TNMC
This site’s design is only visible in a graphical browser that supports web standards, but its content is accessible to any browser or Internet device.
Kubrick’s Teasing Lolita
Stanley Kubrick’s 1962 film Lolita features an aspect of narrative that is seen frequently throughout his films, that being voice-over narration. The Killing and Paths of Glory both featured the voice-over narration of an omniscient narrator, one that informed the audience with, in most of case, truthful information. However, as he explored with narrative point of view in The Killing, Kubrick decided to tinker with narrative point of view. By no longer making the narrator omniscient, the audience is subjected to a limited account of the events which transpired during the film. In this case it’s Humbert Humbert providing a voice-over of the events that eventually led to his murdering of Claire Quilty and his own death in prison.
However, while the narration is restricted the film itself is not. Kubrick clashes what seems to be an omniscient narrative point of view with the restricted voice-over narration of Humbert. One of the many examples of this clash is seen in the events regarding Quilty. The film begins with Humbert venturing to Quilty’s mansion to assassinate him, however, once arriving he doesn’t know what Quilty looks like and he must ask Quilty if that indeed is who he is. However, Kubrick, as we are aware at the end, has already introduced Quilty as Quilty, Humbert just is never formally introduced. Mrs. Haze mentions Quilty to Humbert, however, he has no idea who she is talking about. The first instance of this is seen at the dance. Humbert ventures away to gaze at Lolita and, following his leave, Mrs. Haze and her friends begin to inquire about a guest dancing whom Mrs. Haze identifies as Quilty. She speaks to him and they share a scene, however, Humbert is not present nor does he ever see Quilty at the dance. This is not the first instance Kubrick teases Humbert’s character about Quilty. For instance, there is the scene in which Humbert is in Lolita’s room. Lolita has a poster of Quilty on her wall with his name on it. Humbert never looks at it. This also comes into play during the hotel scene. After picking Lolita up from camp, Humbert checks themselves into a hotel. Quilty is present, however, he only shares a scene with Humbert with his back to him (as well as playing himself off as a police officer). Quilty also does this later as Dr. Zempf, except he sports facial hair and spectacles. Humbert doesn’t even take notice of Quilty’s presence at Lolita’s school play.
Kubrick mainly utilizes mise-en-scene to tease Humbert with Quilty’s presence, however, this is not the only part mise-en-scene plays. It also reflects Humbert’s changes in mind-set throughout the duration of the narrative. For example, Kubrick also teases Humbert with Lolita throughout the film. The scene in which she is introduced features her lying in the sun with a bikini and sunglasses while he later uses a hulahoop to raise Humbert’s sexual awareness. Once Humbert marries Mrs. Haze he furthers this. This is seen during the bed scene between Mrs. Haze and Humbert. Kubrick puts a gun on the opposing side of the bed as Lolita’s portrait. Kubrick makes it visually evident as well as narratively evident that in order for Humbert to be with Lolita death must come to Mrs. Haze. While in the long run it comes from a car accident, Kubrick still demands that Humbert use the gun on Quilty (seen in the opening) in order to try and secure his future with his nymphet. Through his utilization of narration, narrative point of view, and mise-en-scene Kubrick teases Humbert on multiple levels.
What do you think? Talk about it on the Forums
