Product Details

• Actors: James Mason, Shelley Winters, Sue Lyon, Gary Cockrell, Jerry Stovin
• Directors: Stanley Kubrick
• Writers: Stanley Kubrick, Vladimir Nabokov
• Producers: Eliot Hyman, James B. Harris
• Format: Black & White, Closed-captioned, Dolby, DVD, Letterboxed, Widescreen, NTSC
• Language: French (Dolby Digital 2.0), English (Dolby Digital 2.0)
• Subtitles: English, French
• Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  
• Aspect Ratio: 1.66:1
• Number of discs: 1
• Rating: NR (Not Rated)
• Studio: Turner Home Ent
• DVD Release Date: June 29, 1999
• Run Time: 152 minutes
• Average Customer Review: 3.8 out of 5 stars See all reviews (121 customer reviews)
• ASIN: B00000J2KV
• Amazon.com Sales Rank: #17,433 in Movies & TV (See Bestsellers in Movies & TV)

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• For more information about "Lolita" visit the Internet Movie Database (IMDb)

Editorial Reviews

Amazon.com essential video
When director Stanley Kubrick released his film adaptation of Vladimir Nabokov's controversial novel about a hopelessly pathetic middle-aged professor's sexual obsession with his 12-year-old stepdaughter, the ads read, "How did they ever make a film of Lolita?" The answer is "they" didn't. As he did with his "adaptations" of Barry Lyndon, A Clockwork Orange, and, especially, The Shining, Kubrick used the source material and, simply put, made another Stanley Kubrick movie--even though Nabokov himself wrote the screenplay. The chilly director nullifies Humbert Humbert's (James Mason's) overwhelming passion and desire, and instead transforms the story, like many of his films, into that of a man trapped and ruined by social codes and by his own obsessions. Kubrick doesn't play this as tragedy, however, but rather as both a black-as-coffee screwball comedy and a meandering, episodic road movie. The early scenes between Humbert, Lolita (a too-old but suitably teasing Lyons) and her loud, garish mother (Shelley Winters in one of her funniest performances) play like a wonderful farce. When Humbert finally fulfills his desires and captures Lolita, the pair hit the road and Kubrick drags in Peter Sellers. As the pedophilic writer Clare Quilty--Humbert's playful doppelgänger and biggest threat--Sellers dons a series of disguises with plans of stealing Lolita away from her captor. It's here more than anywhere that Kubrick comes closest to the novel. He extends Nabokov's idea of the games and puzzles played between reader and writer, Quilty and Humbert, Lolita and Humbert, etc., to those between filmmaker and audience: the road eventually goes nowhere and Humbert's reality is exposed as mad delusion. Perhaps not a Kubrick masterpiece, or the provocative film many wanted, Lolita still remains playfully fascinating and one of Kubrick's strongest, funniest character studies. --Dave McCoy

Additional Features
EDITOR'S NOTE: According to a Warner Home Video technician involved in the production of The Stanley Kubrick Collection, Kubrick authorized all aspects of the Collection, from the use of Digital Component Video (or "D-1") masters originally approved in 1989, to the use of minimalist screen menus, chapter stops, and (in the case of 2001: A Space Odyssey and The Shining on DVD) supplementary materials. Full-screen presentation of The Shining and Full Metal Jacket was also approved by Kubrick, who recomposed his original framing, reportedly believing that those films looked best on video in the full-screen format. (In fact, the original theatrical aspect ratio of The Shining was 1.66:1, meaning that a relatively small portion of the image is lost.) Kubrick also chose mono over stereo, believing that inconsistencies in theatrical sound systems resulted in loss of control over theatrical presentation. In every respect, the Warner spokesman said, the films in the Collection remain as Kubrick approved them. Any future attempt to remaster or alter them would have to be approved by an appointee of the Kubrick estate.

Customer Reviews

Most Helpful Customer Reviews

30 of 32 people found the following review helpful:

1.0 out of 5 stars Shame on Warner for this fiasco DVD!, October 25, 2007

By	Lars Sandell (Sweden) - See all my reviews (REAL NAME)

This review is from: Lolita (DVD)

This is the third DVD release of Kubrick's masterpiece, and it is still not given an anamorphic transfer. How can this happen in 2007, considering Warner's reputation as a studio that cares and the classic status of the film? Incredible. And not a trace of any new extras or bonuses except the trailer we've seen before. A huge boo to Warner! Words fail.

