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Seven Arts
AA Productions
Anya Pictures
Transworld Pictures [1]
June 13, 1962 ( 1962-06-13 ) (United States)
James Mason as Humbert "Hum" Humbert
Shelley Winters as Charlotte Haze-Humbert
Sue Lyon as Dolores "Lolita" Haze
Peter Sellers as Clare Quilty / Dr. Zempf
Gary Cockrell as Richard "Dick" Schiller
Jerry Stovin as John Farlow, a Ramsdale lawyer
Diana Decker as Jean Farlow
Lois Maxwell as Nurse Mary Lore
Cec Linder as Dr. Keegee
Bill Greene as George Swine, the hotel night manager in Bryceton
Shirley Douglas as Mrs. Starch, the piano teacher in Ramsdale
Marianne Stone as Vivian Darkbloom, Quilty's companion
Marion Mathie as Miss Lebone
James Dyrenforth as Frederick Beale, Sr.
Maxine Holden as Miss Fromkiss, the hospital receptionist
John Harrison as Tom
Colin Maitland as Charlie Sedgewick
C. Denier Warren as Potts
^ "Company Information" . Movies & TV Dept. The New York Times . 2012. Archived from the original on November 3, 2012 . Retrieved October 3, 2010 .
^ "Lolita (1962)" . Turner Classic Movies . Retrieved November 27, 2020 .
^ Jump up to: a b "AFI|Catalog - Lolita" . American Film Institute . Retrieved November 27, 2020 .
^ Jump up to: a b c Box Office Information for Lolita . The Numbers . Retrieved June 13, 2013.
^ "Lolita" . AllMovie .
^ Jump up to: a b c " An Interview with Stanley Kubrick (1969) " by Joseph Gelmis. Excerpted from The Film Director as Superstar (Garden City, N.Y.: Doubleday, 1970).
^ Rose, Lloyd. "Stanley Kubrick, at a Distance" Washington Post (June 28, 1987)
^ "Portland Mason" . Archived from the original on November 3, 2012 . Retrieved March 5, 2015 .
^ "Lolita (1962)" .
^ Kubrick in Nabokovland by Thomas Allen Nelson. Excerpted from Kubrick: Inside a Film Artist's Maze (Bloomington: Indiana University Press, 2000, pp 60–81)
^ Lisanti, Tom (2001), Fantasy Femmes of Sixties Cinema: Interviews with 20 Actresses from Biker, Beach, and Elvis Movies , McFarland, p. 71, ISBN 978-0-7864-0868-9
^ Boyd, Brian (1991). Vladimir Nabokov: the American years . Princeton NJ: Princeton University Press. p. 415. ISBN 9780691024714 . Retrieved August 30, 2013 .
^ " 'Lolita': Complex, often tricky and 'a hard sell' " . CNN . Archived from the original on January 3, 2005 . Retrieved March 6, 2015 .
^ Graham Vickers (August 1, 2008). Chasing Lolita: How Popular Culture Corrupted Nabokov's Little Girl All Over Again . Chicago Review Press. pp. 127 –. ISBN 978-1-55652-968-9 .
^ " Lolita (X)" . British Board of Film Classification . Retrieved November 1, 2011 .
^ " Lolita (1962) " A Review by Tim Dirks—A comprehensive review containing extensive dialogue quotes. These quotes include other details of Humbert's narration.
^ Leonard Maltin's Movie Guide 2013 Edition (edited by Leonard Maltin , a Signet Books paperback published by New American Library , a division of Penguin Group ), p. 834: "Screenplay for this genuinely strange film is credited to Vladimir Nabokov, who wrote the novel of the same name, but bears little relation to his actual script, later published"
^ Naremore, James (2019). On Kubrick . Bloomsbury. ISBN 978-1838717469 .
^ Nabokov, Strong Opinions , Vintage International Edition, pp. 6–7
^ [1] See footnote 6.
^ The male body: a new look at men in public and in private by Susan Bordo p. 305
^ Jenkins pp. 34–64
^ Jenkins, p. 40
^ Jump up to: a b Jenkins p. 58
^ Jenkins p. 42
^ Jenkins, p. 54
^ Jump up to: a b Annotated Lolita p. 15
^ Annotated Lolita p. 14
^ Annotated Lolita p. 35
^ Bordo, Susan (2000). The male body: a new look at men in public and in private . Macmillan. p. 303. ISBN 0-374-52732-6 .
^ "Terry Southern's Interview with Kubrick, 1962" . terrysouthern.com . Archived from the original on November 8, 2010.
^ Michel Ciment Kubrick': The Definitive Edition p. 92
^ "Why 'Lolita' Remains Shocking, And A Favorite" . NPR.org . July 7, 2006.
^ "Lolita - Knopf Doubleday" . Knopf Doubleday .
