WEBVTT - Lolita (1962)

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<v Speaker 1>On the beck Doll Cast, the questions asked if movies

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<v Speaker 1>have women and um are all their discussions just boyfriends

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<v Speaker 1>and husbands or do they have individualism? The patriarchy? Zef

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<v Speaker 1>invest start changing it with the Bedel Cast. Hi, everybody,

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<v Speaker 1>welcome to the Beck del Cast. My name is Jamie Loftus,

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<v Speaker 1>my name is Caitlin Darante, and today we are unlocking

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<v Speaker 1>an episode from our patreon a k A Matreon feed.

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<v Speaker 1>Ever heard of it? And if you haven't, it's time

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<v Speaker 1>to get wise or not. We won't know. Uh. And

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<v Speaker 1>and maybe you're like, oh cool, they unlocked one now

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<v Speaker 1>I don't need to pay for it again. We won't know,

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<v Speaker 1>but you know, don't do that. But don't do that. Also,

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<v Speaker 1>there's still like dozens and dozens and dozens of episodes

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<v Speaker 1>that will never unlock. There's like almost a hundred at

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<v Speaker 1>this point. This show has been on for six hundred

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<v Speaker 1>years at this point. It's true, we're unlocking the Lolita

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<v Speaker 1>episode from our patreon ak matreon today, which we will

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<v Speaker 1>get to in a second. But if you're interested in

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<v Speaker 1>more episodes that are just Caitlin and myself kind of

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<v Speaker 1>having a loose fun, this is not actually not a

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<v Speaker 1>good example of that. But but having normally though having

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<v Speaker 1>like a one on one discussion about a movie, you

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<v Speaker 1>can get two episodes on top of the regular feed

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<v Speaker 1>there every month for simply five bucks a month, that's all.

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<v Speaker 1>And there's like there's like seventy or eighty episodes in there.

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<v Speaker 1>If you've run out of main feed episodes, yeah, there's

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<v Speaker 1>a lot. We should probably the like we should, I

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<v Speaker 1>guess we should say what the Bechtel Cast is because

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<v Speaker 1>we are in the main feed. Yes, so if this

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<v Speaker 1>is your first episode tuning into Lolita, we should go

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<v Speaker 1>off and next we'll tell you what the show is. Yes,

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<v Speaker 1>So the Bechtel Cast is our podcast in which we

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<v Speaker 1>discuss films through an intersectional feminist lens, using the Bechtel

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<v Speaker 1>test merely as inspiration for a jumping off point to

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<v Speaker 1>initiate larger, more in depth conversations. And Jamie, what on

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<v Speaker 1>earth is the Bechtel test? Well, the Bechtel test is

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<v Speaker 1>a media metric invented by queer cartoonist Alison Bechtel, sometimes

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<v Speaker 1>called the Bechtel Wallace test, that requires that, for our purposes,

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<v Speaker 1>multiple interpretations of this damn thing. Uh, but for our

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<v Speaker 1>purposes requires that there be two characters with names of

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<v Speaker 1>a marginalized gender talking to each other about something other

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<v Speaker 1>than a man for simply two lines of dialogue. It

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<v Speaker 1>doesn't happen in movies quite a bit, not enough. And furthermore,

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<v Speaker 1>if it does happen, it doesn't even mean that the

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<v Speaker 1>movie is good to women. Sometimes it just happens by

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<v Speaker 1>mistake accident. But it's it's aren't jumping off point for

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<v Speaker 1>for a larger discussion, and uh, today we are talking

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<v Speaker 1>about Lolita because well, first of all, I guess we

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<v Speaker 1>should say this. This episode was recorded about three months ago,

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<v Speaker 1>was recorded like towards the beginning of August. I think, yes,

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<v Speaker 1>it was one of your birthday month picks on the Matrion.

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<v Speaker 1>And normally you would choose your favorite movies for your

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<v Speaker 1>birthday month and the Matreon, but that is not the

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<v Speaker 1>case here. The reason the reason we covered Lolita is

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<v Speaker 1>because throughout the summer and into the fall and now

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<v Speaker 1>it's winter and just time keuthes continuing and things just

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<v Speaker 1>don't get any better. But we've I've been working on

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<v Speaker 1>a show that comes out. If you're listening to this

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<v Speaker 1>on the day of release, starting November twenty three and

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<v Speaker 1>working on a podcast that tracks the history of the

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<v Speaker 1>story of Lolita. So I say this story because the

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<v Speaker 1>adaptations are just out of control, bad and just misrepresenting

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<v Speaker 1>what the story is really about. I feel what You

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<v Speaker 1>can listen to the show for for for nine hours

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<v Speaker 1>of expansion on that. But uh, basically, yeah, this is

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<v Speaker 1>the first attempt to adapt Lolita by Vladimir Nabokov to

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<v Speaker 1>a um to a larger medium, and there's just it's

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<v Speaker 1>so okay. First of all, plug Lolita podcast comes out

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<v Speaker 1>on November twenty three, and then it's released every Monday. Uh,

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<v Speaker 1>there's gonna be ten episodes. We're we're gonna be talking

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<v Speaker 1>with I keep saying it's so, I keep saying we

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<v Speaker 1>because I'm so used to like not being alone. Yeah,

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<v Speaker 1>I'm not involved in this. It is just me. It's

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<v Speaker 1>just it's I say we. And then I'm also just

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<v Speaker 1>like me and just all of uh my my friends

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<v Speaker 1>that live inside of my brain. But uh, yeah, no,

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<v Speaker 1>I'm I'm talking to a lot of people about just

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<v Speaker 1>kind of like tracking this story and analyzing the book.

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<v Speaker 1>And then I talked to several psychologists who have worked

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<v Speaker 1>with victims of child abuse, Um, I talk with people

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<v Speaker 1>who are involved in some of these adaptations. I talked

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<v Speaker 1>to people who really like the book, people who really

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<v Speaker 1>don't like the book. But as far as the movies go,

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<v Speaker 1>it's a pretty uncontroversial opinion to feel that they all

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<v Speaker 1>aggressively suck and push just really harmful messages that are

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<v Speaker 1>very of the time and also by of the time.