26 of 28 people found the following review helpful:

2.0 out of 5 stars NOT ENHANCED FOR 16X9 TELEVISIONS, October 23, 2007

By	matt swanson - See all my reviews (REAL NAME)

This review is from: Lolita (DVD)

As much as I appreciate a new release of this classic film, I am at a loss to understand why they would give it a widescreen treatment and not enhance it for widescreen televisions. All of the two-disc special editions in the new Kubrick boxed set are enhanced, and yet this one (not part of the set, but released at the same time) is not. If you're a Lolita fan you should stick with the original 1:33 version. This one will only frustrate you.

65 of 78 people found the following review helpful:

4.0 out of 5 stars Kubrick's "Lolita" is its own thing..., July 20, 2001

By	Wing J. Flanagan (Orlando, Florida United States) - See all my reviews (REAL NAME)

This review is from: Lolita (DVD)

Devoted as I am to Vladimir Nabokov's novel of Lolita, and as much good as there was in Adrian Lyne's more accurate interpretation of it, I must confess that Stanley Kubrick's 1962 film version functions better than either as social commentary. Nabokov's novel was radically subjective - not a thing happened unfiltered by its hero's own vision. Transliterated as it was by Adrien Lyne, the result was claustrophobic. Kubrick's film, by contrast, invited us to stand outside and look in at the strange behavior of mid-20th century America's "progressive" middle-class. That was the right approach. By not asking us to relate to an obvious pedophile, or any of the other characters, Kubrick allowed us to fully absorb the ethical and emotional consequences of their interactions.

The oddly named Humbert Humbert (James Mason in, perhaps, his finest performance), comes to America from some unspecified European country. Looking for lodging, he crosses paths with Dolores "Lolita" Haze (Sue Lyon), and her mother Charlotte (brilliantly played by Shelley Winters). What follows is a black comedy swirling giddily around a host of sexual taboos - pedophilia chief among them, as Humbert finds himself sexually obsessed with the teen-aged Lolita. Had this been a TV-movie of the week, Lolita would have been the saintly victim of the villainous Humbert. Instead, Kubrick and Nabokov's Lolita is a precocious manipulator - awakening to her sexual identity and the strange power she can exert over members of the opposite sex. The difference, of course, is that she is a child and doesn't know any better; Humbert is an adult and damn well should.

So, for that matter, should Clare Quilty, Humbert's rival for the attentions of the young nymphet. Quilty, though sicker than Humbert, is a farcical character, played brilliantly by Peter Sellers - the Robin Williams of his day. The edgy, blackly comedic tone is no better exemplified than in the scenes he and Humbert have together. It becomes obvious as the film progresses that, in some twisted way, Humbert actually loves Lolita, while Quilty sees her more as the object of a fetish.

By the end, Humbert is reduced to a broken shell of a man, and it does not really matter if we approve of his behavior or not: he is still sympathetic, as much a victim of his own demons as Lolita herself, or her hapless mother. Without lifting a finger to "redeem" him, Kubrick forces us to come to terms with Humbert's humanity, as well as his perversion.

Compare that to sanctimonious pap like American Beauty, a film that nearly demands that we "understand" its main character, even daring suggest that disapproving of his infatuation with a teenaged girl is akin to the homophobic excesses of his sadistic, one-dimensional ex-Marine neighbor (apparently ugly stereotypes are perfectly OK when applied to conservatives). Add to this a few patently absurd, over-the-top plot developments and Kubrick's Lolita begins looking better and better.

Many have suggested that, had Kubrick made Lolita in a more permissive atmosphere, a different (therefore "better") film would have resulted. I doubt it. At the end of the day, Kubrick's Lolita is more about foolish, pathetic, self-destructive behavior, than pushing the limits of what salacious content we are allowed to see on-screen. It is about how obsession and hypocrisy can crush a person. It is about how very funny we are as a species, with our propensity destroy each other and ourselves for the pettiest, most absurd of reasons.