^ An interesting discussion of this scene is in Stanley Kubrick and the Art of Adaptation: Three Novels, Three Films by Greg Jenkins pp. 56–57
^ Justin Wintle in The concise new makers of modern culture p. 556
^ Annotated Lolita p. lxi
^ This is discussed in a footnote in Annotated Lolita p. 328
^ Stanley Kubrick and the Art of Adaptation: Three Novels, Three Films by Greg Jenkins p. 67
^ LoBrutto, Vincent (1999). Stanley Kubrick: A Biography . Da Capo Press. p. 208. ISBN 0-306-80906-0 .
^ Bordo, Susan (2000). The male body: a new look at men in public and in private . Macmillan. p. 304. ISBN 0-374-52732-6 .
^ Jenkins, Greg (1997). Stanley Kubrick and the art of adaptation: three novels, three films . McFarland. p. 151 . ISBN 0-7864-0281-4 .
^ Gengaro, Christine Lee (2012). Listening to Stanley Kubrick: The Music in His Films . Rowman & Littlefield. p. 52. ISBN 978-0571211081 .
^ Lee, Jason (2009). Celebrity, Pedophilia, and Ideology in American Culture . Cambria Press. pp. 109–111. ISBN 978-1604975994 .
^ Jenkins, Greg (2003). Stanley Kubrick and the Art of Adaptation: Three Novels, Three Films . McFarland. p. 156 . ISBN 0786430974 .
^ Ciment, Michel (2003). Kubrick: The Definitive Edition . Macmillan. p. 92. ISBN 0571211089 .
^ Jenkins, Greg (2003). Stanley Kubrick and the Art of Adaptation: Three Novels, Three Films . McFarland. p. 57 . ISBN 0786430974 .
^ Tony Maygarden. "SOUNDTRACKS TO THE FILMS OF STANLEY KUBRICK" . The Endless Groove. Archived from the original on January 9, 2015 . Retrieved December 7, 2010 .
^ "Lolita Ya-Ya" . Billboard Database . Retrieved February 26, 2022 .
^ "Singles Reviews" . Billboard . July 14, 1962 . Retrieved February 26, 2022 .
^ PAI RAIKAR, RAMNATH N (August 8, 2015). "Lolita: The girl who knew too much" . Navhind Times . Retrieved November 29, 2016 .
^ "Lolita (película de 1997)" (in Spanish). Helpes.eu . Retrieved November 29, 2016 .
^ Crowther, Bosley (June 14, 1962). "Screen: 'Lolita,' Vladimir Nabokov's Adaptation of His Novel". The New York Times : 23.
^ Coe, Richard L. (June 29, 1962). " 'Lolita' Still Is Provocative". The Washington Post . p. C5.
^ Scheuer, Philip K. (June 17, 1962) "'Lolita,' Naughty but Nicer, Arrives as Movie". Los Angeles Times . Calendar, p. 8.
^ "Lolita". The Monthly Film Bulletin . 29 (345): 137. October 1962.
^ Gill, Brendan (June 23, 1962). "The Current Cinema". The New Yorker . p. 90.
^ Croce, Arlene (Autumn 1962). "Film Reviews: Lolita". Sight & Sound . 31 (4): 191.
^ "Lolita". Variety : 6. June 13, 1962.
^ "Film Review: Lolita". Harrison's Reports : 94. June 23, 1962.
^ Kaufmann, Stanley (1968). A world on Film . Delta Books. p. 17.
^ Lolita at Rotten Tomatoes
^ "Lolita (1962) Reviews" . Metacritic . Retrieved November 28, 2020 .
^ "David Lynch on Stanley Kubrick" . YouTube . Archived from the original on November 18, 2021 . Retrieved December 28, 2019 .
^ "All-Time Top Grossers". Variety . January 8, 1964. p. 69.
^ "The 35th Academy Awards (1963) Nominees and Winners" . oscars.org . Retrieved August 23, 2011 .
^ "BAFTA Awards: Film in 1963" . BAFTA . 1963 . Retrieved September 16, 2016 .
^ "15th DGA Awards" . Directors Guild of America Awards . Retrieved July 5, 2021 .
^ "Lolita – Golden Globes" . HFPA . Retrieved July 5, 2021 .
^ "Erica Jong Screens Lolita With Adrian Lyne" . The New York Observer . May 31, 1998. Archived from the original on October 4, 2009 . Retrieved May 11, 2009 .
Wikiquote has quotations related to Lolita (1962 film) .
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Lolita is a 1962 psychological comedy-drama film [5] directed by Stanley Kubrick and based on the 1955 novel of the same title by Vladimir Nabokov , who is also credited with writing the screenplay. The film follows Humbert Humbert, a middle-aged literature lecturer who becomes sexually infatuated with Dolores Haze (nicknamed "Lolita"), a young adolescent girl. It stars James Mason , Shelley Winters , Peter Sellers and, as the titular character, Sue Lyon .
