jacket's boot camp are lab mice being experimented and reconditioned on). However, this can also be very, very helpful to understand the films more. The author shows that each Kubrick film can have more depth than meets the eye (If you still think "2001" is only about boredom, you need this book). Just make sure you have seen the movies before reading for there are major plot spoilers.

This is an interesting book, with a huge number of photographs detailing most of Kubrick's films. (The only ones not examined in depth are 'Fear and Desire,' 'Killer's Kiss,' 'The Killing,' 'Spartacus,' and 'Lolita.') The book is organized chronologically, with a small section in the middle of the book about Kubrick's use of color and an epilogue detailing Walker's personal encounters with Kubrick at the end. It is fun to read about Walker's stories about Kubrick, which shed some all-too-needed light on the personal life and motivations of the reclusive filmmaker.
On the whole, Walker's analyses of Kubrick's films are good, not great: I think he is really off-base in praising Tom Cruise's acting in 'Eyes Wide Shut' and in denigrating Kubrick's use of the occult in 'The Shining.' However, his analyses of 'Barry Lyndon' and 'Full Metal Jacket' were astute, and he successfully links certain themes and motifs throughout all of Kubrick's films.
Finally, although normally I don't like a huge amount of pictures in a book because of how they always jack up the price, here the pictures are well-chosen and either help jog your memory about the films or help you understand them if you haven't seen them. I will say that some of the pictures were much larger than they needed to be - I didn't need a full two-page spread of the atomic bomb exploding in 'Dr. Strangelove' - but that's a minor criticism.
All in all, a generally fun book.

This may be, as the notes above claim, the "most
comprehensive" book yet written on Kubrick. And it's clear the
author's personal relationship with him enhances understanding of his
films. But it's also obvious that the book was rushed onto the shelves
to capitalize on the publicity surrounding Kubrick's last film and the
director's death -- unless, of course, the typos and printer errors
are an artistic statement about mankind's pointless quest for
perfection...

The strongest part of the book is in finding subtle
similarities among the films, both in style and content, and in
tracing the evolution of the director's ability to put his ideas
onscreen.

But the writing is occasionally overblown, presenting
obvious points as if they were major revelations. The section on
'Kubrick's Use of Color' is almost laughable, looking like a
four-color decoy for the rest of the book's cheaply done b/w. its
analysis pretty much boils down to 'He used a lot of red.'

An
editorial description above refers to 'frame-by-frame' analysis, but
that's pretty misleading. There is some detailed technical insight,
but not for every film. And in sections that discuss particular
sequences, the accompanying photos are often on different pages. The
section on EWS is pretty splapdash.

But there is also some really
interesting stuff here. It's just too bad they didn't spend a little
more time sealing the cracks.

This book about Kubrick is by far the most probing of his work. Nelson goes into so much detail about each film--nicely excluding the early films and Spartacus, which don't fit into Kubrick's signature style--that its exhausting. But most of his info is psychological, and this can be very confusing to people like me who aren't educated in such metaphysics. He goes off on lots of tangents that I, being a literate and knowledgeable person, sometimes just don't understand. He makes some good points though and the book is good. I admit I'll probably look for the new edition with Full Metal Jacket and Eyes Wide Shut added on.

This volume stands alone as a model of film criticism on the works of Stanley Kubrick. The book contains individual chapters on `Lolita' through `The Shining'. One of the things that I find so fascinating about this book is not only Nelson's ability to assess the individual films to such an analytical degree, but also to evaluate them as a progressive whole. It astounds me how much insight Nelson brings to Kubrick's films. Will there ever be an expanded version containing chapters on `Full Metal Jacket' and `Eyes Wide Shut'? One can only hope.

There can be no greater praise for a book about Kubrick than to say that it is worthy of its subject. This one is. The opening chapter gives the bare biographical facts, and attempts to dispel a few of the myths about Kubrick's personality - not least the idea that, for example, a man's real or journalistically endowed flying phobia should have the least relevance for a viewer or a critic of his films. The next chapter analyses the early films up to the first masterpiece, Paths of Glory; and each subsequent film (except for the compromised Spartacus) has a chapter to itself. Nelson's critiques are detailed, comprehensive, thoroughly readable and constructive - which is to say, favourable. He appreciates the films and wishes others to appreciate them too. This revised and expanded edition contains, in the first chapter, a charming tribute to the director and, in two new chapters, analyses of Full Metal Jacket and Eyes Wide Shut which show that, in the intervening years between The Shining and the present, Nelson's abilities have diminished as little as Kubrick's. All the essays in the book can be read and enjoyed for their own sake - I was especially fond of the one on A Clockwork Orange, long before I was able to see the film itself - but they will also make you long to be back there in the dark, sharing the artist's vision with the eyes Nelson has widened for you.

