Girls Who Play Lolita

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Lolita is a 1962 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 Sue Lyon as the titular character.
Seven Arts
AA Productions
Anya Pictures
Transworld Pictures[1]
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. The film received an Oscar nomination for Best Adapted Screenplay at the 35th Academy Awards.
Set in the 1950s, the film begins in medias res near the end of the story, with a confrontation between two men: one of them, Clare Quilty, drunk and incoherent, plays Chopin's Polonaise in A major, Op. 40, No. 1 on the piano before being apparently shot to death behind a portrait painting of a young woman, with the shots fired from in front of the painting and passing through it. The shooter is Humbert Humbert, a middle-aged British professor of French literature.
The film then flashes back to events 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 daughter, Dolores, affectionately called "Lolita". Lolita is a normal, soda-pop drinking, gum-snapping 14-year-old, yet Humbert becomes infatuated with her.
To be close to Lolita, Humbert accepts Charlotte's offer and becomes a lodger in the Haze household. But Charlotte wants all of "Hum's" time for herself and soon announces 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 characterizing her as "the Haze woman, the cow, the obnoxious mama, the brainless baba". She has an intense outburst, runs outside, and is hit by a car, dying on impact.
Humbert drives to Camp Climax to pick up Lolita, who 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 the two have sex. The two then commence an odyssey across the United States, traveling from hotel to motel. In public, they act as father and daughter. After several days, Humbert tells Lolita that her mother is not sick in a hospital, as he had previously told her, but dead. Grief-stricken, she stays with Humbert.
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 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 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 soon 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 finds that she is now a roundly expectant woman in glasses leading a pleasant, humdrum life. Humbert 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 days. She states Quilty is also the one who disguised himself as Dr. Zempf, the pushy stranger who kept crossing their path. Lolita herself carried on an affair with him and left with him when he promised her glamour. However, he then demanded she join his depraved lifestyle, including acting in his "art" films, which she vehemently refused.
Humbert begs Lolita to leave her husband and come away with him, but she declines. Humbert gives Lolita $13,000, explaining it as her money from the sale of her mother's house, and leaves to shoot Quilty in his mansion, where the film began. The epilogue explains that Humbert died of coronary thrombosis awaiting trial for Quilty's murder.
James Mason as Humbert "Hum" Humbert
Shelley Winters as Charlotte Haze-Humbert
Sue Lyon as Dolores "Lolita" Haze
Peter Sellers as Clare Quilty
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
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, a literary device known as in medias res. 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 was successful in seducing 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. Noel 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 so. And only a loving wife could decipher my microscopic script."
The adaptation of the screenplay is credited to Nabokov, although very little of what he provided (later published in a shortened version) was used in the film itself. Nabokov, following the success of the novel, moved out to Hollywood and penned a script for a film adaptation between March and September 1960. The first draft was extremely long—over 400 pages, to which producer Harris remarked "You couldn't make it. You couldn't lift it".[17] Nabokov remained polite about the film in public but in a 1962 interview before seeing the film, commented that it may turn out to be "the swerves of a scenic drive as perceived by the horizontal passenger of an ambulance".[18] Kubrick and Harris rewrote the script themselves, writing carefully to satisfy the needs of the censor.
There are many differences between the Kubrick-Harris film adaptation and Nabokov's novel, including some events that were entirely omitted. Most of the sexually explicit innuendos, references and episodes in the book were taken out of the film because of the strict censorship of the 1960s; the sexual relationship between Lolita and Humbert is implied and never depicted graphically on the screen. In addition, some events in the film differ from the novel, and there are also changes in Lolita's character. Some of the differences are listed below:
Lolita's age was raised from 12 to early teens in the film to meet MPAA standards. Kubrick had been warned that censors felt strongly about using a more physically developed actress, who would be seen to be at least 14. As such, Sue Lyon was chosen for the title role, partly due to her more mature appearance.