Owing to restrictions imposed by the Motion Picture Production Code , the film toned down the most provocative aspects of the novel, sometimes leaving much to the audience's imagination. The actress who played Lolita, Sue Lyon, was 14 at the time of filming.
Lolita polarized contemporary critics for its controversial depictions of child sexual abuse. Years after its release, Kubrick expressed doubt that he would have attempted to make the film had he fully understood how severe the censorship limitations on it would be. Regardless, the film has since received critical acclaim, and was later nominated for Best Adapted Screenplay at the 35th Academy Awards .
In a remote mansion, Clare Quilty, drunk and incoherent, plays Frédéric Chopin 's Polonaise in A major, Op. 40, No. 1 on the piano before being shot to death by Humbert "Hum" Humbert, a middle-aged British professor of French literature.
Four years earlier, Humbert arrives in Ramsdale, New Hampshire, intending to spend the summer before his professorship begins at Beardsley College, Ohio. He searches for a room to rent, and Charlotte Haze, a cloying, sexually frustrated widow, invites him to stay at her house. He declines until seeing her 12-year-old daughter, Dolores, affectionately nicknamed "Lolita", with whom he becomes infatuated.
To be close to Lolita, Humbert accepts Charlotte's offer and becomes a lodger in the Haze household. However, Charlotte wants all of Humbert's time for herself and tells him that she will be sending Lolita to an all-girl sleepaway camp for the summer. After the Hazes depart for camp, the maid gives Humbert a letter from Charlotte, confessing her love for him and demanding he vacate at once unless he feels the same way. The letter says that if Humbert is still in the house when she returns, Charlotte will know her love is requited, and he must marry her. Though he roars with laughter while reading the sadly heartfelt yet characteristically overblown letter, Humbert marries Charlotte.
Things turn sour for the couple in the absence of the child: glum Humbert becomes more withdrawn, and Charlotte grows increasingly unfulfilled and upset. Charlotte discovers Humbert's diary entries detailing his passion for Lolita and describing Charlotte as "obnoxious" and "brainless". In an outburst, she runs outside, but is hit by a car and dies.
Humbert arrives to pick up Lolita from camp; she does not yet know her mother is dead. They stay the night in a hotel that is handling an overflow influx of police officers attending a convention. One of the guests, a pushy, abrasive stranger, insinuates himself upon Humbert and keeps steering the conversation to his "beautiful little daughter", who is asleep upstairs. The stranger implies that he too is a policeman and repeats, too often, that he thinks Humbert is "normal". Humbert escapes the man's advances, and, the next morning, Humbert and Lolita play a "game" she learned at camp, and it is implied that they have a sexual encounter. The next day, Humbert confesses to Lolita that her mother is not sick in a hospital, as he had previously told her, but dead. Grief-stricken, she stays with Humbert. The two then commence a trip cross country, traveling from hotel to motel. In public, they act as father and daughter.
In the fall, Humbert reports to his position at Beardsley College, and enrolls Lolita in high school there. Before long, people begin to wonder about the relationship between the father and his over-protected daughter. Humbert worries about her involvement with the school play and with male classmates. One night he returns home to find Dr. Zempf, a pushy, abrasive stranger, sitting in his darkened living room. Zempf, speaking with a thick German accent, claims to be the psychologist from Lolita's school and wants to discuss her knowledge of "the facts of life". He convinces Humbert to allow Lolita to participate in the school play, for which she had been selected to play the leading role.
While attending a performance of the play, Humbert learns that Lolita has been lying about how she was spending her Saturday afternoons when she claimed to be at piano practice. They get into a row and Humbert decides to leave Beardsley College and take Lolita on the road again. Lolita objects at first but then suddenly changes her mind and seems very enthusiastic. Once on the road, Humbert realizes they are being followed by a mysterious car that never drops away but never quite catches up. When Lolita becomes sick, he takes her to the hospital. However, when he returns to pick her up, she is gone. The nurse there tells him she left with another man claiming to be her uncle and Humbert, devastated, is left without a single clue as to her disappearance or whereabouts.
Some years later, Humbert receives a letter from Mrs. Richard T. Schiller, Lolita's married name. She writes that she is now married to a man named Dick and that she is pregnant and in desperate need of money. Humbert travels to their home and demands that she tell him who kidnapped her three years earlier. She tells him it was Clare Quilty, the man that was following them, who is a famous playwright and with whom her mother had a fling in Ramsdale. She states Quilty is also the one who disguised himself as Dr. Zempf, the pushy stranger who kept crossing their path. Lolita admits she was infatuated by Quilty and also carried on an affair with him at Beardsley, then left the hospital with him when he promised her a Hollywood contract. However, he then demanded she join his bohemian lifestyle, including acting in his "art" films, which she refused.