I don't believe I've seen more than two of Mazursky's films but I enjoyed his book, especially the juicy chapter on his adventures with the increasingly more bizarre Peter Sellers. This is not a biography, but rather a series of essays about his involvement with different Hollywood people and some chapters about his current life and childhood. Recommended.

An interesting, light and witty Summer read that gives you insight into Mazursky's career and tales of movie production. Mazursky, born in the Brownsville section of Brooklyn started out as an actor (Blackboard Jungle), moved on to be a comedy writer (Danny Kaye, I Love You Alice B Toklas) when acting parts were infrequent, and made his directorial debut with Bob and Carol and Ted and Alice. My favorite scenes in the book? When a young Mazursky catches his zade eating his bubbe's herring on the afternoon of Yom Kippur; when Eisner and Katzenberg ask Mazursky if he thinks that the I.B. Singer story (Enemies, A Love Story) is too Jewish... maybe it can be about the Cambodian Holocaust instead of the WWII one; when Richard Dreyfus pulls out of the Enemies project; and the creation of Down&Out in Beverly Hills.

I loved reading this book, both from the standpoint of appreciating Paul Mazursky the director of many of my favorite films and reveling in Paul Mazursky the no-holds-barred storyteller. But--and, I'm sorry, there is a 'but'---why devote one sentence to the great Art Carney, who Mazursky calls the most pure actor he'd ever worked with, and then not tell the reader WHY he feels that way about Carney? There are no anecdotes to share about Jill Clayburgh or Robin Williams? Come on, Paul, give! This lapse is mostly compensated for by Mazursky's tales of traveling in the "then" Soviet Union and South America, his memories of working for Danny Kaye and his sharing the bitter and the sweet about his family, his friends and the ups and downs of his life. The chapter about Mazursky's relationship with his mother is especially powerful and a reminder that much of the pathos within even his funniest films came honestly to him. So, five stars for what's here---just would've liked to have seen more!

"Stanley Kubrick: A Life in Pictures" is more of a compendium to the documentary video released with the Kubrick Collection boxed set than a book of its own inspration. It's a trip through times past for both wife and author Christiane Kubrick as well as for the viewer who grew up with Kubrick's marvelous films. The book allows a deeper and more accessible view of the Man Behind the Camera.

Watching Kubrick's films, one gets the sense that something greater than a single man is directing these movies. Looking at these behind the scenes photos I hear the words "Dont' pay attention to the man behind the camera," as Kubrick plays the Almighty Oz in the production of his films.

The book is presented in a large hardback volume with glossy pages; all of the photos are black and white. We see Stanley from an infant all the way through to his work on "Eyes Wide Shut." The final pages also offer some pre-production sketches for "Artificial Intelligence." It is less of a book to read than a book to look through, although there are small captions to each picture that Christiane gives the reader the time and place and offers a little insight into Stanley's thinking.

With a foreward by Stephen Spielberg (the eventual director for "A.I."), "Stanley Kubrick: A Life in Pictures" is designed for the Kubrick fan, but serves as a memoir for Mrs. Kubrick. As she mentions in the introduction, "The photographs will...correct the mistaken view of Stanley as some sort of isolationist misanthrope out of Dr. Mabuse by way of Howard Hughes."

'STANLEY KUBRICK: A Life In Pictures' (c. Oct 2002) by Mrs. Christiane Kubrick, is an insightful photographic odyssey of Stanley Kubrick, America's very original and probably only auteur director.

Mrs. Kubrick presented, in chronological order, rare family photographs of Stanley Kubrick from his childhood in the Bronx and through his teenage years in high school and working for LOOK magazine. This included his very first 1945 photograph of a newspaper vendor he sold for twenty-five dollars to that publication.

The chronology then continued as a mix of Stanley Kubrick in his various movie publicity stills and with candid photographs of the behind the scenes activity as Director Kubrick lined up his shots on movie cameras; interacted with his crew; conversed with his stars; "having a little game of chess"; or the very obvious serious discussions with cast and technicians. (The pictures of Stanley Kubrick cracking-up laughing on the set of '2001' are priceless; as are the touching photographs of him holding his young children.) The photographs continued until the filming of his last movie, 'Eyes Wide Shut', showing a mature and greying director.

