LOLITA

US, 1997, 140 minutes, Colour.
Jeremy Irons, Melanie Griffith, Frank Langella, Dominique Swain.
Directed by Adrian Lyne.

Since the publication of the novel, Lolita, by Vladimir Nabokov, it has been an occasion of controversy with its theme of the infatuation of an adult man with a young teenager and his sexual relationship with her. Many articles have been written in defence of and attacking the book.

Stanley Kubrick made a film version in 1962 with James Mason, Shelley Winters, Peter Sellers and Sue Lyon. While Kubrick developed his own themes, the film was considered not to be a direct translation of the novel to the screen.

In 1997, director Adrian Lyne, known for making such films as 9 1/2 Weeks, Fatal Attraction and Indecent Proposal, had a version ready for release. However, distribution companies were very cautious because of the theme (and because of Lyne's previous films). While it was screened at some festivals, it failed to get a cinema release in the United States and was screened on cable television. After some discussion and
controversy, it received an 18 certificate in the United Kingdom and was released. The certificate noted the portrayal of 'a destructive sexual relationship and a scene of violence'.

One of the concerns about the film was the growing revelations during the 1990s of sexual abuse in families and of paedophilia.

Adrian Lyne's version is a serious, even at times solemn, adaptation of Nabokov's novel. Visually and verbally, it is very restrained (and, under ordinary circumstances might have rated a 15 or M rating).

As is often the case, the controversy concerning Lolita is not based on the complainants having seen the film. Rather, the bald statement of the subject of the film is enough to raise anger. However, there is no limit on the subjects that can be treated in films; the limits come in the 'how', the way in which the subject is presented. (It is easy to point to many
Biblical stories that can be described in an alarmist, even a lewd, manner but which are treated with seriousness and some delicacy.)

This version of Lolita is not advocating under-age sex, sexual abuse or paedophilia. Rather, it is portraying a man who is obsessed with a young girl who reciprocates his advances, indeed she often fosters them. Jeremy Irons' interpretation of Humbert is skilled in the way that he conveys his obsession and love for Lolita (and his sense of guilt), while Adrian Lyne's direction has Dominique Swain act as an immature
schoolgirl with the irritating mannerisms and behaviour of her age. This counterpoint means that the audience is able to observe and understand the obsession while seeing its aberration. After all, this is the same process that the Old Testament uses in its portrayal of David as adulterer and murderer. Many acceptable films use the same process in making us share in an experience we disapprove of in order to understand evil and understand the motives of obsessive, violent or 'perverted' characters. A quick run through Hitchcock's canon illustrates this: Rope, Vertigo, Psycho, Frenzy...

While Lolita deals with serious themes and contemporary problems (in a late 1940s setting), it is not sensationalist in its treatment, is quite reticent in its visuals (except for the final violence confrontation with Quilty where a character of even more destructive perversity is revealed) and tries to help its audience understand this destructive relationship, especially by showing its immediate and, especially, its
long-term consequences.

1.The reputation of the novel? Its themes and controversy? The film by Stanley Kubrick?

2.Censorship problems in the 1990s? Emergence of sexual abuse as an issue? Paedophilia?

3.The quality of the adaptation of the novel for the screen? Humbert's voice-over, his giving the narrative of events, his expressing his conscience, his asking the audience to be a jury about him, his voice-over as some form of therapy?

4.The prologue in Cannes 1921: Humbert's explanation of his infatuation with Annabelle, aged 14, idealised, infatuated, adolescent love? Her death, his comment on his arrested development? The visualising of this prologue in period decor and costume, glowing memory?

5.The transition to post-war United States? The atmosphere of the country itself, the small towns, the aftermath of the war? Homes, streets? Decor and costumes? The cars, advertising, the attention to detail? The plot of the sexual relationship inserted into this American period?

6.The American experience of an Englishman? The tradition of American innocence in experienced Europe? The reverse of this? The Englishman and his naivety, shrewdness, passion, corruption?

