Les Choses De La Vie Film Complet

[Pinkie Pappalardo]

Born and raised in New York City, Kubrick was an average school student but displayed a keen interest in literature, photography, and film from a young age; he began to teach himself all aspects of film producing and directing after graduating from high school. After working as a photographer for Look magazine in the late 1940s and early 1950s, he began making low-budget short films and made his first major Hollywood film, The Killing, for United Artists in 1956. This was followed by two collaborations with Kirk Douglas: the anti-war film Paths of Glory (1957) and the historical epic film Spartacus (1960).

In 1961, Kubrick left the United States due to concerns about crime in the country, as well as a growing dislike for how Hollywood operated and creative differences with Douglas and the film studios; he settled in England, which he would leave only a handful of times for the rest of his life. He made his home at Childwickbury Manor, which he shared with his wife Christiane, and it became his workplace where he centralized the writing, research, editing, and management of his productions. This permitted him almost complete artistic control over his films, with the rare advantage of financial support from major Hollywood studios. His first productions in England were two films with Peter Sellers: an adaptation of Lolita (1962) and the Cold War black comedy Dr. Strangelove (1964).

A perfectionist who assumed direct control over most aspects of his filmmaking, Kubrick cultivated an expertise in writing, editing, color grading, promotion, and exhibition. He was famous for the painstaking care taken in researching his films and staging scenes, performed in close coordination with his actors, crew, and other collaborators. He frequently asked for several dozen retakes of the same shot in a movie, often confusing and frustrating his actors. Despite the notoriety this provoked, many of Kubrick's films broke new cinematic ground and are now considered landmarks. The scientific realism and innovative special effects in his science fiction epic 2001: A Space Odyssey (1968) was a first in cinema history, and the film earned him his only Academy Award (for Best Visual Effects). Filmmaker Steven Spielberg has referred to 2001 as his generation's "big bang" and it is regarded as one of the greatest films ever made.

Soon after his sister's birth, Kubrick began schooling in Public School 3 in the Bronx and moved to Public School 90 in June 1938. His IQ was discovered to be above average but his attendance was poor.[2] He displayed an interest in literature from a young age and began reading Greek and Roman myths and the fables of the Grimm brothers, which "instilled in him a lifelong affinity with Europe".[11] He spent most Saturdays during the summer watching the New York Yankees and later photographed two boys watching the game in an assignment for Look magazine to emulate his own childhood excitement with baseball.[10] When Kubrick was 12, his father Jack taught him chess. The game remained a lifelong interest of Kubrick's,[12] appearing in many of his films.[13] Kubrick, who later became a member of the United States Chess Federation, explained that chess helped him develop "patience and discipline" in making decisions.[14] When Kubrick was 13, his father bought him a Graflex camera, triggering a fascination with still photography. He befriended a neighbor, Marvin Traub, who shared his passion for photography.[15] Traub had his own darkroom where he and the young Kubrick would spend many hours perusing photographs and watching the chemicals "magically make images on photographic paper".[3] The two indulged in numerous photographic projects for which they roamed the streets looking for interesting subjects to capture and spent time in local cinemas studying films. Freelance photographer Weegee (Arthur Fellig) had a considerable influence on Kubrick's development as a photographer; Kubrick later hired Fellig as the special stills photographer for Dr. Strangelove (1964).[16] As a teenager, Kubrick was also interested in jazz and briefly attempted a career as a drummer.[17]

Kubrick attended William Howard Taft High School from 1941 to 1945.[18] He joined the school's photography club, which permitted him to photograph the school's events in their magazine.[3] He was a mediocre student, with a 67/D+ grade average.[19] Introverted and shy, Kubrick had a low attendance record and often skipped school to watch double-feature films.[20] He graduated in 1945 but his poor grades, combined with the demand for college admissions from soldiers returning from the Second World War, eliminated any hope of higher education. Later in life Kubrick spoke disdainfully of his education and of American schooling as a whole, maintaining that schools were ineffective in stimulating critical thinking and student interest. His father was disappointed in his son's failure to achieve the excellence in school of which he knew Stanley was fully capable. Jack also encouraged Stanley to read from the family library at home, while permitting Stanley to take up photography as a serious hobby.[21]

While in high school, Kubrick was chosen as an official school photographer. In the mid-1940s, since he was unable to gain admission to day session classes at colleges, he briefly attended evening classes at the City College of New York.[22] Eventually, he sold a photographic series to Look magazine,[23][a] which was printed on June 26, 1945. Kubrick supplemented his income by playing chess "for quarters" in Washington Square Park and various Manhattan chess clubs.[25]

