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1998-07-31 04:00:00 PDT Pasadena -- Vladimir Nabokov's "Lolita" is a sex novel, a comic novel, an unusual love story, a tragedy about pedophilia, a candy mint, a breath mint, a bizarre travelogue, a study of obsession, a metaphor for old Europe's guilty obsession with the young and seductive America.
Whatever else "Lolita" may be, it is controversial. Especially when someone decides to film it. And even more so, says director Adrian Lyne, in the 1990s.
"In the last five or six years, I think the climate has changed enormously in this country," Lyne said in an interview promoting the debut of "Lolita" on the Showtime cable network at 9 p.m. Sunday. "I think, for example, in the '80s or the '70s this movie would have been released without problem."
Stanley Kubrick's screen version, starring James Mason and Sue Lyon, caused a stir in 1962. But Lyne said increased public indignation about pedophilia, sparked in part by the JonBenet Ramsey case, stood in the way of the smooth release of his own $58 million film.
When no distributor wanted to gamble on "Lolita," Showtime stepped in and picked up the movie, reportedly for $4 million. The Samuel Goldwyn Co. later agreed to distribute Lyne's film theatrically; it has already opened in Los Angeles ahead of its national Showtime debut.
"Lolita" will attract critics who say the difficulty finding a distributor owes as much to the film's dullness as to anything else. But it does shock to see the middle-aged Humbert Humbert (Jeremy Irons) lust for his teenage stepdaughter (newcomer Dominique Swain). Knowing that Swain was 15 when the movie was filmed doesn't make it any easier.
Swain does exude sexuality disturbingly. But considering that it's an inherently provocative movie from an unerringly provocative director -- Lyne previously directed "9 1/2 Weeks," "Fatal Attraction" and "Jacob's Ladder" -- "Lolita" is a tame work with respect to explicit sex and nudity.
Nudity? There's a dim scene featuring a body double in bed with Irons. And later there's veteran actor Frank Langella, as Clare Quilty, flapping flaccidly as he runs for his life from the gun-toting Humbert. That's it.
Lyne said the body-double shots, for better or worse, were heavily edited because the U.S. Child Pornography Prevention Act of 1996 specifies "essentially that you couldn't use an adult to imitate a minor."
Irons, interviewed by satellite from England, said his first impulse was to reject the Humbert role.
"I was a little wary of playing Humbert Humbert because I felt I played enough oddballs for one career," Irons said. "And so I fought against it for a while.
"Adrian was very passionate that I should do it, which is very flattering, and then he accused me of being politically correct by turning it down. Which made me think, because I felt that one of the functions of the arts is to stir up debate, to make people question things in life, and standards, and make people see situations from a different viewpoint.
"So I thought, 'Well, it's a film that should be made.' And I thought, 'He's a great director, Adrian. It's a great character. And a great story. So, go for it.' "
Not surprisingly, Irons said he felt uncomfortable filming love scenes with a 15-year-old actress.
"It was, from my point of view, incredibly difficult," he said. "But incredibly useful, that difficulty, in that I was supposed to be obsessed by somebody who, of course, I couldn't be obsessed about. When you're acting, it's a strange sort of thing. You play with reality. And this was a reality I couldn't play with . . .
"That was quite difficult. But of course useful, because Humbert was aware that what he was doing was damaging. That what he was doing was wrong. So I was able to use that difficulty."
Swain, who is now a high school senior in Malibu, said her mother was 10 feet away from her on the set when the love scenes were filmed. What's more, a cushion the film crew jokingly called "The Pad" was wedged out of view between Irons and Swain in several scenes.
Unlike Irons, Swain says she was "completely comfortable" making the movie. She seemed more upset that the notorious role won her unwanted attention from schoolmates -- "Suddenly everyone had an opinion on me" -- and she's not at all sure about pursing an acting career.
"I love acting so much," she said, "but I don't really feel like, at this point in my life, I can say that my goal is to continue doing what I'm doing now. I just don't think that's a high enough aspiration."
Swain was speaking to TV critics at the Ritz-Carlton Hotel in Pasadena. Irons could be seen in England, listening to Swain through an earpiece. He broke into a smile at her answer.
"She's absolutely right," Irons said.
Both are misses, though "Linc's" at least droops more nobly. Created and produced by Tim Reid ("Frank's Place") and Susan Fales- Hill ("A Different World"), it's set in a Washington bar and restaurant and could be considered a black "Cheers."
Linc (Steven Williams) owns the place and seems cast as the show's sane center. Eartha (Daphne Maxwell-Reid) is a hooker who hangs out at Linc's. Eleanor (Pam Grier) is a high-powered lobbyist for children's causes. Johnnie (Georg Stanford Brown) is a lobbyist, too -- for the tobacco industry. CeCe (Gold en Brooks) is a waitress at Linc's, Harlan (Joe Inscoe) is a senator's chief of staff and the show's only white regular, and Winston (Adewale Akinnuoye-Agbaje) is a Nigerian cab driver.
It's a good-looking show that delves equally into political humor and racial stereotypes. The culprit, as usual, is the writing; the laughs aren't there, and the talented cast can't flay these lines into honest chortles.
"Rude Awakening" is "Absolutely Fabulous" without the charm. Any charm.
Sherilyn Fenn ("Twin Peaks") stars as Billie Frank, a former actress and aspiring writer who's a drunk and a slut. Spotting a stranger next to her in bed the morning after, she delicately lifts her bed sheet, looks down at her body and scolds, "Bad! Bad!"
Lynn Redgrave plays Billie's mother, herself a lush, and Richard Lewis plays the B-movie producer who's Billie's boss.
The principal distinction of "Rude Awakening" is to prove, once again, that without the laughs, over- the-top raunch is show business caught in its most embarrassingly amoebic state.
"Lolita" will be broadcast at 9 p.m. Sunday on the Showtime cable network.
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