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<v Speaker 1>I mean still now this is like still, like you

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<v Speaker 1>know are our calls were Still has a gigantic issue

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<v Speaker 1>with sexualizing young girls specifically, but also just young people

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<v Speaker 1>in general. So that's what the show is about. It's

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<v Speaker 1>it's a little heavier than the Bechdel cast, but um,

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<v Speaker 1>if that's something you're interested in, I try to really

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<v Speaker 1>examine it from all perspectives and bring in a lot

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<v Speaker 1>of different voices to discuss it, and I hope you'll listen.

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<v Speaker 1>Uh So that yeah Monday is starting November twenty three.

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<v Speaker 1>And Oh the reason I was saying all of that

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<v Speaker 1>is first of all, because I should. Second of all,

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<v Speaker 1>because I think that a lot of my thoughts on

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<v Speaker 1>this movie have like not changed entirely. I still think

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<v Speaker 1>the movie absolutely sucks eggs, but but for like way

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<v Speaker 1>more specific reasons than I did four months ago. So yeah,

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<v Speaker 1>I I don't necessarily stand by to the word everything

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<v Speaker 1>I say in this episode, but uh, the movie is bad.

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<v Speaker 1>Well that's that's the beauty of just being alive and

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<v Speaker 1>being a person. Here you can learn more things and

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<v Speaker 1>your mind can change and oh you growth. You love

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<v Speaker 1>to see it. And that's what the Bechtel Cast is

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<v Speaker 1>all about. Growing, changing, acknowledging faults from the past, and

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<v Speaker 1>moving forward in a healthy and productive way. Who um,

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<v Speaker 1>so yes, I was just really listening back to the

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<v Speaker 1>episode and we you know, there's mentions to I Frankenstein.

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<v Speaker 1>Why because it's the other the other episode we did

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<v Speaker 1>on the Matren for your birthday month, so there will

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<v Speaker 1>be references to Jamie's birthday and I Frankenstein and whatnot.

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<v Speaker 1>So if you're just like, what, that's why my birthday

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<v Speaker 1>was in August. And I honestly think and this is

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<v Speaker 1>like not even I know that there's no way for

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<v Speaker 1>me to say this in a non biased way, but

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<v Speaker 1>the I Frankenstein episode alone is enough reason to sign

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<v Speaker 1>up for the Matreon, in my opinion, one of our best.

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<v Speaker 1>It's not Jamie. This is not opinion, this is fact.

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<v Speaker 1>Very viable. Um so yes, if you, if you, I

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<v Speaker 1>mean just what this is all to say, folks, that

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<v Speaker 1>you should get on get on the Matreon train, you know,

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<v Speaker 1>for I Frankenstein alone, among many other films that again

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<v Speaker 1>will remain locked. We're not gonna just keep unlocking episodes

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<v Speaker 1>all willy nilly. Some of them are in the vault.

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<v Speaker 1>This is a rare occurrence. Yeah, so yeah, enjoy our

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<v Speaker 1>Lolita episode to the extent that you're able. Lolita podcast

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<v Speaker 1>I recommend, and again I'm completely unbiased. It's just, you know,

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<v Speaker 1>just a recommendation, and I haven't been sweating about this

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<v Speaker 1>for half of the year. Well it's someone who is

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<v Speaker 1>again not involved in Little to podcast. I also recommend.

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<v Speaker 1>Hell yeah, without further ado, here is our unlocked Matreon

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<v Speaker 1>episode about Stanley Kubrick's Lolita. Hate that run of words.

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<v Speaker 1>Enjoy del cast high Matre. Jamie, it's your birthday. It's

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<v Speaker 1>Jamie's Chaos month on the Matreon, and boy do we

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<v Speaker 1>have a chaotic month for you this year. We just

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<v Speaker 1>made a last minute adjustment to my birthday month in

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<v Speaker 1>a way that I really think makes the whole feed vibrate.

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<v Speaker 1>It's it's so today obviously we're We're doing Lolita, a

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<v Speaker 1>very heavy, serious movie with a lot of heavy serious

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<v Speaker 1>things to discuss, and then at the end of the month,

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<v Speaker 1>as a palate cleanser, we're going to be doing I Frankenstein,

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<v Speaker 1>which is a movie that you don't even need to

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<v Speaker 1>watch because it's more fun for us to tell you

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<v Speaker 1>about it than to watch it. You should still watch

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<v Speaker 1>it because Bill and I he and I also feel like, genuinely,

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<v Speaker 1>if it came down to it, Aaron Eckhart would pay

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<v Speaker 1>you human dollars to not watch it, which is a

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<v Speaker 1>reason to watch it. It's a gritty Frankenstein movie. But

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<v Speaker 1>here's a twist. It's about do you remember I know,

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<v Speaker 1>I know this movie so well. I Frankenstein markets itself

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<v Speaker 1>as a movie about I callma Frankenstein, but it's actually

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<v Speaker 1>about the war of demons versus gargoyles. I vaguely remember that.

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<v Speaker 1>But all the gargoyles, the gargoyles are the heroes, which

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<v Speaker 1>I also like kept being like, wait, gargoyles are heroes.

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<v Speaker 1>They are in this movie, and if you've seen the

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<v Speaker 1>animated series Gargoyles, you know that they are. I saw that.

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<v Speaker 1>Everyone roasts me for not, I just didn't see it.

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<v Speaker 1>I was watching Powerpuff Girls. I don't know what I

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<v Speaker 1>was doing. But for me, I was like, wait, I

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<v Speaker 1>thought gargoyles were supposed to be mean to you, but

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<v Speaker 1>the been in this one. They're the heroes and they

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<v Speaker 1>are all royalty and they're dressed like they went to

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<v Speaker 1>ye party. So by party, I Frankenstein, I exactly, it's

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<v Speaker 1>all connected. Um. So we're gonna start with heavy episode

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<v Speaker 1>and we're gonna end with a light episode, and that's

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<v Speaker 1>going to be my birthday month because I contain multitudes.