Kubrick shared a love of film with his school friend Alexander Singer, who after graduating from high school had the intention of directing a film version of Homer's Iliad. Through Singer, who worked in the offices of the newsreel production company, The March of Time, Kubrick learned it could cost $40,000 to make a proper short film, money he could not afford. He had $1500 in savings and produced a few short documentaries fueled by encouragement from Singer. He began learning all he could about filmmaking on his own, calling film suppliers, laboratories, and equipment rental houses.[36]

Kubrick decided to make a short film documentary about boxer Walter Cartier, whom he had photographed and written about for Look magazine a year earlier. He rented a camera and produced a 16-minute black-and-white documentary, Day of the Fight. Kubrick found the money independently to finance it. He had considered asking Montgomery Clift to narrate it, whom he had met during a photographic session for Look, but settled on CBS news veteran Douglas Edwards.[37] According to Paul Duncan the film was "remarkably accomplished for a first film", and used a backward tracking shot to film a scene in which Cartier and his brother walk towards the camera, a device which later became one of Kubrick's characteristic camera movements.[38] Vincent Cartier, Walter's brother and manager, later reflected on his observations of Kubrick during the filming. He said, "Stanley was a very stoic, impassive but imaginative type person with strong, imaginative thoughts. He commanded respect in a quiet, shy way. Whatever he wanted, you complied, he just captivated you. Anybody who worked with Stanley did just what Stanley wanted".[36][d] After a score was added by Singer's friend Gerald Fried, Kubrick had spent $3900 in making it, and sold it to RKO-Path for $4000, which was the most the company had ever paid for a short film at the time.[38] Kubrick described his first effort at filmmaking as having been valuable since he believed himself to have been forced to do most of the work,[39] and he later declared that the "best education in film is to make one".[3]

Inspired by this early success, Kubrick quit his job at Look and visited professional filmmakers in New York City, asking many detailed questions about the technical aspects of filmmaking. He stated that he was given the confidence during this period to become a filmmaker because of the number of bad films he had seen, remarking, "I don't know a goddamn thing about movies, but I know I can make a better film than that".[40] He began making Flying Padre (1951), a film which documents Reverend Fred Stadtmueller, who travels some 4,000 miles to visit his 11 churches. The film was originally going to be called "Sky Pilot", a pun on the slang term for a priest.[41] During the course of the film, the priest performs a burial service, confronts a boy bullying a girl, and makes an emergency flight to aid a sick mother and baby into an ambulance. Several of the views from and of the plane in Flying Padre are later echoed in 2001: A Space Odyssey (1968) with the footage of the spacecraft, and a series of close-ups on the faces of people attending the funeral were most likely inspired by Sergei Eisenstein's Battleship Potemkin (1925) and Ivan the Terrible (1944/1958).[38]

Flying Padre was followed by The Seafarers (1953), Kubrick's first color film, which was shot for the Seafarers International Union in June 1953. It depicted the logistics of a democratic union and focused more on the amenities of seafaring other than the act. For the cafeteria scene in the film, Kubrick chose a dolly shot to establish the life of the seafarer's community; this kind of shot would later become a signature technique. The sequence of Paul Hall, secretary-treasurer of the SIU Atlantic and gulf district, speaking to members of the union echoes scenes from Eisenstein's Strike (1925) and October (1928).[42] Day of the Fight, Flying Padre and The Seafarers constitute Kubrick's only surviving documentary works; some historians believe he made others.[43]

After raising $1000 showing his short films to friends and family, Kubrick found the finances to begin making his first feature film, Fear and Desire (1953), originally running with the title The Trap, written by his friend Howard Sackler. Kubrick's uncle, Martin Perveler, a Los Angeles pharmacy owner, invested a further $9000 on condition that he be credited as executive producer of the film.[44] Kubrick assembled several actors and a small crew totaling 14 people (five actors, five crewmen, and four others to help transport the equipment) and flew to the San Gabriel Mountains in California for a five-week, low-budget shoot.[44] Later renamed The Shape of Fear before finally being named Fear and Desire, it is a fictional allegory about a team of soldiers who survive a plane crash and are caught behind enemy lines in a war. During the course of the film, one of the soldiers becomes infatuated with an attractive girl in the woods and binds her to a tree. This scene is noted for its close-ups on the face of the actress. Kubrick had intended for Fear and Desire to be a silent picture in order to ensure low production costs; the added sounds, effects, and music ultimately brought production costs to around $53,000, exceeding the budget.[45] He was bailed out by producer Richard de Rochemont on the condition that he help in de Rochemont's production of a five-part television series about Abraham Lincoln on location in Hodgenville, Kentucky.[46]

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