The name "Lolita" is used only by Humbert as a private pet nickname in the novel, whereas in the film several of the characters refer to her by that name. In the book, she is referred to simply as "Lo" or "Lola" or "Dolly" by the other characters. Various critics, such as Susan Sweeney, have observed that since she never calls herself "Lolita", Humbert's pet name denies her subjectivity.[19] Generally, the novel gives little information about her feelings.
The film is not especially focused on Lolita's feelings. In the medium of film, her character is inevitably fleshed out somewhat from the cipher that she remains in the novel. Nonetheless, Kubrick actually omits the few vignettes in the novel in which Humbert's solipsistic bubble is burst and one catches glimpses of Lolita's personal misery. Susan Bordo writes, "Kubrick chose not to include any of the vignettes from the novel which bring Lolita's misery to the forefront, nudging Humbert's obsession temporarily off center-stage. ...Nabokov's wife, Vera, insisted—rightly—on 'the pathos of Lolita's utter loneliness.'... In Kubrick's film, one good sobfest and dead mommy is forgotten. Humbert, to calm her down, has promised her a brand-new hi-fi and all the latest records. The same scene in the novel ends with Lolita sobbing, despite Humbert having plied her with gifts all day."[20] Bordo goes on to say "Emphasizing Lolita's sadness and loss would not have jibed, of course, with the film's dedication to inflecting the 'dark' with the comic; it would have altered the overwhelmingly ironic, anti-sentimental character of the movie." When the novel briefly gives us evidence of Lolita's sadness and misery, Humbert glosses over it but the film omits nearly all of these episodes.
Critic Greg Jenkins believes that Humbert is imbued with a fundamental likability in this film that he does not necessarily have in the novel.[21] He has a debonair quality in the film, while in the novel he can be perceived as much more repulsive. Humbert's two mental breakdowns leading to sanatorium stays before meeting Lolita are entirely omitted in the film, as are his earlier unsuccessful relationships with women his own age (whom he refers to in the novel as "terrestrial women") through which he tried to stabilize himself. His lifelong complexes around young girls are largely concealed in the film, and Lolita appears older than her novelistic counterpart, both leading Jenkins to comment "A story originally told from the edge of a moral abyss is fast moving toward safer ground."[22] In short, the novel early flags Humbert as both mentally unsound and obsessively infatuated with young girls in a way the film never does.
Jenkins notes that Humbert even seems a bit more dignified and restrained than other residents of Ramsdale, particularly Lolita's aggressive mother, in a way that invites the audience to sympathize with Humbert. Humbert is portrayed as someone urbane and sophisticated trapped in a provincial small town populated by slightly lecherous people, a refugee from Old World Europe in an especially crass part of the New World. For example, Lolita's piano teacher comes across in the film as aggressive and predatory compared to which Humbert seems fairly restrained.[23] The film character of John Farlow talks suggestively of "swapping partners" at a dance in a way that repels Humbert. Jenkins believes that in the film it is Quilty, not Humbert, who acts as the embodiment of evil.[24] The expansion of Quilty's character and the way Quilty torments Humbert also invites the audience to sympathize with Humbert.
Because Humbert narrates the novel, his increased mental deterioration due to anxiety in the entire second half of the story is more obvious from the increasingly desperate tone of his narrative. While the film shows Humbert's increasingly severe attempts to control Lolita, the novel shows more of Humbert's loss of self-control and stability.
Jenkins also notes that some of Humbert's more brutal actions are omitted or changed from the film. For example, in the novel he threatens to send Lolita to a reformatory, while in the film he promises to never send her there.[25] He also notes that Humbert's narrative style in the novel, although elegant, is wordy, rambling, and roundabout, whereas in the film it is "subdued and measured".[23]
The film entirely omits the critical episode in Humbert's life in which at age 14 he was interrupted making love to young Annabel Leigh who shortly thereafter died, and consequently omits all indications that Humbert had a preoccupation with prepubescent girls prior to meeting Dolores Haze. In the novel, Humbert gives his youthful amorous relationship with Annabel Leigh, thwarted by both adult intervention and her death, as the key to his obsession with nymphets. The film's only me
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