A primer on the filmmaker’s career and interests won’t offer much that will surprise even mild obsessives, but it does pierce some of the mystique.
The director Stanley Kubrick gave so few interviews that hearing his voice is always a little jarring. It’s less deep than you might imagine from late-career photographs, which make him look like a woolly elder statesman of the cinema, or from seeing his movies, which raise dark questions about human nature. Kubrick’s accent contains traces of his Bronx upbringing, even though he lived in Britain for more than 30 years. And his conversational manner is much more casual, more affable, than his reputation as a hermetic perfectionist would suggest.
What that voice has to say, and how it says it, is the main point of interest in “Kubrick by Kubrick,” a primer on the filmmaker’s career and interests built around interviews that he gave over many years to the critic Michel Ciment, who is credited as an artistic adviser on the documentary. The director, Gregory Monro, interweaves excerpts from the men’s conversations with scenes from Kubrick’s movies and archival commentary from actors and critics.
Monro also riffs on Kubrick’s own imagery, making it appear that an old clip of Ciment on a talk show, for instance, is showing on the plugless TV from “The Shining,” and that the TV set is sitting in the bedroom from the end of “2001: A Space Odyssey.”
Most of Kubrick’s 13 features have been analyzed exhaustively already, and “Kubrick by Kubrick” doesn’t offer much that will surprise even mild obsessives. Still, it is interesting to hear Kubrick express ideas that run counter to conventional wisdom. He doesn’t sound all that terrified of a computer like HAL 9000. “I can’t think of any reason why it’s a frightening prospect, because intelligence seems to me to be something which is good,” Kubrick is heard saying in the documentary. “And so I can’t see how your ultra-intelligent machine is going to be any worse than a man.”
Other choice tidbits include Kubrick’s comparison of the work of a film director to the precision Napoleon applied to military strategy. (Kubrick had famously labored to make a Napoleon biopic, and elements of his preparation found their way into “Barry Lyndon.”) According to Kubrick, the great cinematographer Russell Metty, with whom he worked on “Spartacus,” could not understand why Kubrick, who started as a photographer for Look magazine, spent so much time composing shots, as opposed to leaving that task to the cameraman.
Some of Kubrick’s insights echo differently today, as when he says, apropos of “Full Metal Jacket” and the Vietnam War, “I don’t think you’re going to get Americans to fight a war again unless they think it really means something to them.” (The director died in 1999.) Leonard Rosenman, who conducted the music on “Barry Lyndon,” remembers how demanding Kubrick could be, and wanting “to throw him through the window” for making him do 105 takes at one point even though “take two was perfect.”
While no great contribution to the vast library of Kubrickiana, this documentary pierces some of the mystique behind the man. For fans, that will be enough.
Kubrick by Kubrick
Not rated. Running time: 1 hour 13 minutes. Rent or buy on most major platforms.
Source: Movies - nytimes.com