And for those who follow the interesting lives of the actors in his films, 'STANLEY KUBRICK: A Life In Pictures' provided dozens of revealing off-camera images of his interactions with such noted personalities as: Marlon Brando; Kirk Douglas; Lawrence Olivier; James Mason; George C. Scott; and Sterling Hayden. Equally as interesting as his cinematographic technique was his managerial style as he presided over some of Hollywood's most powerful movie stars, dozens of cast and crew, and sometimes thousands of extras, which one can only infer from the objectivity of this black & white photographic collection.

This collection contained a touch of poignancy as photo #57 showed a publicity still of Stanley Kubrick, Sterling Hayden, and Kola Kwariani pouring over a chess game together in the chess club set of 'The Killing'. In this 1956 movie, Kola Kwariani played professional wrestler Maurice Oboukhoff, who instigated a very memoriable diversion for the race track robbery. In real life, Kola Kwarinani was a real wrestler and expert chess player who played in the same New York 'Chess & Checker Club' (alias The Flea House) as Stanley Kubrick. The neighborhood changed, and in February 1980 at age 77 while playing in 'The Flea House' Kola Kwariani was beaten to death by five black teenage hoodlums.

The book: 'STANLEY KUBRICK: A Life In Pictures' is neither biography nor history but simply an important collection of objective photography mutely capturing the working details, values, and personality of America's only world class movie director.

As a suggestion, first read the biography: 'STANLEY KUBRICK: A Biography' (c.1997) by Vincent LuBrutto, to fully appreciate Mrs. Christiane Kubrick's impressive photographic compilation. Only then does the revealing photographs of her husband answer the many questions induced by all the incomplete written biographies on Stanley Kubrick.

Bronx-born Stanley Kubrick spent much of his professional life in England where he made some of the most controversial and original films ever to grace the silver screen. This uneven but fascinating book is in a sense a tribute to the man and his work. This is not the first encyclopedic treatment of a top movie director published by Facts on File--they have also done Alfred Hitchcock and Orson Welles. Perhaps this format--an "encyclopedia"--will catch on. At any rate, it is fun to leaf through randomly or perhaps one could actually proceed alphabetically.

The entries of course all have some connection with Kubrick. Included are actors who played in his movies, and people related to him and his friends and other people he worked with. There are also entries on movie business phenomena like "antiwar themes" and "censorship." There is an interesting entry on Steven Spielberg's Artificial Intelligence (2001) in which I learned that the original conception came from Kubrick. There are a number of black and white photos spread throughout the text and some line drawings, mostly of Kubrick and the actors who played in his films. Often the photos are stills from the movies. It is interesting to see Kubrick at various stages of his career and how time changed his appearance. My favorite photo is of George C. Scott and Stanley Kubrick playing chess on the set of Dr. Strangelove underneath the "War Room" mock up. By the way, Scott is reported to have gained respect for the younger Kubrick when Kubrick beat him at chess.

There is rather a lot of repetition in the entries, some of it unavoidable of course because entries overlap in content. However the entry for Sue Lyon, for example, who was Kubrick's Lolita, contains a summary of the plot of Lolita to the exclusion of the rather sparse information about Lyon. Also the editing and proofreading of the entries is not first rate. The text was begun by Rodney Hill and then taken up by Gene D. Phillips, which may account for some of the avoidable repetition. Some of the entries were written by John C. Tibbetts and others tagged with initials and identified as "Contributors" near the back of the book.

Clearly the strength of the book is in the light it sheds on Stanley Kubrick and his life in film. The detail is fascinating and the writing, in spite of the repetitions, is engaging. There are nice pieces on George C. Scott, James Mason, Peter Sellers, Malcolm McDowell, Nicole Kidman, Shelley Winters, Arthur C. Clarke, etc. as well as essays on all of Kubrick movies. Included are behind the scenes information about what went on during the shooting of the films, how the films were conceived and how they progressed. I was intrigued to learn that Kubrick was able to get a fine performance from the otherwise undistinguished Sue Lyon partly because he sometimes allowed her to use her own vernacular instead of words from the script. Also interesting was the difficulties that Shelley Winters experienced (from her viewpoint!) in working with James Mason and Peter Sellers in Lolita (1962). The relationship between Kubrick and Arthur C. Clarke, who wrote the novel 2001: A Space Odyssey and worked with Kubrick on the screenplay for the film, is interesting to follow. One realizes again that at the base of Kubrick's film creations is an abiding interest in science and human psychology.

