The Bond theme is further developed by Kubrick’s employment of “Dr. No” and “Goldfinger” designer Ken Adam.
A lesser director would rely on cross-cutting between the protagonists to build tension, but the chess player in Kubrick prefers a logical approach.
For over a decade, we have been sucked and seduced into a Richard Curtis middle-class hell, populated by fops and cockney stereotypes with hardly a black person in sight.
Watching a couple of toasters slug it out would be more interesting.
He beats the French New Wave by some three years and breaks the 180-degree rule on the harsh Gotham sidewalks.
By placing the French generals in an 18-century chateau, “Paths of Glory” predicts the vicious class divide later explored in “Barry Lyndon.”
Much like its titular protagonist, “Barry Lyndon” was never a first choice. Kubrick originally planned to make an epic about Napoleon.
It is tempting to be swayed by some critics who believe that the film never regains the level of intensity once Joker leaves Hartmann’s body on the latrine floor and finally makes it to Vietnam.
The Vikings, Napoleon’s Grand Armee, and the Nazis have all entered our collective nightmares over the centuries.
What makes the Overlook Hotel linger in our collective memory nearly 30 years later?