Humbert Humbert is a middle-aged British novelist who is both appalled by and attracted to the vulgarity of American culture. When he comes to stay at the boarding house run by Charlotte Haze, he soon becomes obsessed with Lolita, the woman's teenaged daughter.
Kubrick's adaptation divided critics on release — some found it a genuinely daring comedic achievement, others felt the film's defanging of Nabokov's eroticism left it shapeless and oddly toothless — but the film has grown considerably in critical esteem over the decades. The central tension then and now is whether Kubrick's pivot toward dark comedy compensates for what he couldn't or wouldn't show, with Sellers's performance and Mason's obsession as the main evidence on both sides.
“a rare power, a garbled but often moving push toward an off-beat communication”
Bosley Crowther·The New York Times
“occasionally amusing but shapeless”
Variety
“gift for visual comedy is as faint as his depiction of sensuality”
Arlene Croce·Sight & Sound
“Kubrick is wonderfully self-confident; his camera having conveyed to us within the first five minutes that it can perform any wonders its master may require of it, he proceeds to offer us a succession of scenes broadly sketched and broadly acted for laughs, and laugh we do, no matter how morbid the circumstances”
Brendan Gill·The New Yorker
“a peculiarly brilliant film”
Richard L. Coe·The Washington Post
Crime, Drama, Romance
Humbert Humbert is a middle-aged British novelist who is both appalled by and attracted to the vulgarity of American culture. When he comes to stay at the boarding house run by Charlotte Haze, he soon becomes obsessed with Lolita, the woman's teenaged daughter.
Kubrick's adaptation divided critics on release — some found it a genuinely daring comedic achievement, others felt the film's defanging of Nabokov's eroticism left it shapeless and oddly toothless — but the film has grown considerably in critical esteem over the decades. The central tension then and now is whether Kubrick's pivot toward dark comedy compensates for what he couldn't or wouldn't show, with Sellers's performance and Mason's obsession as the main evidence on both sides.
“a rare power, a garbled but often moving push toward an off-beat communication”
Bosley Crowther·The New York Times
“occasionally amusing but shapeless”
Variety
“gift for visual comedy is as faint as his depiction of sensuality”
Arlene Croce·Sight & Sound
“Kubrick is wonderfully self-confident; his camera having conveyed to us within the first five minutes that it can perform any wonders its master may require of it, he proceeds to offer us a succession of scenes broadly sketched and broadly acted for laughs, and laugh we do, no matter how morbid the circumstances”
Brendan Gill·The New Yorker
“a peculiarly brilliant film”
Richard L. Coe·The Washington Post
Crime, Drama, Romance
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