Anal Perversions Of Lolita

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Lolita (1962)
was Stanley Kubrick's sixth film - a brilliant, sly adaptation of
Vladimir Nabokov's celebrated yet controversially-infamous 1955 novel
of a middle-aged man's unusual, doomed sexual passion/obsession for
a precocious, seductive "nymphet" girl. [Note: The scandalous
book was banned in Paris in 1956-1958, and not published in its full
form in the US or UK until 1958.] The age of Lolita in the novel
was raised from 12 years old to that of a typical high-schooler -
probably 14 or 15.
[Note: The well-known scandal at the start of
the century of actor Charlie Chaplin's second marriage and subsequent
divorce to under-age actress Lolita McMurry may have been the original
reference point for Nabokov's novel.]
The black humor and dramatic story of juvenile temptation
and perverse, late-flowering lust was centered on a pubescent nymphet
and a mature literature professor in an aura of incest. Rather than
a film of overt sexuality and prurient subject matter, its content
was mostly suggestive, with numerous double entendres and metaphoric
sexual situations. Actors who were offered or considered for the
role of the middle-aged, obsessed European intellectual included
Kubrick's first choice - Noel Coward, then Cary Grant, Laurence Olivier,
Rex Harrison, and David Niven.
The film's production, the first of Kubrick's films
produced independently in England, was marked by:
The film received only one Oscar nomination, Best Adapted
Screenplay (credited to Vladimir Nabokov), that lost to Horton Foote's
screenplay for To Kill a Mockingbird (1962) .
It received five Golden Globe nominations for Best Director (Kubrick),
Best Dramatic Actor (Mason), Best Dramatic Actress (Winters), Best
Supporting Actor (Sellers) and a win for Most Promising New Female
Star of the Year (Lyon).
The film's publicity posters asked the taglines:
"How
did they ever make a movie of LOLITA?"
"No longer a child...Not yet a woman...WHAT IS SHE?"
It featured a picture of Lolita
in a seductive lollipop pose. She wore heart-shaped sunglasses and
licked a red lollipop. Indeed, at the time of the film's making, sexual
freedom and content had not advanced to the point of acceptance that
is commonly seen today. Lolita 's opening credits, however,
contain some of the most overtly-erotic, idealizing images of the
entire film - designed to set the tone of the film.
The plot of the filmed version of Lolita transposes
the events in the epilogue of the novel (a bizarre murder scene)
to the prologue. After the opening prologue (the first ten minutes
of the film), the film then returns to events that began four years
earlier - recalling what led up to the killing of another man who
had uncaringly seduced Lolita. The tale unfolds therefore, in a flashback
told like a black comedy and murder mystery that both embellish the
unusual 'love' story with occasional reappearances throughout the
narrative of the protagonist's alter-ego. The victim - the scheming,
degenerate and ill-fated 'genius' whom Lolita loved and eventually
ran off with, bedevils, induces paranoia and baits the avenging tragic
figure - the nymphet pervert.
Nabokov's novel was again adapted for the screen (by
Stephen Schiff) and directed by Adrian Lyne - an R-rated Lolita
(1997) , that starred Jeremy Irons, Melanie Griffith, Dominique
Swain, and Frank Langella.
After a fade-in on satiny drapes, a young girl's bare
left foot and leg are ceremoniously offered up. In a timely identification,
the word 'Lolita' appears superimposed along the top of the foot.
The cushioning left hand (wearing a wedding ring) of a subservient,
enslaved male cradles her foot and his right hand lovingly and devotedly
paints her toenails with bright enamel - at intervals, he wedges
cotton tufts between her toes.
A light-colored station wagon drives through the fog
up to an old, dusty baroque mansion. The inside of the enormous luxurious
chateau is disheveled and messy, showing evidence of the previous
night's party/orgy. Empty liquor bottles and glasses are strewn around
and dust covers are placed over various articles of furniture in
the cluttered rooms. Marble statues, a harp, and a piano fill other
areas of the rooms. [The half-abandoned, cluttered mansion suggests
Quilty's own dissipated character.]
Humbert Humbert (James Mason) enters, picks his way
around, strokes the harp, and circles to the large inner room. He
appears to be stalking his prey, calling out for "Quilty, Quilty" (played
by Peter Sellers). A bottle placed on a drape-covered easy chair
falls to the floor. Hidden under the sheet-covered armchair like
a shrouded, corpse-like figure, the mansion's owner suddenly stirs:
Quilty: Wha? Wha? What's that?