Humbert begs Lolita to leave her husband and come away with him. She declines, reminding him that she has a baby due in three months, but apologizes for cheating. Humbert gives Lolita $13,000, explaining it is her money from the sale of her mother's house, and leaves to go shoot Quilty in his mansion. Intertitles explain that Humbert died of coronary thrombosis awaiting trial for Quilty's murder.
With Nabokov's consent, Kubrick changed the order in which events unfolded by moving what was the novel's ending to the start of the film. Kubrick determined that while this sacrificed a great ending, it helped maintain interest, as he believed that interest in the novel sagged halfway through once Humbert “seduced” Lolita. [6]
The second half contains an odyssey across the United States and though the novel was set in the 1940s, Kubrick gave it a contemporary setting, shooting many of the exterior scenes in England with some back-projected scenery shot in the United States, including upstate eastern New York, along NY 9N in the eastern Adirondacks and a hilltop view of Albany from Rensselaer , on the east bank of the Hudson. Some of the minor parts were played by Canadian and American actors, such as Cec Linder , Lois Maxwell , Jerry Stovin and Diana Decker, who were based in England at the time. Kubrick had to film in England, as much of the money to finance the movie was not only raised there but also had to be spent there. [6] In addition, Kubrick was living in England at the time, and suffered from a deathly fear of flying. [7] Hilfield Castle featured in the film as Quilty's "Pavor Manor".
Mason was the first choice of Kubrick and producer Harris for the role of Humbert Humbert, but he initially declined due to a Broadway engagement while recommending his daughter, Portland , for the role of Lolita. [8] Laurence Olivier then refused the part, apparently on the advice of his agents. Kubrick considered Peter Ustinov but decided against him. Harris then suggested David Niven ; Niven accepted the part but then withdrew for fear the sponsors of his TV show, Four Star Playhouse (1952), would object. Noël Coward and Rex Harrison were also considered. [9] Mason then withdrew from his play and got the part.
The role of Clare Quilty was greatly expanded from that in the novel and Kubrick allowed Sellers to adopt a variety of disguises throughout the film. Early on in the film, Quilty appears as himself: a conceited, avant-garde playwright with a superior manner. Later he is an inquisitive policeman on the porch of the hotel, where Humbert and Lolita are staying. Next he is the intrusive Beardsley High School psychologist, Doctor Zempf, who lurks in Humbert's front room, to persuade him to give Lolita more freedom in her after-school activities. [10] He is then seen as a photographer backstage at Lolita's play. Later in the film, he is an anonymous phone caller conducting a survey.
Jill Haworth was asked to take the role of Lolita but she was under contract to Otto Preminger and he said "no". [11] Although Vladimir Nabokov originally thought that Sue Lyon was the right selection to play Lolita, years later Nabokov said that the ideal Lolita would have been Catherine Demongeot , a French actress who had played Zazie in Zazie in the Metro (1960), followed by only a few more films. [12]
At the time the film was released, the ratings system was not in effect and the Hays Code , dating back to the 1930s, governed movie production. The censorship of the time inhibited Kubrick's direction; Kubrick later commented that, "because of all the pressure over the Production Code and the Catholic Legion of Decency at the time, I believe I didn't sufficiently dramatize the erotic aspect of Humbert's relationship with Lolita. If I could do the film over again, I would have stressed the erotic component of their relationship with the same weight Nabokov did." [6] Kubrick hinted at the nature of their relationship indirectly, through double entendre and visual cues such as Humbert painting Lolita's toes. In a 1972 Newsweek interview (after the ratings system had been introduced in late 1968), Kubrick said that he "probably wouldn't have made the film" had he realized in advance how difficult the censorship problems would be. [13]
The film is deliberately vague over Lolita's age. Kubrick commented, "I think that some people had the mental picture of a nine-year-old, but Lolita was twelve and a half in the book; Sue Lyon was thirteen." Actually, Lyon was 14 by the time filming started and 15 when it finished. [14] Although passed without cuts, Lolita was rated "X" by the British Board of Film Censors when released in 1962, meaning no one under 18 years of age was permitted to watch. [15]
Humbert uses the term "nymphet" to describe Lolita, which he explains and uses in the novel; it appears twice in the movie and its meaning is left undefined. [16] In a voice-over on the morning after the Ramsdale High School dance, Humbert confides in his diary, "What drives me insane is the twofold nature of this nymphet, of every nymphet perhaps, this mixture in my Lolita of tender, dreamy childishness and a kind of eerie vulgarity. I know it is madness to keep this journal, but it gives me a strange thrill to do
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