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<v Speaker 1>But today we are talking about the nineteen sixty two

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<v Speaker 1>adaptation of Lolita by feminist icon Stanley Kubrick. We should

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<v Speaker 1>just at the very top here, since we're attempting to

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<v Speaker 1>be better at given content warnings for the content of episodes.

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<v Speaker 1>There's obviously a content warning here for statutory rape, child

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<v Speaker 1>sexual abuse. Yeah. There there's I mean, general predatory behavior

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<v Speaker 1>and also murder. Um so there there is just the

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<v Speaker 1>general brutalization of women and children is going to come

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<v Speaker 1>up in this episode. Um. And I guess if you

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<v Speaker 1>weren't familiar with the content of Lolita, that it's that's about.

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<v Speaker 1>So if you'd rather skip this one. We totally understand

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<v Speaker 1>if you'd like to hang around. There's so much to

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<v Speaker 1>talk about that I think is very revealing about our culture. UM,

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<v Speaker 1>so let's get started. I guess I'll contextualize this a

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<v Speaker 1>little bit by saying I chose this movie. I am

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<v Speaker 1>very curious as to what compelled you do want to

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<v Speaker 1>do this for your birthday? Of times, Well, I'm doing

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<v Speaker 1>it for I mean, I'm not doing it as a

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<v Speaker 1>gift to myself. This is very painful material to go through. Um,

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<v Speaker 1>but I'm doing it because I've been thinking about it

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<v Speaker 1>quite a bit lately. Because advertisement forthcoming, I am um

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<v Speaker 1>writing and producing an entire podcast that is about the

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<v Speaker 1>cultural impact of the book Lolita, because that's something that

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<v Speaker 1>I've always had a fixation on. I think it's very

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<v Speaker 1>telling and an interesting if disturbing obviously, but that it

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<v Speaker 1>was a book that I because I guess we should

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<v Speaker 1>just kind of talk about the property versus the movie,

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<v Speaker 1>because this is a movie that is not particularly remembered,

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<v Speaker 1>But that's going to be the jumping off point for

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<v Speaker 1>our discussion. In any case, Lolito was a book that

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<v Speaker 1>I came across when I was twelve because not good

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<v Speaker 1>because it had been recommended to me by Lemony Snicket

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<v Speaker 1>in a magazine and like, take a second with that. Uh.

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<v Speaker 1>So I came across this book really really early on

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<v Speaker 1>because I was obsessed with Lemony Sicket books. I thought

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<v Speaker 1>they were the best in the world. I still pretty

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<v Speaker 1>much do. Uh. The author I have some issues with,

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<v Speaker 1>but the But when I was twelve, I just wanted

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<v Speaker 1>to read what he was reading, and know what, you know,

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<v Speaker 1>I wanted to be like him. And so I read

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<v Speaker 1>in an interview in two thousand and five what his

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<v Speaker 1>favorite book was, and he said in a children's magazine,

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<v Speaker 1>Lolita by Vladimir Nabokov is my favorite book. And so

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<v Speaker 1>I went to the library and I got the book,

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<v Speaker 1>and I read the book, and I didn't understand the book,

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<v Speaker 1>and I took all the wrong messages away from the book.

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<v Speaker 1>And it's been a point of fascination for me ever since.

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<v Speaker 1>Because now obviously I am an adult and I have

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<v Speaker 1>read the book many times. I wouldn't say it is

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<v Speaker 1>my favorite book by any stretch, but I think it

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<v Speaker 1>is a very good book. And I reread it just

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<v Speaker 1>recently to like prepare for this podcast that I've been

0:15:12.840 --> 0:15:16.680
<v Speaker 1>working on, and what I find this interesting about Lolita

0:15:16.880 --> 0:15:20.360
<v Speaker 1>is that it seems like it's cultural legacy is just

0:15:20.440 --> 0:15:25.720
<v Speaker 1>taken completely out of context with what the story is about,

0:15:26.200 --> 0:15:29.920
<v Speaker 1>because you think, like I guess, when I was going

0:15:29.960 --> 0:15:33.440
<v Speaker 1>back to reread it, I was like, I wonder if

0:15:34.160 --> 0:15:36.360
<v Speaker 1>you know, just from because I hadn't read it since college.

0:15:36.400 --> 0:15:40.040
<v Speaker 1>I was like, is there any ambiguity about what the

0:15:40.160 --> 0:15:43.960
<v Speaker 1>nature of how Humberd Humberd is treating Lolita is? Is

0:15:44.000 --> 0:15:46.320
<v Speaker 1>there any way? Because I feel like our culture has

0:15:46.360 --> 0:15:50.560
<v Speaker 1>either framed it as a like doomed love story or

0:15:51.320 --> 0:15:54.880
<v Speaker 1>kind of just like a fashion aesthetic for young girls

0:15:55.240 --> 0:15:59.600
<v Speaker 1>that you see pop up in a lot of Japanese

0:15:59.600 --> 0:16:02.440
<v Speaker 1>fashion lines and also in Lana del Rey's music are

0:16:02.440 --> 0:16:05.040
<v Speaker 1>the two main places you will find it. But that's

0:16:05.080 --> 0:16:08.120
<v Speaker 1>like the Lolita brand now is it's clothing and it's

0:16:08.120 --> 0:16:11.160
<v Speaker 1>associated with this tragic love story, which is how I

0:16:11.200 --> 0:16:15.040
<v Speaker 1>think Humbritton Lolita are framed, and no small part because

0:16:15.040 --> 0:16:17.800
<v Speaker 1>of how this movie does it. But in any case,

0:16:17.840 --> 0:16:19.600
<v Speaker 1>I went back to read the book and I was like,

0:16:19.640 --> 0:16:23.240
<v Speaker 1>I wonder if the book is contributing to this problem?

0:16:23.280 --> 0:16:25.560
<v Speaker 1>And I would say pretty firmly that it is not.