Bottom line: an irresistible companion to the films of Stanley Kubrick, one of cinema's greatest directors and one of my personal favorites.

It's about time someone would write up a profound review onsuch a profound director. Such a book should be almost the cinematiccontra to the excellent review, "Rhetoric of fiction", by Wayne C. Booth, where he examines the question: "Where does the real story lie?", to which th answer is, ofcourse, in the reader/viewer's mind, and not on the screen, or in the pages of the book. But this book is not such... Such examples are lacking in the book, which is very interesting, there's no mistake in it, but it doesn't examine the purpose of such narrative and stylistic tools, but only very broadly points them out.

Still, very good.

Another of those hard to find volumes about the late director. This contains no real information about his work but is an index of books and other sources of information about the director and his works. Much like other out of print books it does not cover his last few movies but does aid in researching his earlier works. A useful volume to add to your library.

Michael Herr wrote this book to restore some balance to the discussions of Stanley Kubrick after his death -- as Herr notes, "The strangely contentious and extremely disrespectful tone that lurked inside so many of the obituaries and tributes was unpleasant to the many people who loved Stanley, but not surprising." The reviews of Kubrick's final, and probably unfinished, film Eyes Wide Shut didn't help -- with a few exceptions, the critics seemed happy to use the film to confirm all of their preconceived notions of Kubrick's life and art.

Herr's book offers a pleasant defense of his friend, as well as some interesting and amusing anecdotes, but little more than that. Personally, I'd hoped he would reveal more about how he and Kubrick worked on Full Metal Jacket, but the film is seldom talked about directly, though it is often mentioned, tantalizingly, in passing. Ultimately, the book is little more than a long magazine article put into hardcover; it's nice to have, and would make a fine gift for a Kubrick fan, but it's definitely not a "must-have" book.

Yes, this is a slim volume, and yes, a third of it comes from a Vanity Fair article, but it is also a tender and affectionate portrait of Stanley Kubrick well worth owning if you are an admirer of the filmmaker or a movie buff in general. Herr not only fills his books with amusing anecdotes about the famously reclusive director but also writes eloquently about the state of art and cinema in America. Although a bit defensive at times (particularly in assessing the merits of "Eyes Wide Shut"), this book is a welcome departure from all the anti-Kubrick blather prevalent in the news media, which focus on his eccentric and paranoid side (much of which is untrue).

This is not just a reprint of Herr's "Vanity Fair" piece about Kubrick (although there's nothing wrong with republishing articles in book form--remeber Tom Wolfe's "Radical Chic"?) The final section of this small book is a brand new hell-raising defence of "Eyes Wide Shut" as a modern masterpiece: Herr also assails those critics who he believes did dirt to the memory of Kubrick.. Herr is a very seductive, stylish writer, and this memoir of the late, great director is loving, but clear-eyed and a good antidote to Fredric Raphael's vitriolic "Eyes Wide Open."

LoBrutto conducts tons of interviews, does endless legwork, and thenspews the data almost completely unedited onto the page. While this can makefor frustrating, fragmented, and dull reading, I prefer this approach to the shoot-from-the-hip psychoanalysis that passes for biography these days (such as in Spoto's Hitchcock bio). Still, LoBrutto's writing style leaves a lot to be desired: when he compares a deli pickle angrily tossed by a young Kubrick to the spinning bone in "2001," he manages to ruin a funny observation with clunky prose. (Never mind my own clunky prose in that sentence!) The early parts of Kubrick's life suffer the most in this respect, but the book moves along nicely once Kubrick begins filmmaking. It's especially good once Arthur C. Clarke begins collaborating with him on "2001" -- the energy in their relationship is fascinating.

I admire LoBrutto's restraint in discussing Kubrick's personal life. A lesser biographer would see his subject's reclusiveness as license to speculate wildly, yet LoBrutto leaves well enough alone. If you read this, you'll know little about Kubrick's failed marriages but a lot about how "Paths of Glory" managed to get made. So, this flawed bio is probably only worthwhile to die-hard Kubrickians...

I enjoyed this book. It reads more like a novel than a stoic biography and it reminds us that there will never be another Stanley Kubrick......ever. But it leaves me guessing about the true nature of Stanley Kubrick. Perhaps this is because Lobrutto has to rely on what is documented, rather than entering the inner sanctum of the private thoughts of a private artist. Can't fault Lobrutto, however, as Kubrick is an enigma, perhaps intentionally so, and this is neither an unofficial nor official biography. Kubrick didn't suppress Lobrutto's efforts, but it is quite apparent that he did not assist the author in any way as well. So here we have Kubrick's film reviews, accounts of box office/critical reception, detailed technical notes and various second-hand experiences and observations from people involved in various Kubrick productions, along with some early memories from people who knew Stanley when they were all just a bunch of kids in the Bronx. Might seem trivial to some, but for Kubrick buffs, Lobrutto's book is a must-read.