7.Humbert and his character: the opening with the car swaying, veering to all sides of the road, the hay truck and its losing its load? His place to stay, its being destroyed by fire? His wanting to write his book, going to teach? The encounter with Mrs Haze? The initial and instant impact of Lolita? As a vision, enraptured, infatuated? Audience being invited to understand Humbert, some empathy with his experience while antipathy towards his behaviour?

8.His comment on nymphets, his reaction to Lolita, the difference between infatuation and love, his projecting his ideal teenager onto her? The nymphet's deliberate seduction, ability to corrupt? The intensity of the relationship? Jeremy Irons' performance - with his eyes, expression, smile (as well as the voice-over)?

9.Lolita at 13 and 14: the innocent young teenager, naive yet shrewd, her lack of self-consciousness, her deliberation? The modelling of her mother, her mother's criticism of her? Her flaunting her budding sexuality? The impact of the seduction, the relationship?

10.Yet Lolita portrayed as a very young teenager, wanting to eat sweets, the kinds of music she listened to, posturing, her irritating behaviour? The audience seeing her through Humbert's eyes idealised as well as their own eyes and seeing her as a normal and typical young girl, even full of irritating mannerisms?

11.The audience seeing her in this way - and the contrast with Clair Quilty? The contrast between Quilty's perceptions and Humbert's?

12.The portrait of Charlotte, the short time in the film? In herself, her house, attracted to Humbert, inviting him to stay? Their sequences together, friendship? Her attitude towards Lolita, bringing her up by herself? Wanting to marry Humbert? The ceremony? The discovery of the truth, her writing of the letters, her anger, her accidental death? His reaction, his grief - but yet protecting Lolita from the news, running away from it?

13.The pair going on the trip? The film as a road movie, the various environs of the American countryside? Their experiences? The hotels, the reactions of people? The relationship between the two, the effect on each? Lolita's behaviour in the hotels, in the car? Seductive, tantrums?

14.Humbert's going to Beardsley? The attitude of the staff? Open-minded in post-war attitudes? His reaction to the principal and the chaplain? The putting on of the play, Humbert's unwillingness? Lolita's tantrum? The rehearsals - and Quilty in the background? Lolita and her lies about piano classes, the phone call to Werner to corroborate? Humbert slapping her? Pursuing her in the rain, the ice cream soda? Her power over him, wanting to leave school, go on a journey that she dictated?

15.The second journey, the American road again, the variety of landscapes? The places she wanted to visit? Humbert and his sensing that they were being followed? The car, his not suspecting who it was, fear of the police? Lolita and her illness, going to the hospital, the tantrum with Humbert? His going home, going to the hospital, finding she had been let out with her uncle Gustav? His eruption and violent behaviour? Apology?

16.The truth about her relationship with Humbert? Her wilfulness? Not really loving him? Her disappearance?

17.The effect on Humbert, the collapse of his life, the return to school? The passing of the three years?

18.Her letter, marriage, the appeal for money? His decision to visit her? The 16-year-old woman, dowdy, her dress, wearing glasses? The reality of Lolita? Her telling him the truth, the lack of love, his being wounded? Her decision not to go with him? His giving her the money? Her relationship with her husband, her pregnancy? The ordinariness of Lolita, the after-effects of her experience with Humbert - harm or not? His final image of her as she stood on the veranda, idealising her again?

19.The resumption of the drive, the police chasing him, confronting him? The flashback to the encounter with Quilty?

20.The portrait of Quilty, in the background, following Lolita, taking her away? Information about his attitudes, paedophilia? Callous, exploitative? The contrast with Humbert? Humbert and his visit to Quilty's home, decadence, the visuals and the decor, his dressing gown and nudity, his seduction, disbelief when he was shot? The pianola and its music? The melodrama of his death?

21.Humbert, looking over the valley, looking at the ideal town, hearing the voices of the children - and his regret that Lolita's was not one of the children's voices?

22.The aftermath of information, Lolita's death, Humbert's death in prison?

23.The impact of her narrative, the range of emotions of the audience? The understanding of this psychological case? The dramatisation of complex moral issues?