#kubrick

Nova tehnološka okruženja stvaraju najviše bola onima koji su najmanje pripremljeni da promene svoje stare vrednosne strukture. Intelektualci osećaju da ih novo elektronsko okruženje mnogo više ugrožava nego oni koji su manje posvećeni pismenosti kao načinu života. Kada pojedinac ili društvena grupa osećaju da im je ceo identitet ugrožen društvenom ili psihičkom promenom, njihova prirodna reakcija je da napadaju u samoodbrambenom besu. Ali uprkos njihovom jadikovanju, revolucija se već dogodila.

Pisac: Maršal Mekluan (1911-1980).
Knjiga: “Elektronski mediji i kraj kulture pismenosti”, 1969.
Izdavač: Karpos, 2012.

Ilustracija: “HAL 9000”.
Iz Stenli Kjubrikovog filma
“2001: Odiseja u svemiru”, 1968.

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Nurturing genius.

The Killing (1956) is a film by Stanley Kubrick. It has the makings of a classic, but held back only because of the time period in which the film was released, but nevertheless it’s still a prolific look into the minutia of Kubrick.

An ex-convict, finally free from Alcatraz has planned a heist down to the ’t.’ He has gathered all the right pieces that he must need to make it succeed as he brings together a team of people all necessary for the success of the heist. However, the one thing he could not calculate were each person’s motives as well as their personal lives; as the story unfurls so does the universe’s uncertainty as the otherwise perfect plan slowly unravels due to the unpredictable nature of the human condition.

This is a very enjoyable film, for its narration creates the momentum for the film as the ominous narrator pushes the story along in the form of a cautionary tale. The narration also gives clue to the fact that this heist had already happened and that as the audience what we are watching is a re-telling of it, giving the film a superlative feel for the audience as we get to be spoiled with Kubrick’s relatively genius and innovative screenplay.

It’s amazing how much “fat-trimming” is done to the film, as each character isn’t developed by their individuality, for it seemed like the decade in which it takes place defines the characters, for all the roles were seemingly cliche. Yet their intentions for taking the job are all highlighted in their respective categories, which allows the audience to realize why it’s so difficult managing people, because everyone has problems of their own, but will place them on the “back burner” in order to make capital, and to maintain a level of professionalism. Characters need not apply in heist films, only their skill sets, because the success and failure of a heist film lie within the details of the film’s writing.

Kubrick indeed captures the violence in the film with great shock, relative to its time period, as its shaky movements makes its rounds, carefully framing each shot to emphasize the actions of the individuals involved in the caper.

Stanley Kubrick even gives a nod to the game of chess. He alludes to the fact that like chess even the smallest movement of its pieces can completely alter the outcome of the game. This is a great metaphor for the plot as a lot of emphasis is placed upon the precision of the people involved in the heist, and how important each of their roles are to the overall success of the job.

The Killing was an absolute privilege to watch. It shows the makings of a genius filmmaker who will later move on to make 2001, Dr. Strangelove, Barry Lyndon etc. It’s not an depth character study like Clockwork, nor is it revolutionary like 2001, but The Killing is a solid heist film that is created with careful detail

3.5/4

-DK

Eyes Wide Shut (1999, dir. Stanley Kubrick)

42 Years Ago…

The Shining (1980, dir. Stanley Kubrick)

The Shining (1980, dir. Stanley Kubrick)

“Are you ready for a bit of the old ultraviolence?”