LATEST ADDITIONS

Stanley Kubrick’s The Killing is a nifty film noir with brisk dialogue (by noir novelist Jim Thompson) and brushstroke characters. It features a taut narrative within a daringly fitful structure (the plot starts over and over, charting the events from different points of view, leading up to the climax) and an ending straight out of O. Henry. The story line is fairly conventional—a racetrack heist, the mastermind who devises it, and the gang of misfits who try to pull it off. But the theme—human foibles trumping the best-laid plans—anticipates many Kubrick films to come, notably Paths of Glory, Dr. Strangelove, and 2001: A Space Odyssey. This is also the first film where Kubrick, just 28 years old, displays a master director’s touch: a keen visual sense, both for the composition of the frame and for the fluid camera motion (it seems to be moving almost constantly). The acting is a bit outsized, but so it is in most Kubricks, and as with most, it fits the movie’s mood. This one marks his first association with Sterling Hayden, who’s very fine as the methodical planner: mordantly witty, slow-burning with desire to break through life’s trappings, and in the end stoic about his prospects.

George Lucas had a dream of becoming a professional race car driver, but thankfully for the millions of Star Wars fans, he didn't perish in a horrific car accident after his high school graduation. Looking for a new passion, Lucas attended the film school at USC, won a scholarship to observe the making Francis Ford Coppola's Finian's Rainbow, and the pair eventually formed their own studio, American Zoetrope. Their first film was a feature-length version of Lucas's student film THX 1138, but Lucas eventually formed his own studio, Lucasfilm Ltd., and made American Graffiti, which went on to win one Golden Globe and garner five Oscar nominations.

Shortly thereafter, he began working on his next project that turned the small independent filmmaker from Northern California into a Hollywood legend. By luck (or fate) Lucas traded his guaranteed director's salary for a 40% share of the box office and all the merchandising rights (t-shirts, toys, etc.) in order to get Star Wars produced. The rest, as they say, is history.