Kubrick, Who’d Have Been 90 & the
Odyssey to a Future That Never Was
A New Yorker who spent most of his life in the U.K., Stanley Kubrick had been an accomplished photojournalist before his movie career as a director took off. His 1946 series for Look magazine, Life and Love on the New York City Subway, displays the same keen eye and compositional style that would mark his filmography later on.
In just a few years, the man who would say at one point that ‘the most terrifying fact about the universe is not that it is hostile, but that it is indifferent.’ went on to become anything but, with a string of now classics, such as Path of Glory, Spartacus, Lolita, Dr. Strangelove, 2001, A Space Odyssey, and A Clockwork Orange, to name a few.
Today, when he would’ve become 90, Stanley Kubrick is intrinsically connected with the future that he realized with his movies, more than anything he’s ever envisioned. And that’s no small feat for such an overachiever. Even as he just missed the dawn of the iconographic year that named his sci-fi masterpiece, much of what he and Arthur C. Clarke anticipated is finally rising on the horizon of our times.
Not that we should feel too nostalgic about the future that could’ve been, with its interstellar travel, and dreams of finally understanding our evolutionary connection with the ‘indifferent’ universe surrounding us. We’re actually lucky that another one of his disturbing dystopias of what may lay ahead, A Clockwork Orange, based on an Anthony Burgess book, hasn’t quite materialized. Yet.
Before going back to those pictures of a post-war Manhattan, and to a few interesting audio and visual tchotchkes about Kubrick we’ve found on the Internet, let’s do him some justice. For even at the heart of his enormously challenging techno-futuristic visual parables, there was his deeply humanistic option for a different construct of our own fate.
From his anti-war trilogy of sorts, Paths of Glory, Dr. Strangelove, and Full Metal Jacket, to his portraits of individuals at odds with an all too powerful system, either stoically like Spartacus, or as a crook, like Barry Lyndon, or even one succumbing to his own creeping madness, as in Stephen King’s The Shinning, Kubrick remained faithful to his non-religious but highly moral Jewish working class roots.
RIDING THE UNDERGROUND
The Museum of the City of New York has some 40 thousand negatives that the young photographer took of Manhattan in the 1940s. Some of his pictures are so cleared eye they could’ve been taken now. Subway riders fast asleep, hanging from the overhead bars, or with their faces buried in newspapers. Yes, you could make that iPhones, but the underlying content would be the same.
Calling him Stan Kubrick, the Camera Quiz Kid, Mildred Stagg wrote in 1948 about ‘the boy who said that had turned nineteen a week ago, and has been a staff photographer for Look magazines since age seventeen.’ And registered the kid’s own impressions about (more)
* The Shinning
* Polly & Meow
* Checking In
* Strange Love