Lolita

Photographed By Karen Burgos

The novel is controversial, and its subject matter is dead wrong. I repeat, dead wrong! But, it's one of the most picturesque written books I've read in my entire life. It's one of the best work of fiction ever written, period.

"Lolita" (1955), by Russian - born author Vladimir Nabokov, basically coined the concept of a Lolita as we use the term contemporary. It's the hardcore definition of a prepubescent or adolescent attractive girl. Although in our present culture, it's taken on an extended meaning of stuff floating around on the Internet (to put it mildly), rock bands and cool Japanese clothing gear for girls. However, what we refer to as a Lolita today, Nabokov (in his literature) called a Nymphet (with Fauntlet, as its male equivalent) back then. I'll try to clarify without digressing too much.

Dolores Haze, or Lolita, is one of the characters in "Lolita". Her nickname is one of many, given to her by the book's protagonist, Humbert Humbert. -Cita and -ita are Spanish diminutives usually added to names as a sign of a affection. For example, I'm sometimes called "Elinita" or "Elita" (derived from, Ellie) by my Latina friends (Hi Paula! Hey girl!). And remember the musical "Evita"? Evita, is Eva Perón. So whatever your name is (it doesn't have to start with an 'E'), you can add -ita, (or, -ito, if you're a boy) to it. Lemme know what you get! The endearment is only distorted in the book.

All the same, a quick summary: "Lolita", is about a middle - aged scholar who takes up residence in a private home in a New England town, after he sees and becomes spellbound by the house owner's prepubescent daughter. He later marries his landlady, Charlotte Haze, to ensure proximity to her only child, Lola - or in Humbert's many names, "She was Lo, plain Lo, in the morning, standing four feet ten in one sock. She was Lola in slacks. She was Dolly at school. She was Dolores on the dotted line..." I have to stop the quote right there as the rest is plain creepy.

Following a series of "unfortunate" events, Charlotte is killed in an accident, and Lolita is left in the custody of Humbert. "You see, she had absolutely no where else to go". After a year touring North America, Lolita finally escapes her aggressor's hands, subsequently falling victim in an others. Leaving the tale to conclude with murder, and deaths at the beginning, middle and end of the story. Thus, supposedly "cheating" the protagonist of his redemption.

The story isn't nearly as grim as my storytelling ability - non withstanding the subject matter: It's more comical, than tragic. A satire, told entirely from Humbert's perspective. In the most beautiful prose, Humbert "wants the reader to be as perverse as he is, to become like him so that we will be complicit and sympathetic to his acts." He's an unreliable narrator who paints himself the victim, and makes out Lolita to be a "deadly little demon".

There have been two film adaptations of the novel. The first came out in 1962 and the second, 35 years later. Remember I said that I preferred the second version, before burying my head in the sand like an ostrich? It's not that I don't enjoy the craftsmanship of the first movie. It's in black and white, shot with interesting camera angles and contains elaborate aspects of black comedy, starring James Mason as a credible Humbert and Peter Sellers as Humbert's reflection, Clare Quilty: But, Melanie Griffith as "The Haze woman...", Dominique Swain as Lo-lee-ta and Jeremy Irons' performance as Humbert Humbert in the second filmatization, just moves me in a different way. It's poetry in motion.

Even though it's been a while since I watched either of the movies, I still recall the quality of Irons' narration or voice - over, as it's called, in the second installment. It's unsurpassed. He just has a superior manner of playing, a melancholic (Antonio, "The Merchant of Venice") delusional, (Scar, "The Lion King") and horrifying legal guardian (Humbert, "Lolita") with perfect conviction. Period.

A Clockwork Orange

Photographed By Karen Burgos

One of the things I plan to do this year, is go to the movies more often. I'm usually so out- of- sync with my friends when it comes to the latest releases. Whenever they're discussing whatever is going on at the cinema, I'm light years behind. Then when I finally catch up, they've moved on.

But anyway, "The Artist" has now been ✔ on my list. Subsequently, I'm game for Oscar Night, come February 26.

And speaking of films, one of my favourite movies of all time is "A Clockwork Orange" (1971) directed by Stanley Kubrick. Kubrick is also one of my favourite directors. And my preferred movies in his repertoire, in random order are; the above mentioned, "Eyes Wide Shut", "Barry Lyndon", "The Shining"...I'm forgetting something here...of course, "Full Metal Jacket". Me love you long time!

It's not on the list, and I feel like a traitor for saying this, but, I like Adrian Lyne's adaptation of "Lolita" better than Kubrick's. Please, don't hate me! I think Jeremy Irons' Shakespeare in love reindition of Prof. Humbert Humbert has a lot to do with it. I'll return to Vladimir Nabokov's masterpiece, later.

"A Clockwork Orange" is based on Anthony Burgess novel by the same name. The story, set in the future, is about the Beethoven's Ninth Symphony loving, juvenile menace to society, Alex DeLarge (skillfully played by Malcolm McDowell) and his three friends (or droogs as they're called in the made up language, Nasdat).

After a break and entry gone awry, Alex is apprehended by the police and eventually senctenced to 14 years in prison for his deeds. While incarcerated, he's offered (and accepts) a reduced sentence under the condition that he agrees to be a volunteer for a experimental rehabilitative treatment called the Ludovico Technique, aimed at "curing" criminals within two weeks. Its curative effects on Alex however, remains to be seen.