0:16:25.960 --> 0:16:28.840
<v Speaker 1>The book could not be more. I mean, it is

0:16:29.280 --> 0:16:34.240
<v Speaker 1>horrifying what you're reading and it and it does. I mean,

0:16:34.280 --> 0:16:35.880
<v Speaker 1>I think that there's a lot of arguments to be

0:16:35.920 --> 0:16:38.320
<v Speaker 1>had that I'm still working through my own feelings about it,

0:16:38.480 --> 0:16:42.000
<v Speaker 1>like well what is this adding like what you know,

0:16:42.600 --> 0:16:44.720
<v Speaker 1>and there's a lot to talk about. Well, we'll talk

0:16:44.840 --> 0:16:50.760
<v Speaker 1>about it. But um, I find it kind of not

0:16:50.960 --> 0:16:52.840
<v Speaker 1>I mean, I guess it's it would be naive to

0:16:52.920 --> 0:16:55.480
<v Speaker 1>find it shocking. But given the fact that I've recently

0:16:55.520 --> 0:16:59.560
<v Speaker 1>read the book and it is very explicitly while the

0:16:59.680 --> 0:17:02.800
<v Speaker 1>narrator of his manipulative they you know, it's humbrid narrating

0:17:02.840 --> 0:17:05.159
<v Speaker 1>his own story, trying to get you to empathize with

0:17:05.240 --> 0:17:07.399
<v Speaker 1>him and trying to get you on his side because

0:17:07.440 --> 0:17:11.520
<v Speaker 1>it was, you know, in theory written in during his court,

0:17:12.280 --> 0:17:16.520
<v Speaker 1>uh like during his trial. That's what I'm saying. Um,

0:17:16.640 --> 0:17:18.640
<v Speaker 1>so it's him trying to manipulate a group of people

0:17:18.680 --> 0:17:21.760
<v Speaker 1>to get on his side. But he also is very

0:17:21.840 --> 0:17:25.040
<v Speaker 1>explicit about what is done. He refers to himself as

0:17:25.080 --> 0:17:28.520
<v Speaker 1>a predator and a number of other terms to that effect,

0:17:29.200 --> 0:17:33.520
<v Speaker 1>many many times constantly. The book, I feel like is

0:17:33.720 --> 0:17:36.479
<v Speaker 1>very clear at while it while it is a narrator

0:17:36.480 --> 0:17:40.040
<v Speaker 1>trying to manipulate you into being like, well, maybe it's okay,

0:17:40.119 --> 0:17:45.800
<v Speaker 1>but it's regardless, it's very clear. Yeah, there's no ambiguity.

0:17:45.960 --> 0:17:50.399
<v Speaker 1>I think in the movies and the other adaptations there is.

0:17:51.320 --> 0:17:54.240
<v Speaker 1>I don't even know if ambiguity is the word. It's

0:17:54.280 --> 0:17:59.960
<v Speaker 1>like just interpreted completely differently. And I feel like this movie,

0:18:00.040 --> 0:18:03.280
<v Speaker 1>this is the first major adaptation of Lolita, and it

0:18:03.440 --> 0:18:07.240
<v Speaker 1>just really gets us off to a horrible start and

0:18:07.560 --> 0:18:12.800
<v Speaker 1>it gets weirder and worse from there. So I'm very Yeah,

0:18:12.880 --> 0:18:14.640
<v Speaker 1>I've been attached to this book for a long time.

0:18:14.760 --> 0:18:17.960
<v Speaker 1>I think it is like an interesting case study, like

0:18:18.040 --> 0:18:22.440
<v Speaker 1>how American culture specifically takes a story that is very

0:18:22.440 --> 0:18:26.159
<v Speaker 1>explicit about being a story about the abuse of a

0:18:26.240 --> 0:18:29.880
<v Speaker 1>child and turning it into a sexy story that there

0:18:29.920 --> 0:18:34.600
<v Speaker 1>are fashion lessons to learn from. I find it fucking infuriating,

0:18:35.200 --> 0:18:39.000
<v Speaker 1>but it's also like, yeah, there's there's not a ton

0:18:39.040 --> 0:18:40.639
<v Speaker 1>of things where I feel like you can trace that

0:18:40.720 --> 0:18:45.160
<v Speaker 1>journey so directly. So that is why I chose it,

0:18:45.240 --> 0:18:48.640
<v Speaker 1>because I had been thinking about it NonStop. Got it?

0:18:49.520 --> 0:18:53.879
<v Speaker 1>What about you? So I believe if my memory serves

0:18:53.920 --> 0:18:57.119
<v Speaker 1>me correctly, I think I saw this movie before I

0:18:57.160 --> 0:18:59.920
<v Speaker 1>read the book. I saw the movie for the first time,

0:18:59.920 --> 0:19:01.920
<v Speaker 1>I think as a freshman in college. It was one

0:19:01.920 --> 0:19:04.119
<v Speaker 1>of those you know, like, I'm a film student, I

0:19:04.160 --> 0:19:10.040
<v Speaker 1>need to have seen right. Yeah, So I remember it

0:19:10.119 --> 0:19:15.240
<v Speaker 1>making me uncomfortable when I saw it, and uh not

0:19:15.359 --> 0:19:19.480
<v Speaker 1>ever feeling compelled to watch it again. Then a few

0:19:19.520 --> 0:19:23.119
<v Speaker 1>years later, still in college, I took an English class

0:19:23.200 --> 0:19:27.040
<v Speaker 1>my senior year, and it was like a banned books

0:19:27.119 --> 0:19:31.399
<v Speaker 1>class that taught literature that had been banned in different

0:19:31.440 --> 0:19:36.840
<v Speaker 1>capacities throughout history, and Lolita was one of the banned

0:19:36.880 --> 0:19:40.880
<v Speaker 1>books that we studied. So I read the book then, um,

0:19:40.920 --> 0:19:43.359
<v Speaker 1>And then I read the book a second time, or

0:19:43.359 --> 0:19:48.320
<v Speaker 1>at least I more skimmed it that time. During another

0:19:48.359 --> 0:19:51.679
<v Speaker 1>class I took in grad school. I would hate to

0:19:51.720 --> 0:19:56.639
<v Speaker 1>bring up that I haven't spreading from Boston University, but

0:19:56.720 --> 0:20:01.320
<v Speaker 1>we took a class specifically on adaptation. So Lolita got

0:20:01.359 --> 0:20:05.239
<v Speaker 1>taught in that class. That's exciting. And the kind of

0:20:05.359 --> 0:20:11.679
<v Speaker 1>discussion around Lolita being taught in this adaptation class was like, hey,

0:20:11.720 --> 0:20:17.040
<v Speaker 1>maybe some things shouldn't be adapted to film. Um. So

0:20:18.119 --> 0:20:23.160
<v Speaker 1>that was that many So that's kind of my history. Um.

