- Taschenbuch: 190 Seiten
- Verlag: Ballantine Books (22. Juni 1999)
- Sprache: Englisch
- ISBN-10: 0345437764
- ISBN-13: 978-0345437761
- Größe und/oder Gewicht: 20,6 x 14 x 1,8 cm
- Durchschnittliche Kundenbewertung: 2.6 von 5 Sternen Alle Rezensionen anzeigen (29 Kundenrezensionen)
- Amazon Bestseller-Rang: Nr. 1.012.271 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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Hurriedly published to coincide with the July 1999 release of Stanley Kubrick's final film, Eyes Wide Shut, this slim, rather obviously titled volume by the film's distinguished screenwriter offers considerably less than its cover copy leads you to expect. But for avid followers of Kubrick's career, even a cursory glimpse of the late director's lifestyle and creative methods will prove to be fascinating. And while Frederic Raphael instantly drew criticism and controversy from Kubrick's family and friends for describing Kubrick as "the sedentary wandering Jew, rootlessly rooted within his own defenses," this and other remarks must be considered in context. Eyes Wide Open must ultimately be seen to reflect Raphael's conflicting emotions about a filmmaker he clearly admires and respects, even if their collaboration resulted in equal parts elation, exasperation, and hard-won rewards.
Using notebook entries, vivid recollection, and re-created scenes in screenplay format, Raphael paints a portrait as revealing of himself (if not more so) than of Kubrick, and neither man comes across without blemish. Simultaneously self-indulgent, frustrating, and fascinating in its attempt to probe Kubrick's closely guarded psyche (a mission Raphael ultimately fails to accomplish), the book finally reveals--in fragments of sensitive insight--that Kubrick's reputation as a reclusive genius did in fact hide a very complex, intensely intelligent, and surprisingly human being. In one passage Raphael observes that "Stanley was so determined to be aloof and unfeeling that my heart went out to him. Somewhere along the line he was still the kid in the playground who had been no one's first choice to play with." Whether such observations are an accurate representation of Kubrick's personality is beside the point; that Raphael made the observation speaks volumes of both men, and this book is filled with similar revelations.
In addition to offering a privileged look at Kubrick's collaborative process, the book also reveals elusive details about Kubrick the man--pet lover, intellectual challenger, gracious host--and the result is a warmer image of him than that afforded by decades of distant speculation by journalists too willing to perpetuate the "myth" of Kubrick as omnipotent genius. If Raphael's book invites criticism and charges of blatant opportunism (with Kubrick unable to defend himself), it also provides a rare and often fascinating look at an artist who constantly eluded the gaze of outsiders. Raphael takes us inside Kubrick's gated domain, and we're grateful for the visit. If the truth resides somewhere between the protest of Kubrick's family and the insights presented here, we can at least use this book as a guide through previously uncharted territory. --Jeff Shannon
Kurzbeschreibung
We've all heard the rumors.
He was a hermit. He refused to fly and wouldn't be driven at more than thirty miles an hour. He avoided having his picture taken and was terrified of being assassinated. As a filmmaker, he was obsessed with perfection. He insisted on total control of every facet of the process. Simple scenes required one hundred takes. No wonder he made only six movies in the past thirty-five years.
But what was he really like?
For more than two years, Frederic Raphael collaborated closely with Stanley Kubrick on the screenplay of what was to be the director's final movie, Eyes Wide Shut. Over time, as his professional caution was replaced by a certain affection, Kubrick lowered his guard for Raphael as he never had with journalists or biographers, to reveal much about his early life in the cinema and of the reverses and humiliations he had to endure. They spoke for hours about a variety of subjects, from Julius Caesar to the Holocaust, from Kubrick's views about other directors to reminiscences of the many stars with whom both men had worked (or nearly worked)--Kirk Douglas, Audrey Hepburn, James Mason, Peter Sellers, Marisa Berenson, Sterling Hayden, Marlon Brando, and Gregory Peck.
Here, with his own distinctly cinematic style, Raphael chronicles their often fiery exchanges, capturing Kubrick's voice as no one else could. Disdaining false veneration, he opens our eyes to the mind and art of a truly complex and hitherto elusive twentieth-century genius.
He was a hermit. He refused to fly and wouldn't be driven at more than thirty miles an hour. He avoided having his picture taken and was terrified of being assassinated. As a filmmaker, he was obsessed with perfection. He insisted on total control of every facet of the process. Simple scenes required one hundred takes. No wonder he made only six movies in the past thirty-five years.
But what was he really like?
