Stanley Kubrick: A Retrospective
July 14–Sept 12. Stanley Kubrick continues to cast a long shadow on cinema and the art world, nearly two decades since his passing in 1999. Working his way quickly through a succession of scrappily inventive genre exercises in the 1950s — the moody New York City noir KILLER'S KISS and the ripping caper flick THE KILLING; the authoritative WWI action and courtroom intrigue in PATHS OF GLORY — Kubrick then made a splash with 1960's Roman epic SPARTACUS, one of the best films of its kind at a time when Hollywood hungered for ancient world epics. But Kubrick preferred to pursue other challenges: filming the virtually unfilmable novel "Lolita" by re-imagining it as a demented screwball comedy (at least while Shelley Winters is around); DR. STRANGELOVE's appropriation of a pulp thriller into a postmodern absurdist prank; and then the visionary, psychedelic and spiritual experiment that is 2001: A SPACE ODYSSEY, a film truly ahead of its time, and immeasurably influential on filmmaking since its debut 50 years ago.
Kubrick's famed meticulousness and preferred working methods meant long preparation and production periods, and longer waits for fans desperate to see the auteur's next work. Intriguingly, Kubrick's later films — A CLOCKWORK ORANGE, BARRY LYNDON, THE SHINING, FULL METAL JACKET and EYES WIDE SHUT — continue to receive much critical reevaluation and reconsideration. Even with no new work by Kubrick, his films, over time, speak to audiences in new ways.