0:20:23.200 --> 0:20:27.080
<v Speaker 1>I the whole. The property as a whole makes me

0:20:28.160 --> 0:20:32.440
<v Speaker 1>very unsettled and uncomfortable for obvious reasons. I don't remember

0:20:32.440 --> 0:20:35.439
<v Speaker 1>the book that well. I remember, like, I think the

0:20:35.480 --> 0:20:38.920
<v Speaker 1>discussion we had in like my English class around it

0:20:39.000 --> 0:20:41.920
<v Speaker 1>was everyone's like, oh, it's so well written. It's such

0:20:41.960 --> 0:20:44.919
<v Speaker 1>a well written book. And I remember being like, yeah,

0:20:44.920 --> 0:20:48.960
<v Speaker 1>but why are we reading a story from the point

0:20:48.960 --> 0:20:55.280
<v Speaker 1>of view of a predator, pedophile, child molester, Like what's

0:20:55.400 --> 0:20:58.520
<v Speaker 1>the value in that? And I that's like still where

0:20:58.520 --> 0:21:02.480
<v Speaker 1>I land on the entire higher property as a whole.

0:21:03.040 --> 0:21:06.760
<v Speaker 1>So that's where I'm coming from. Yeah, I mean, I

0:21:06.800 --> 0:21:08.960
<v Speaker 1>think that we're not going to reach a conclus I mean,

0:21:08.960 --> 0:21:12.440
<v Speaker 1>there's never going to be a conclusion reached on whether

0:21:12.480 --> 0:21:14.000
<v Speaker 1>this is the sort of thing that should be written

0:21:14.000 --> 0:21:16.879
<v Speaker 1>about at all. And everyone, I mean it is, like

0:21:16.960 --> 0:21:20.920
<v Speaker 1>I think it's everyone is going to feel a slightly

0:21:20.960 --> 0:21:23.880
<v Speaker 1>different way about it. And it depends on what your

0:21:23.880 --> 0:21:25.959
<v Speaker 1>own experiences are, it depends on what your views are

0:21:25.960 --> 0:21:30.280
<v Speaker 1>and and all this stuff. I truly don't know where

0:21:30.320 --> 0:21:33.159
<v Speaker 1>I fall. I do, like, I think that there is

0:21:33.720 --> 0:21:37.919
<v Speaker 1>in the same way that there are like Red Flag

0:21:38.040 --> 0:21:42.760
<v Speaker 1>movies for guys to be like, I mean, not necessarily

0:21:42.800 --> 0:21:46.080
<v Speaker 1>always guys, but like nine times out of ten, uh,

0:21:46.680 --> 0:21:49.520
<v Speaker 1>but but where people will be like, yeah, I know

0:21:49.720 --> 0:21:52.639
<v Speaker 1>that it's problematic, but look at it. There's good parts

0:21:52.680 --> 0:21:55.800
<v Speaker 1>of it. And I am always kind of like my

0:21:55.880 --> 0:21:58.720
<v Speaker 1>antenna goes up for that. I agree that it's a

0:21:58.720 --> 0:22:01.920
<v Speaker 1>beautifully written book. I don't. I mean, it's kind of

0:22:02.040 --> 0:22:05.200
<v Speaker 1>I guess that's like the whole discussion of every band

0:22:05.240 --> 0:22:09.520
<v Speaker 1>books class, right, like, is this uh taboo that we

0:22:09.600 --> 0:22:12.719
<v Speaker 1>know happens in real life that should be discussed and

0:22:12.800 --> 0:22:16.879
<v Speaker 1>if so, who gets to be the narrator? Um? I

0:22:16.920 --> 0:22:21.960
<v Speaker 1>think that every adaptation of Lolita, and I am now

0:22:22.119 --> 0:22:25.680
<v Speaker 1>intimately familiar with all of them. There's been well, all

0:22:25.720 --> 0:22:27.480
<v Speaker 1>but one. I'm still trying to get my hands on

0:22:27.520 --> 0:22:31.600
<v Speaker 1>the Russian opera, but I've studied four of them pretty closely.

0:22:31.920 --> 0:22:34.879
<v Speaker 1>I think that they're all failures to different degrees in

0:22:34.960 --> 0:22:38.920
<v Speaker 1>different ways. It's it's hard because it's like this to

0:22:39.200 --> 0:22:43.919
<v Speaker 1>this topic of an abusive relationship, especially towards a child,

0:22:44.000 --> 0:22:50.040
<v Speaker 1>it's never like it's never going to be a comfortable

0:22:50.160 --> 0:22:54.560
<v Speaker 1>palatable subject for for everyone. And that's just I mean,

0:22:54.720 --> 0:22:59.560
<v Speaker 1>because it shouldn't be. It's a fucking horrific thing to happen. Um.

0:22:59.640 --> 0:23:02.560
<v Speaker 1>I've seen a lot of opinions on it, obviously, I've

0:23:02.600 --> 0:23:07.000
<v Speaker 1>also seen uh survivors of this type of abuse who

0:23:07.640 --> 0:23:11.320
<v Speaker 1>have felt very seen and have found the work to

0:23:11.359 --> 0:23:15.720
<v Speaker 1>be sort of healing by and I can direct you

0:23:15.760 --> 0:23:18.520
<v Speaker 1>just some blogs that I've found. I've done a deep

0:23:18.640 --> 0:23:22.479
<v Speaker 1>dive into the Lolita blog a sphere, but there there

0:23:22.520 --> 0:23:24.720
<v Speaker 1>are some people who feel, as you do, Caitlin, that

0:23:24.760 --> 0:23:28.480
<v Speaker 1>it's like there's absolutely no value in giving the abuser