For more than two years, Frederic Raphael collaborated closely with Stanley Kubrick on the screenplay of what was to be the director's final movie, Eyes Wide Shut. Over time, as his professional caution was replaced by a certain affection, Kubrick lowered his guard for Raphael as he never had with journalists or biographers, to reveal much about his early life in the cinema and of the reverses and humiliations he had to endure. They spoke for hours about a variety of subjects, from Julius Caesar to the Holocaust, from Kubrick's views about other directors to reminiscences of the many stars with whom both men had worked (or nearly worked)--Kirk Douglas, Audrey Hepburn, James Mason, Peter Sellers, Marisa Berenson, Sterling Hayden, Marlon Brando, and Gregory Peck.
Here, with his own distinctly cinematic style, Raphael chronicles their often fiery exchanges, capturing Kubrick's voice as no one else could. Disdaining false veneration, he opens our eyes to the mind and art of a truly complex and hitherto elusive twentieth-century genius.
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1 von 1 Kunden fanden die folgende Rezension hilfreich
Format:Taschenbuch
I didn't know who Frederic Raphael was before I read this book, but I sure as hell know who he us now. This is an ego driven self glorifying one sided account of what was probably an interesting collaboration. I find it astonishing that he calls this book a memoir of Kubrick when it's obviously the book that Raphael wishes someone else would have written about him. As for insight into Kubrick's world, check out the current issue of Playboy, there's an excellent article that reveals far more in a few pages than Raphael does in this whole book. The pretentious and sometimes shameless name dropping only seems to point towards the fact that this writer seems to want his share of the limelight, and isn't afraid to thrust himself into it by disguising his memoir as being about someone people actually give a damn about.
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Format:Taschenbuch
Frederic Raphael's life is not particularly interesting. I wish he had delivered on the promise of the book's cover and written a book about Stanley Kurbrick instead, who's life certainly was interesting.
Raphael's writing is stilted, egotistical (in one segment he feels he must write in French to fully express his emotions), and downright boring.
There are several excellent biographies and film studies of Kubrick. Read one of these instead.
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Format:Taschenbuch
The author should be ashamed of himself, but judging by his arrogance, he won't be. Christiane Kubrick should sue him. Only for hard-core Kubrick fans.
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Badly-written
Rather poorly written, not only in content (self-serving, gossipy) but also in regards to the feel of the language. Lesen Sie weiter...
Veröffentlicht am 8. Juni 2000 von Alex Fak
Searching for Stanley Kubrick
After being enthralled with Kubrick's last movie, Eyes Wide Shut, I found myself searching out more on this man and his art. Lesen Sie weiter...
Veröffentlicht am 5. Juni 2000 von "orpheusong"
easy to judge......
.....the writer when you're not in his shoes. Sure, he wrote it to make money (how many of us are pious enough to say that we don't do the things we do for money), and timed it's... Lesen Sie weiter...
Veröffentlicht am 21. April 2000 von Leonard Bonarek
Graverobbing made more grotesque by self-aggrandizement
When I bought this book, I was unaware of either the controversy regarding its propriety or the fact that "memoir" here refers only to the relatively brief time that... Lesen Sie weiter...
Veröffentlicht am 24. Januar 2000 von B. Connor
The morals of a writer
This book has been baned by Stanley Kubrick's family and by friends and colleagues at Warner Brothers. Lesen Sie weiter...
Veröffentlicht am 3. Dezember 1999 von Julio Quiñones
Let's go about this the right way
Being a long time fan of the genius that is Stanley Kubrick, I could hardly wait for the chance to gain an insightful view into what makes him 'tick'. Lesen Sie weiter...
Am 25. Oktober 1999 veröffentlicht
One word: Inappropriate
Raphael is obviously cashing in on Kubrick's death. He wouldn't have released this book with Kubrick still here. Lesen Sie weiter...
Veröffentlicht am 15. September 1999 von mike.shaw@lhcadv.com
Embarrassed
This is a very funny book. Raphael's ostentatious name-dropping and displays of his learning are so hilarious, it's hard to believe he wrote them in earnest (such as the... Lesen Sie weiter...
Am 7. September 1999 veröffentlicht
EYES HALF SHUT
Despite the rather mercenary nature of this book, I feel as if I've gained insight into the creative process of the cinema elite. Lesen Sie weiter...
Am 16. August 1999 veröffentlicht
Illuminating, Frustrating, Seductive
If Raphael truly wants the last word, let him publish his very first 172-page draft of EYES WIDE SHUT, and we'll know for sure in whom the talent lies!
Veröffentlicht am 10. August 1999 von Rex A. McGee
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