Lolita (1962)

‘Lolita’ sheds the erotic baggage carried from the novel of the same name and leaves it to the viewer’s imagination. Per Kubrick’s own admission, that was more by compulsion of censorship in the 60s than choice. Strangely enough, painting the film with innuendos is what makes it work, as it traverses through lust and impropriety with an undertone of vulgar, valiantly and emerges as another landmark film from the master of human frailty.

The story revolves around Lolita, a 14 year old girl, the daughter of a lonely and sexually frustrated single mother. Lolita is well aware of her sexuality and is provocative as she finds herself, the object of desire of a much older divorcee, Professor Humbert, who moves in with them as a tenant. Humbert’s lust for Lolita leads him to profess fake love for her mother, whom he marries. In a moment of discovery, she uncovers his motive and runs out of the house to her death under a speeding car. With Lolita to himself, Humbert sets out on a teaching assignment and enrolls Lolita in the local school.

He grows increasingly possessive of her and she, increasingly suffocated with him. Unable to control his own doubting of her, he takes her away on a long road trip. Right through the journey, he gets the feeling he is being tracked and followed, but cannot find out who. When admitted to the hospital, Lolita escapes by getting discharged by an ‘uncle’. Humbert is furious and spends the next few years tracing her and finding out who the mysterious person is. To his shock, he realizes that he is not alone in wanting her.

Based on Vladimir Nabokov’s screenplay, the film starts from the climax and spends the rest of the time, taking us there. Kubrick states Humbert’s weakness for the young ‘nymphet’ matter of factly, through a narrative of Humbert’s jottings in his journal. As the story moves from one sordid point to another, he does not judge the characters, but portrays what they do, leaving us to do the judging. All that up to the final point, when Humbert discovers the truth about Lolita’s feelings towards him.  At that point he leaves Humbert, Lolita and the ‘uncle’ exposed and to the mercy of the audience to judge them as they please. By starting the film in medias res, he builds up the viewer’s interest in knowing, why the climax is the way it is.

James Mason as Humbert delivers a superb performance as the man who desires a very young girl. The manner in which he gives expression to his inner desires, in a controlled and debonair manner is a superb display of balanced acting. Shelley Winters as Lolita’s mother also does a fine job of portraying loneliness and its perils as she falls for the first man who shows some interest in her. Sue Lyon as Lolita is every bit the desirable young girl and plays the role to perfection physically and emotionally. The scene stealer however is Peter Sellers and the TV personality Clare Quilty. In one of his more serious roles, he shows us why he was one of the greatest actors and impressionists ever.

‘Lolita’ is a superb film that portrays human weakness.