0:23:28.560 --> 0:23:31.320
<v Speaker 1>a voice, and I agree with that, But then I

0:23:31.359 --> 0:23:35.400
<v Speaker 1>also have read the perspectives of survivors of this abuse

0:23:35.880 --> 0:23:40.320
<v Speaker 1>who feel seen through the character of Lolita and appreciate

0:23:40.800 --> 0:23:45.080
<v Speaker 1>who she is, appreciate feeling like this is a topic

0:23:45.160 --> 0:23:49.080
<v Speaker 1>that's even being discussed at all, and so well, I

0:23:49.119 --> 0:23:53.120
<v Speaker 1>don't feel that it is the best approach. I think

0:23:53.160 --> 0:23:55.400
<v Speaker 1>it is a bit of a not a bit like

0:23:55.640 --> 0:23:58.399
<v Speaker 1>it's whatever the nineteen fifties version of edge lord is

0:24:00.040 --> 0:24:02.800
<v Speaker 1>that Nabokov is doing. I mean, it's a very edge

0:24:02.840 --> 0:24:06.399
<v Speaker 1>lordy thing to try to do, and fortunately he's a

0:24:06.440 --> 0:24:09.800
<v Speaker 1>great writer. Otherwise there we wouldn't even be having this discussion.

0:24:09.880 --> 0:24:13.399
<v Speaker 1>No one would have adapted it. But that said, I

0:24:13.280 --> 0:24:16.280
<v Speaker 1>I don't. I agree that certainly the predator's point of

0:24:16.359 --> 0:24:20.120
<v Speaker 1>view is not the priority, but I don't think it's

0:24:20.119 --> 0:24:23.919
<v Speaker 1>a valueless work because so many people, and especially a

0:24:23.960 --> 0:24:27.640
<v Speaker 1>lot of young women, have found value in it that

0:24:27.680 --> 0:24:30.760
<v Speaker 1>relates to their own experiences of abuse. I think that

0:24:30.800 --> 0:24:34.080
<v Speaker 1>abuse should be something that is discussed in art um

0:24:34.160 --> 0:24:39.480
<v Speaker 1>But this is a very imperfect and fucking complicated as

0:24:39.520 --> 0:24:42.520
<v Speaker 1>hell way to do it that there was clearly no

0:24:42.600 --> 0:24:46.760
<v Speaker 1>way to do in nineteen sixty two. But there's I

0:24:46.800 --> 0:24:50.200
<v Speaker 1>don't think that we've done it successfully yet. I think

0:24:50.240 --> 0:24:53.000
<v Speaker 1>that it's I feel like if this movie was ever

0:24:53.040 --> 0:24:54.840
<v Speaker 1>going to be if this book was ever going to

0:24:54.840 --> 0:24:57.399
<v Speaker 1>be adapted into film, it would have to be animated.

0:24:57.520 --> 0:25:01.120
<v Speaker 1>I don't think that there is a safe, healthy way

0:25:01.240 --> 0:25:05.560
<v Speaker 1>to adapt this work that is live action. I just

0:25:06.320 --> 0:25:08.640
<v Speaker 1>they it's been attempted so many times. I also think

0:25:08.680 --> 0:25:13.080
<v Speaker 1>it's directly related to who is adapting the work. The

0:25:13.119 --> 0:25:15.800
<v Speaker 1>people who have been chosen to adapt this work are

0:25:15.920 --> 0:25:20.520
<v Speaker 1>just it blows my fucking mind of like, Stanley Kubrick

0:25:20.680 --> 0:25:24.600
<v Speaker 1>is your first Like seriously, the guy who's notorious for

0:25:24.720 --> 0:25:28.919
<v Speaker 1>like abusing his power as a director. I mean, he

0:25:28.960 --> 0:25:31.520
<v Speaker 1>wasn't at this time quite yet, this was his early

0:25:31.640 --> 0:25:33.600
<v Speaker 1>one of his earlier movies. But but the fact that

0:25:33.600 --> 0:25:36.040
<v Speaker 1>you would hand it off to a young man or

0:25:36.080 --> 0:25:38.879
<v Speaker 1>like a man similar like not that far off from

0:25:38.960 --> 0:25:41.480
<v Speaker 1>humbert Age. It's just you repeatedly see this work put

0:25:41.560 --> 0:25:46.080
<v Speaker 1>into someone who is going to inherently prioritize Humbrid's voice

0:25:46.119 --> 0:25:50.800
<v Speaker 1>above Lolita's The first time I have seen this work

0:25:51.160 --> 0:25:56.200
<v Speaker 1>put into a woman's hand was literally last year. Like

0:25:56.640 --> 0:25:59.240
<v Speaker 1>this movie was given to Stanley Kubrick first, we'll talk

0:25:59.240 --> 0:26:03.480
<v Speaker 1>about that today. It fails, is given to Adrian Line.

0:26:03.640 --> 0:26:07.879
<v Speaker 1>It super duper fails, horrendous. It was given to Edward

0:26:07.920 --> 0:26:11.840
<v Speaker 1>Albee at one point. It fails. It was given to uh,

0:26:12.160 --> 0:26:14.440
<v Speaker 1>let me get the names right, two of the most

0:26:15.080 --> 0:26:20.760
<v Speaker 1>famous composers of all time in the nineties seventies. They

0:26:20.760 --> 0:26:24.760
<v Speaker 1>wrote a musical about it. It was by John Barry

0:26:24.800 --> 0:26:27.760
<v Speaker 1>and Alan jay Lerner. So John Barry wrote all the

0:26:27.760 --> 0:26:32.600
<v Speaker 1>theme songs to James Bond, Alan jay Lerner Broadway legend

0:26:33.040 --> 0:26:42.399
<v Speaker 1>did Gigi Camelot at an American in Paris. But like

0:26:42.600 --> 0:26:46.639
<v Speaker 1>they were given Lolita, it's just all the wrong people

0:26:46.720 --> 0:26:50.400
<v Speaker 1>have been given this property to adapt and so I

0:26:50.480 --> 0:26:56.400
<v Speaker 1>feel like my personal opinion is that this this material

