In the final fifteen years of the life of legendary director Orson Welles he pins his Hollywood comeback hopes on a film, The Other Side of the Wind, in itself a film about an aging film director trying to finish his last great movie.
S Is For Stanley is the story of Emilio D'Alessandro, Stanley Kubrick's personal driver. A Friendship that lasted through 30 years of their lives, helped create four cinema masterpieces, ... See full summary »
In 1980 New York, three young men who were all adopted meet each other and find out they're triplets who were separated at birth. But their quest to find out why turns into a bizarre and sinister mystery.
It's a rare person who would give up fame and fortune to toil in obscurity for someone else's creative vision. Yet, that's exactly what Leon Vitali did after his acclaimed performance as 'Lord Bullingdon' in Stanley Kubrick's Barry Lyndon (1975). The young actor surrendered his thriving career to become Kubrick's loyal right-hand man. For more than two decades, Leon played a crucial role behind-the-scenes helping Kubrick make and maintain his legendary body of work. In Filmworker, Leon's candid, often funny, sometimes shocking experiences in the company of Kubrick are woven together with rich and varied elements including previously unseen photos, videos, letters, notebooks, and memos from Leon's private collection. Insightful, emotionally charged anecdotes from actors, family, crew members, and key film industry professionals who worked with Kubrick and Leon add an important layer of detail and impact to the story. Filmworker enters the world of Leon Vitali and Stanley Kubrick from a...Written by
It's interesting to see in this documentary the egoless human quality of surrender that make greatness possible, through commitment, hope and trust in other people rather then oneself. Kubrick was only Kubrick because he managed to be surrounded by committed and truthful assistants, family members and friends that trusted not only in his talent and vision, but in his condition as a great human being. And not only Leon Vitali, not only his great handy-man Emilio D'alessandro (not featured in this documentary, even in name form), not only his wife Christiane, but everyone in the Kubrick circle became a filmworker because he knew how to make people work for him. Kubrick, I believe, being such an intelligent person, was not motivated to associate perfection to his name for aesthetic and self-centered reasons, but rather and above all, to express the maximum intellectual capacity of the human race though the medium of art. Working for Kubrick, one of the last real artists of our time, was being in service for art itself, not him, exclusively.
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