If you want to know about Stanley Kubrick, outside of viewing his films, this is THE book !

This book fills in the blanks, about this enigmatic filmmaker, with a very concise, pre-history, to his notariety as director of such films as "Paths of Glory" and "Dr. Strangelove".

It is from these "roots", that his story REALLY begins !

Be patient to get to those "famous" years, for it is this story, that explains, the "how" and "why" he is regarded so highly.

Uncompromising to Stanley Kubrick, STANLEY KUBRICK: A BIOGRAPHY (c.1997) by John Baxter, is a first order inquiry which took the Suetonian view towards biography and depicted its subject as a gelid autuer director motivated by an obsessive/compulsive need to control his environment in order to materialize his artistic vision on film. John Baxter focused on the opinions, observations, and views of those who worked for Stanley Kubrick; and also those who claimed to have been alienated by him.

Apparently following the advice of former British prime minister Lloyd George when that prime minister stated: "All biographies should be written by an acute enemy", John Baxter picked up on every error, mistake, and indecision of Stanley Kubrick in the course of his career. This gave Stanley Kubrick a historical perspective which included a somewhat realistic account of the man behind some of America's most influential motion pictures ever produced.

Yet biography is not history and John Baxter's work contained some obvious logical and historic errors as when he included a photograph indicating actress Ms. Suzanne Christiane as Kubrick's future second wife; or in his bibliography giving Vincent LoBrutto's book of Kubrick a copyright of 1996 - yet in Lobrutto's work, the T.P. verso indicated 1997 as the copyright.

Kubrick's intelligence, or motive, was also brought into question by John Baxter as he included in his book an explanation of Kubrick's compulsive notetaking by erudite British actress Ms. Adrienne Corri that "All this notetaking is just a way of accumulating what other people know" and also, "He (Kubrick) was not an intelligent or a curious man". But one need only to have seen in 1968 the premeire of '2001: A Space Odyssey' in 'Cinerama' (with the wrap-around screen) to be convinced that there was a brilliance behind its direction. But Baxter alluded to brilliance only in the sense of a Bobby Fischer or of a Thomas Edison - that is, brilliant in a limited and focused capacity.

While John Baxter's bibliography on Stanley Kubrick included some obvious short-comings to the careful reader, it also contained some undeniable eyewitness observations of the subject's character.

A good book to read in accompany with John Baxter's view is: 'STANLEY KUBRICK: A Biography'(c.1997) by Vincent LoBrutto, which gives a kinder Plutarchian view of its subject. It would be advantageous to also read: 'STANLEY KUBRICK: A Life In Pictures' (c. 2002) by Mrs. Suzanne Kubrick, with her objective collection of mostly black & white Kubrick photographs, mostly shot in his studios.

With new information appearing all the time, the definitive biography on Stanley Kubrick has yet to be written (there are 400 biographies on Mahatma Ghandi) and both John Baxter and Vincent LoBrutto's account are good starting points on the life of Stanley Kubrick.

Helps you realize why you love Kubrick, if you can read between the lines and if you don't get fixated on the tales of Kubrickophobism. While entertaining, they are not all that the book is about. The author does not present Kubricks work in 5-syllable Aestheto-socio-philosophical terms, nor does he fuss about the geometrical aspects of panning and scanning, yet he encourages you to re-visit Kubrick, and multiply your viewing experince!

Not a text book, for sure!

Not being a Kubrick fundi and not knowing all that much about the man behind the (enormous) myth, I found this book readable and interesting. I have to agree that it does not contain much in the way of analysis of Kubrick's movies, but that is probably not what the author had set out to do. It would have been a colossal and much less accessible work had he dealt at length with each of the movies.

What I cannot understand is the reaction of some of the reviewers, saying that the author was intent on crucifying Kubrick. That was certainly not my impression when I read the book, but then I do not regard Kubrick as per se a wonderful person becasue he made acclaimed movies. He comes across as a much warmer and more human person than I expected, give his reclusive lifestyle, but also as someone who had some flaws, like an inability to start and finish projects. And that is also what was said about him after his death, so I think Baxter is maybe not that far off the mark in his portrayal.