0:26:56.440 --> 0:27:01.000
<v Speaker 1>has never been even given a chance to prioritize the

0:27:01.119 --> 0:27:05.000
<v Speaker 1>character who should be prioritized, because every person who has

0:27:05.040 --> 0:27:09.560
<v Speaker 1>adapted this material is going to I'm certainly not implying

0:27:09.600 --> 0:27:12.160
<v Speaker 1>that they agree with Humberd. Obviously they don't, but that

0:27:12.280 --> 0:27:16.280
<v Speaker 1>is the perspective they're able to plug into because there

0:27:16.280 --> 0:27:20.080
<v Speaker 1>are men sis head, men in their thirties or older,

0:27:20.480 --> 0:27:28.760
<v Speaker 1>and so I I let's talk about it. Yeah so

0:27:28.760 --> 0:27:32.000
<v Speaker 1>so yeah, Well, like just a backpedal a little bit

0:27:32.000 --> 0:27:35.840
<v Speaker 1>about the people who have managed to find value in it,

0:27:36.040 --> 0:27:41.600
<v Speaker 1>particularly survivors who you know, read the work and identified

0:27:41.600 --> 0:27:44.720
<v Speaker 1>with Lolita. Like that's great for them to be able

0:27:44.760 --> 0:27:48.800
<v Speaker 1>to find comfort in that or find someone to identify

0:27:48.880 --> 0:27:52.119
<v Speaker 1>with the character to identify with. But imagine like how

0:27:52.560 --> 0:27:56.320
<v Speaker 1>more effective that would be if it was a And

0:27:56.480 --> 0:27:58.679
<v Speaker 1>it's like it's not helpful to be like, well, what

0:27:58.720 --> 0:28:01.360
<v Speaker 1>if the book was this instead, But like if there

0:28:01.480 --> 0:28:04.159
<v Speaker 1>was a book out there that was written from the

0:28:04.280 --> 0:28:08.800
<v Speaker 1>perspective of the survivor and was just as well written

0:28:08.840 --> 0:28:12.720
<v Speaker 1>and was just as iconic in literature and just as

0:28:12.760 --> 0:28:16.080
<v Speaker 1>influential as a literary work, Like I think we do

0:28:16.200 --> 0:28:19.960
<v Speaker 1>have more books like that now and I agree that.

0:28:20.760 --> 0:28:24.280
<v Speaker 1>I mean, there has been fiction about survivors of assault

0:28:24.400 --> 0:28:28.520
<v Speaker 1>and of prolonged abuse that have taken you know, their place,

0:28:28.600 --> 0:28:31.919
<v Speaker 1>and I think that, Lolita, I mean, it is not

0:28:32.080 --> 0:28:35.880
<v Speaker 1>the perfect discussion of abuse. It just isn't. It's not

0:28:35.960 --> 0:28:41.600
<v Speaker 1>the only discussion of abuse that's out there, fortunately, um,

0:28:41.640 --> 0:28:45.840
<v Speaker 1>for me and for everybody. But yeah, I think I

0:28:45.880 --> 0:28:48.320
<v Speaker 1>do think that there's a lot of pressure put on

0:28:48.400 --> 0:28:52.400
<v Speaker 1>this singular work that was published seventy years ago to

0:28:53.360 --> 0:28:57.200
<v Speaker 1>be the discussion of this topic, um, because I think

0:28:57.240 --> 0:28:59.600
<v Speaker 1>it's the most and I don't mean this as a

0:28:59.640 --> 0:29:03.080
<v Speaker 1>compliment it but the most iconic one in American culture.

0:29:03.440 --> 0:29:07.120
<v Speaker 1>But I kind of fault that more to American culture

0:29:07.160 --> 0:29:10.560
<v Speaker 1>than to the book itself. You know, Nabokov didn't go

0:29:10.600 --> 0:29:13.560
<v Speaker 1>into this project thinking this is going to be the

0:29:13.600 --> 0:29:17.800
<v Speaker 1>only discussion we have of this topic for half a century,

0:29:17.840 --> 0:29:21.120
<v Speaker 1>but in a lot of ways it was. And so

0:29:21.200 --> 0:29:23.720
<v Speaker 1>it's like, I don't think you can really fault the

0:29:23.800 --> 0:29:26.280
<v Speaker 1>author of the work to anticipate how their work is

0:29:26.280 --> 0:29:28.440
<v Speaker 1>going to be taken out of context over and over

0:29:28.480 --> 0:29:32.920
<v Speaker 1>and over. I think that that is like a cultural problem. Well,

0:29:32.960 --> 0:29:34.520
<v Speaker 1>I do think that I don't think all of his

0:29:34.600 --> 0:29:38.560
<v Speaker 1>writing is you know, it's certainly not perfect and not responsible.

0:29:38.640 --> 0:29:41.640
<v Speaker 1>And if I were writing this story, I would fully

0:29:41.720 --> 0:29:46.440
<v Speaker 1>center Lolita. And I know that survivors of assault have

0:29:46.520 --> 0:29:49.200
<v Speaker 1>interpreted this book in a number of different ways, and

0:29:49.960 --> 0:29:54.800
<v Speaker 1>no interpretation of this work is invalid. It's just yeah,

0:29:54.880 --> 0:29:57.480
<v Speaker 1>it's a tricky fucking thing, and it's you know, it's

0:29:57.480 --> 0:30:01.160
<v Speaker 1>almost seventy years old now, and people are still trying

0:30:01.240 --> 0:30:05.200
<v Speaker 1>to find what I mean, I don't know. I don't

0:30:05.200 --> 0:30:07.840
<v Speaker 1>know if this could be successfully adopted. What we were

0:30:07.880 --> 0:30:13.920
<v Speaker 1>talking about today was not successfully adopted, and I think that, oh,

0:30:14.040 --> 0:30:17.360
<v Speaker 1>it's so frustrating. I think it's interesting. So to pivot

0:30:17.400 --> 0:30:22.280
<v Speaker 1>a little bit to the nine two movie adaptation of this,

0:30:22.600 --> 0:30:26.280
<v Speaker 1>I feel like the general consensus on this that was

0:30:26.360 --> 0:30:29.320
<v Speaker 1>made but that was like, well, it's not good, but

0:30:29.440 --> 0:30:34.440
<v Speaker 1>it's just because production codes. I feel like this movie

0:30:34.600 --> 0:30:37.480
<v Speaker 1>is definitely not good. It is so long, it is

0:30:37.560 --> 0:30:42.200
<v Speaker 1>really boring, so tedious. It's just because of the production code.