The film is pretty violent (ultra violent!) and graphic, even by today's standard. But, it's a lyrically and artistically executed production that touches on many themes, such as the concepts of crime and punishment, revenge and retribution, science, politics and religion. As well as other dimensions of human nature. Sheer perfection. And then there's the fashion. How often has Alex's eye makeup, and white outfit paired with combat boots, a bowler hat and suspenders, not been duplicated, replicated, imitated?

The opening scene of "A Clockwork Orange", with protagonist and narator, Alex, et al. drinking "milk" at their favourite spot, The Korova Milkbar, is arguably one of the most enthralling in the history of film: And perhaps only rivaled by the "I believe in America..." scene of "The Godfather Trilogy" and John Travolta's strut in "Saturday Night Fever" (with additional credit to the Bee Gees).

The second best scene, in my opinion, is when the larger - than - life, Alex grips his walking stick in both hands and disciplines his droogs, that is, Pete, Georgie, and Dim (played by Michael Tarn, James Marcus and Warren Clarke respectively), by the flatblock marina. It's to his own demise. Yet, impressive to watch nonetheless. This brilliantly choreographed sequance, is the ultimate testiment to Kubrick's genius. Oh, but there's another. Which brings us to (with instructions on how to emulate):

The Kubrick Stare;

1) Tilt your head down.

2) Look up from beneath your eyebrows.

3) Smile or 3a) Grimace. Make sure the camera is close to your face, too.

"Here's Johnny!"

So Fresh And So Clean

Photographed By Ellinor Forje

Happy New Year! Yes, a bit late, I know...I know. But, I just realized that hadn't shared any well wishes for the forthcoming year.

So what are your resolutions (how many of them have been broken already?)? Mine is basically the same as last year: STOP PROCRASTINATING. It's easier said than done.

With that said, a new dawn, a new day is here, which means only one thing! Time for the traditional January sales (did you hit the shops this weekend?). But, January is cold has hell. And unforgiving. I've never counted it as one of my favourite months of the calendar. Yet, it's the one month that has a certain ambiguity to it. It marks the beginning of something new, and the end of a period that was building up to close a chapter. So January is both redundant and fresh at the same time.

Ah, it's a new year! Finally. I hope it gets filled to your hearts' content. And thank you, you guys for visiting my space.

My Week With Marilyn

Photo Courtesy of Jenny Hutton

The right answer is Marilyn Monroe. Remember the little quiz at the end of the third blog post? Had you stated, Morgan Freeman or Heidi Klum, that would have been correct, too. Well, sort of...

That said, I just got back from watching "My Week With Marilyn" (2011). It's been added to my list of "good movies seen so far in 2012".

The plot is fairly simple, and based on the two books, "The Prince, The Showgirl and Me: The Colin Clark Diaries" and "My Week With Marilyn", both by Colin Clark. The story is centered around Clark's (alleged) relationship with Monroe (Michelle Williams) during the filming of the movie "The Prince and the Showgirl" with (Sir) Laurence Olivier (Kenneth Branagh) in London, while Clark (Eddie Redmayne) was working as an assistant director (gofer, in layman's terms) on the set (confusing?). I think I've just set a new record for number of brackets used in one paragraph!

The focus of the movie is the relationship Monroe has with Clark, and of course, the rest of the people around her (in Monroe's world "the people around her" also includes Vivien Leigh played by Julia Ormond). They love, hate and worship her, equally. She's adorned by many, but feels loved by few. When offered the posiblity of giving it all up for the love of one, she chooses the spotlight and the stage instead, only to lament in a split second that it's all a facade; while loving her audience with the rhetorical question, "Should I be her?". Then acting and indulging the part.

And the duality of her nature shines through the entire feature. A copy of James Joyce's "Ulysses" - I assume Monroe was the on reading it and not Arthur Miller (Dougray Scott), on her nightstand in one scene and her repartee's in other, suggests that she wasn't that dim that Marilyn. Not at all. At the same time she appears to be a helpless child, who often clings to her method acting coach and confidante, Paula Strasberg (Zoë Wanamaker) for re-assurance.

Also, I have to say that they did a perfect job on capturing Monroe's iconic hairstyle. In many screen performances depicting the life of Marilyn Monroe there's usually something dodgy going on with the hair. Think of Mekhi Pfeifer in "8 Mile". Okay, I'm exaggerating. But you get the drift. It's details like that, that keeps you reminded that you're watching an actress in a wig playing Marilyn. Monroe's hair was distinct in that: When she was younger it was curly, not as frizzy as Keri Russel's in her days of "Felicity" though, but Pre-Raphaelite. She was also a brunette. When she later changed her appearance to fit the fashion magazines big screen, it had an unmistakable quality to it, from the roots up.

The one critique that I'll give (Scott offers more on this subject); Marylin Monroe had that rubenesque figure where she looked like she was busting out of her clothes: She took up a lot of space. Whereas Williams' frame appears much smaller on screen. So the pin-up and imposing physical-presence factor, Monroe's sinequanone, is absent in some scenes. But, I like Williams. In my eyes she can do no wrong (on that note, another good flick is "Blue Valentine", starring Williams and the man of the hour, Ryan Gosling). Thus, I blame the director.

All in all, the movie is visually stunning with a wonderful cast. And Williams does a good job in capturing the nuances particular to Monroe's demeanor. Yet, the puzzle as to who Marilyn Monroe really was as a person, remains unsolved. The strength of the film.