Without a doubt, cinema is a seventh art thanks to guys like Kubrick. A director who was not content to tell a story but rather probed the infinite possibilities of his films from the strictly narrative to the emotional and psychological. And he did it through plans, approaches, effects, photography or dialogues. Because it is true that some of his greatest hits in various genres such as Espartaco, Lolita or even Resplandor are based on more common scripts. But the most recognizable Kubrick is discovered in other types of more meta-cinematic films, we could say.
Being avant-garde is not easy in almost any discipline. The matter has something of erratic becoming, creativity and genius ahead of ideas and structures. I suppose that there is understood a race that appears to us in leaps and bounds. At the stroke of an ingenious project that ends up bearing fruit, relegating to oblivion others that could be discarded for not contributing anything in that risky direction of the constant evolution towards new paths.
But this is how you get a seal among the greats. We could not imagine Kubrick filming a series or submitting to the dictates of any more recognizable genre filmography, Kubrick explored new avenues so that we can finally see his works even today with the maximum doses of surprise and topicality. Something like the paradox of talking about film classics always at the forefront.
Top 3 Best Stanley Kubrick Movies
2001. A Space Odyssey
AVAILABLE ON ANY OF THESE PLATFORMS:I was recently talking to a friend about the best movies from science fiction over space. We ended up succumbing to Christopher Nolan's most recent "Interstellar" and Kubrick's Odyssey as the most notable in a tough fight to be definitely the best.
And it is true that today the Odyssey can be underestimated due to the limitations of special effects of the moment. But without a doubt it is that masterpiece full of disturbing ideas about space-time paradoxes, wormholes that manages to achieve the value of the novel by Arthur C. Clarke,en in the plot but that surpasses it with its shocking anthropological vision overflowing with suspense about our own existence.
There was no rush to enter that dawn of man from the monolith capable of awakening the spark, the change. It also takes us time to discover the astronaut lost in his nuclear white room, left to his own devices, aging peacefully in that strange place as an allegory of the most transcendent death ever posed. A magnetic film that requires a certain parallel introspection from the viewer. It is not always the best day to see it. But when one is ready, with that extra time that is denied us more and more every day in movies, series or books, one ends up enjoying an experience that goes beyond the cinematographic.
A Clockwork Orange
AVAILABLE ON ANY OF THESE PLATFORMS:If Tarantino today makes an excuse of violence and even a plot filigree to naturalize one of the drives most necessarily withdrawn from the human repertoire in the social sphere, Kubrick often delved into that anarchic sensation of violence as a channel of expression of the ego.
It is true that in the case of this story, previously fictionalized by Anthony BurgessUndoubtedly, the pathological marks that nihilistic taste, that animosity towards others that finds no more meaning than that of a psychiatric analysis that points to the dystopian of our increasingly individualistic society. It must be remembered that the film is projected to the 90s from the 60s. And since every creator scans the horizon with that fatalism that leads to apocalypse at least, nothing else could be expected.
The point is to observe in Alex, the protagonist and leader of his gang, that human being discharged of conscience. And from there we consider the possibilities that the imbalance, the disturbed conscience or whatever it is that moves it can be "redirected" towards the idea of a good citizen. In the attempt lies the sustenance of a film that gives us chills, that disturbs us but that is conformed as a walk to the worst hells of the human will when it is channeled towards comfortable evil and its parallel destruction.
The metal jacket
AVAILABLE ON ANY OF THESE PLATFORMS:He here my rifle, here my pistol! The image of the clumsy recruit who is out of control in the bathroom. The humiliations beyond the typical Spartan image. The official imagery of the Vietnam War always sought to wash the image of its honorable soldiers trying to liberate the world.
Kubrick wiggles the issue of military organization and the behavior of soldiers in war once they have been trained in the undervalue of life. Among the humiliations, nicknames and sanbenitos, those soldiers come to the front capable of anything. The enemy is anyone and the trigger can be fired easy when there are no more scruples.
In the end, beyond the gaze of the thousand meters that is left to every soldier who has been able to see the horrors up close, the soul can bear it to continue firing indiscriminately. Because the only thing that matters is staying alive.
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