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Romantics and Modernists in British Cinema$
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John Orr

Print publication date: 2010

Print ISBN-13: 9780748640140

Published to Edinburgh Scholarship Online: September 2012

DOI: 10.3366/edinburgh/9780748640140.001.0001

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Expatriate eye 2: Stanley Kubrick and Jerzy Skolimowski

Expatriate eye 2: Stanley Kubrick and Jerzy Skolimowski

(p.141) Chapter 7 Expatriate eye 2: Stanley Kubrick and Jerzy Skolimowski
Romantics and Modernists in British Cinema

John Orr

Edinburgh University Press

Stanley Kubrick had settled in England to film big pictures that revolutionised the genre and indeed cinema itself. Located in London, the self-exiled Jerzy Skolimowski tended to live from hand to mouth, was nomadic like Polanski, and chased money and producers everywhere for independent, on-the-hoof projects. Yet both were to the 1970s what Michel Angelo Antonioni, Joseph Losey and Roman Polanski had been to the 1960s in British cinema: visionaries with an expatriate eye who got under the skin of the indigenous culture and its many complexities. While Kubrick and Skolimowski are at opposite ends of the modernist spectrum, they both play a crucial part in the evolution of British cinema. In the relativistic world of artistic modernism, it is surprising that what drives Kubrick much of the time is something absolute: the existence in human affairs of original evil. This chapter looks at Kubrick's films A Clockwork Orange and Barry Lyndon as well as those of Skolimowski such as Knife in the Water, Deep End, The Shout, Moonlighting and Success is the Best Revenge.

Keywords:   Stanley Kubrick, Jerzy Skolimowski, Barry Lyndon, Deep End, The Shout, Moonlighting, Success is the Best Revenge, cinema, modernism, A Clockwork Orange

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