Humbert: Are you Quilty?
Quilty: (spoken with a lisp) No, I'm Spartacus. Have you come to
free the slaves or somethin'? [An inside joke, a clear reference
to Spartacus (1960) , Kubrick's most recent film.]
Humbert: Are you Quilty?
Quilty: Yeah, I am Quilty. Yes, sure.
Quilty is dressed in pajamas and slippers - as he rises,
he wraps the sheet over his shoulder like a toga. Bleary-eyed, hung-over
and in a stupor, the dissolute and drunken Quilty shuffles over toward
the menacing Humbert and calls him "Captain." Humbert,
seeking revenge on his arch-nemesis (and fellow rival pedophile),
is seen putting on fingerprint-concealing leather gloves: "Shall
we have a little chat before we start?"
Following the theme of Roman times even further, Quilty
challenges Humbert
"to a little lovely game of Roman ping-pong like two civilized
Senators."
Humbert stares back in disbelief and watches the fuzzy-thinking, silly
drunk talking and babbling aimlessly about nothing. Quilty serves the
first ping-pong ball, but Humbert lets it bounce across his side of
the table without picking up the paddle: "Roman ping...You're
supposed to say Roman pong! OK, you serve. I don't mind. I don't -
I just don't mind. Come on...(When there is no response, Quilty serves
again.) Roman ping-pong. Kinda tricky serve to handle, eh Captain?
Kind of tricky. One of the champs taught me that." When Humbert
actually starts playing the game and begins hitting the ball, Quilty
wonders if Humbert is
"Jack Brewster," and mentions:
I'm not accusing you, Captain, but it's sort of absurd
the way people invade this house without even knocking...They use
the telephone..
Humbert wants Quilty to recognize him, asking slowly: "You
really don't remember me, do you?" Besides inhospitable guests,
Quilty also speaks about the serve and volley styles of ping-pong
champions: "Have you ever noticed how the ...different champs
use their bats? You know, some of 'em hold it like this and everything." Then,
Humbert, almost sobbing, grills him with a single-minded determination
about his seduction of Lolita:
Humbert: Do you recall a girl called Dolores Haze?
Quilty: I remember the one guy, he didn't have a hand. He had a bat
instead of a hand. He's...
Humbert: (He bangs on the table loudly with the paddle to get Quilty's
attention) Lolita !?
Confused in his thoughts, Quilty frivolously answers
with a grin on his face: "Lo-li-tah. Yeah, yeah. I remember
that name, all right. Maybe she made some telephone calls. Who cares?"
Humbert is hurt and outraged by Quilty's vapid, erratic,
uncaring answer and he pulls out a gun. After seeing the gun, Quilty
cleverly but nervously counter-points the weapon with a non-sequitur
comment about Humbert's poor ping-pong playing - [and in retrospect,
Humbert's inability to hold onto Lolita]:
Hey, you're a sort of bad loser, Captain. I never
found a guy who pulled a gun on me when he lost a game. Didn't
anyone ever tell ya? It's not really who wins, it's how you play,
like the champs. Listen, I don't think I want to play anymore.
Knowing that he is being condemned, the nervous Quilty
turns, stumbles away and shuffles to get a drink: "Gee, I'm
just dyin' for a drink. I'm just dyin' to have a drinkie." Humbert
follows him into the next room, pitilessly warning him: "You're
dying anyway, Quilty." The pistol of the gun barrel is pointed
directly at him. Quilty must realize that he is being sentenced to
death, as he mockingly reads aloud a "smutty" note about
transgressing with the young girl Lolita ("...because you took
her at an age"):
Humbert: Quilty, I want you to concentrate - you're
going to die. Try to understand what is happening to you.
Quilty: You are either Australian or a German refugee. This is a
gentile's house - you'd better run along.
Humbert: Think of what you did, Quilty, and think of what is happening
to you now.
Quilty (in the voice of an old western sagebrush cowboy or redneck):
Hee-hee-hee...gee, that's a - that's a durl-in' little gun
you got there. That's a durlin' little thing. How much a guy like
you want for a-a durlin' little gun like that?
Humbert: (thrusts out a note for him) Read this.
Quilty: What's this, the deed to the ranch?

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