from Sofia Trankina
Stanley Kubrick was born Jewish.yes, in Jewish New York, with a typical New York Jewish name and a long beard that gave him “the aura of a Talmudic scholar” or a “cynical rabbi” (in the words of his colleague Arthur C. Clarke). But, according to him, he was not “really a Jew, but simply had two Jewish parents” (this was not Really Jew, he’s just him It happened have two Jewish parents). However, his obsession with other Jewish intellectuals (Freud and Kafka) and exquisitely Jewish themes seems to suggest otherwise.
They talked about it this afternoon European Day of Jewish Culture, director Alex Infacelli (on the right in the photo) – who he met Christiane Suzanne (Kubrick’s last wife) e Emilio D’Alessandro (his driver) on the occasion of making a short film for LA7 – and journalist Niram Ferretti (Left).
Having received a camera from his father as a gift for his 13th birthday, young Kubrick soon becomes bulimic images. He portrays reality dryly and effectively, allowing it to “explode in our heads, raising a thousand questions,” Infacelli explains, “.” The iconic power of Stanley’s images (which leaves no room for interpretation) has created spaces so absolute that they become fantastic.”
The two great themes that haunt him and envelop his work are war and pornography: in both K. sees the highest expression of the truth of the human being, fight between mensch ethical and goyim ego and testosterone.
For him, the human figure is always under threat of sin, violence, oppression, although he feels that there is an ethical path. He then tries to explain what the inherent difficulty of free will may be, without, however, providing a solution.
Stanley gradually becomes familiar with what it is. space and its narrative power, and begins to play with it. shots originals and lights research, after military scientific methodologyperhaps inherited from his father, a doctor.
WITH ‘irony typical of Judaism from which he tried to free himself, soon after marrying Christiane, who brings her teenage daughter from the first bed into her home, he leads Lolitain which the author falls in love with his stepdaughter.
“Everything that passes through his eyes reaches a paroxysmal level.” It’s the same irony with which he tears up the film’s first script soon after. Doctor Strangelove, rewrite it all in a comic way. Because, after all, “you can’t talk seriously about such a ridiculous idea as surviving a nuclear war.”
In 1968, his atheism crumbles in the face of the existential questions of “who we are” and “where we come from,” which lead him to create 2001, A Space Odysseyin which “the monolith is only one of law tables“
The screening was supposed to be preceded by a short interview with theologians and scientists about the possibility of life in space, but Metro-Goldwyn-Mayer quickly canceled it.
In 1919 he was struck supernatural Freud, in which the psychoanalyst explains thatHeimlichThe everyday dimension is familiar to us, and we think that we can control it only because we see it before our eyes, but, to quote Schelling, “there is something in the familiar unheimlich” which must remain hidden, secret, because when it comes to the surface, it disrupts our perception of order and convention.
Shortly thereafter, three of Kafka’s novels were published. America, ProcessAND Lockapotheosis of sizeunheimlichAND Traumnovel Arthur Schnitzler, with whom Kubrick falls in love and cannot resist the temptation to make a film about it, which will become With eyes wide shut.
IN With eyes wide shut Kubrick dramatizes psychoanalysis and dramatizes trauma. eruption of anxiety into a habit. To do this, the director chooses a husband and wife (Tom Cruise and Nicole Kidman) as actors and corrupts them so much that after the film they separate.
Wide-open eyes are moving REM sleep eyes that dream with drooping eyelids. “It is a meta-cinematic film, full of hypertextual games and so semantically stratified that critics find it difficult to systematize it,” explains Ferretti; a film about sex, power and death that questions our perception of reality and our knowledge of the world. “This is Stanley Kubrick pornography.”
It reminds us that order, our confidence and civilization itself are something builtfragile, never guaranteed, because destructive impulses are always present within a person and ready to be reactivated. Order is besieged by threat, and all of Kubrick’s cinema is besieged by threat.ugly.
“To watch his films is to find yourself in front of an artist who constantly asks us questions and never gives us easy answers,” concludes Niram Ferretti.