0:30:42.480 --> 0:30:46.440
<v Speaker 1>Nothing happens. But that is not why the movie is bad.

0:30:46.520 --> 0:30:48.560
<v Speaker 1>I think that there's a lot of reasons the production

0:30:48.560 --> 0:30:52.680
<v Speaker 1>code included, but I feel like it's letting Kuber get

0:30:52.720 --> 0:30:55.400
<v Speaker 1>off a little easy to say that it's just because

0:30:55.520 --> 0:30:58.240
<v Speaker 1>of the production code. I think that it's it also

0:30:59.320 --> 0:31:03.120
<v Speaker 1>it's bad for other reasons. Yes, And for any listeners

0:31:03.120 --> 0:31:06.160
<v Speaker 1>who aren't familiar with what the production code is UM

0:31:06.320 --> 0:31:09.040
<v Speaker 1>google it for more information. But it's basically a set

0:31:09.120 --> 0:31:14.520
<v Speaker 1>of censorship rules that applied to Hollywood studio films. It

0:31:14.640 --> 0:31:18.840
<v Speaker 1>was enforced from the mid nineteen thirties to the late sixties,

0:31:18.960 --> 0:31:23.080
<v Speaker 1>and it basically said that movies couldn't have graphic violence,

0:31:23.440 --> 0:31:28.080
<v Speaker 1>you know, sex or nudity or overt sexuality, no swearing,

0:31:28.920 --> 0:31:31.000
<v Speaker 1>things like that. The list goes on and on, but

0:31:31.240 --> 0:31:33.000
<v Speaker 1>it's worth checking out just to see like what the

0:31:33.040 --> 0:31:36.760
<v Speaker 1>limitations were, like what UM filmmakers could and couldn't do,

0:31:37.000 --> 0:31:39.720
<v Speaker 1>and what they did sort of to get around production

0:31:39.760 --> 0:31:43.880
<v Speaker 1>code stipulations. There's like we saw in certain genres like

0:31:43.920 --> 0:31:46.720
<v Speaker 1>screwball comedies that would be like all these like double

0:31:46.880 --> 0:31:51.040
<v Speaker 1>entendre innuendo type of dialogue and stuff like that. But

0:31:51.480 --> 0:31:54.640
<v Speaker 1>it's interesting. But yeah, like informs a whole generation of

0:31:54.680 --> 0:31:57.160
<v Speaker 1>movies basically, and then this movie kind of comes out

0:31:57.200 --> 0:32:00.360
<v Speaker 1>at the towards the tail land that this movie had

0:32:00.400 --> 0:32:02.400
<v Speaker 1>been made even a couple of years later, I don't.

0:32:02.400 --> 0:32:04.680
<v Speaker 1>I mean, it might have been quite different. I don't

0:32:04.720 --> 0:32:08.920
<v Speaker 1>really care to know, um what Stanley Kuper would have

0:32:08.920 --> 0:32:11.680
<v Speaker 1>done with this story at literally any point in time.

0:32:12.880 --> 0:32:16.760
<v Speaker 1>I think that truly just like among the worst working

0:32:16.800 --> 0:32:20.560
<v Speaker 1>directors you could choose for this, it's kind of astounding. Um.

0:32:21.320 --> 0:32:24.040
<v Speaker 1>But that was kind of that really informed how this

0:32:24.080 --> 0:32:27.880
<v Speaker 1>movie was marketed, which the tagline for this movie was

0:32:28.080 --> 0:32:30.960
<v Speaker 1>how did they ever make a movie of Lolita? And

0:32:31.320 --> 0:32:33.280
<v Speaker 1>the short answer, and a lot of people have said this,

0:32:33.320 --> 0:32:35.920
<v Speaker 1>but the short answer is that they didn't, uh, and

0:32:36.000 --> 0:32:39.480
<v Speaker 1>that's how they did. By not doing it, given the

0:32:39.520 --> 0:32:43.080
<v Speaker 1>production codes, it would have been virtually impossible to even

0:32:43.840 --> 0:32:47.760
<v Speaker 1>sort of tell the story, which this I mean, I

0:32:47.840 --> 0:32:50.200
<v Speaker 1>guess you could. I mean, there's scenes in this movie

0:32:50.240 --> 0:32:54.400
<v Speaker 1>that really lean on suggestion and then it's just like

0:32:54.640 --> 0:32:58.560
<v Speaker 1>Peter Sellers for forty five fucking minutes and you're just

0:32:58.680 --> 0:33:03.800
<v Speaker 1>like in very disguises like counts Off, I'm just like,

0:33:04.720 --> 0:33:08.720
<v Speaker 1>this is exhausting, no wonder lemony snack it liked it

0:33:08.840 --> 0:33:11.360
<v Speaker 1>so much. He's like, I'm gonna base count all off

0:33:11.480 --> 0:33:15.520
<v Speaker 1>on quilty. But it's interesting. I mean, I think that

0:33:15.560 --> 0:33:17.400
<v Speaker 1>he did do that in a number of ways. But

0:33:17.480 --> 0:33:22.320
<v Speaker 1>then I guess that's a separate episode. But technically, technically,

0:33:22.800 --> 0:33:27.760
<v Speaker 1>Vladimir and Abakoff wrote the screenplay to this movie. Once

0:33:27.800 --> 0:33:31.120
<v Speaker 1>again we encounter something here that is technically true but

0:33:31.280 --> 0:33:34.520
<v Speaker 1>isn't actually true, because I have read the screenplay that

0:33:34.600 --> 0:33:39.840
<v Speaker 1>Vladimir Nabokov wrote, and Vladimir and Abukov wrote a fairly

0:33:40.040 --> 0:33:44.320
<v Speaker 1>faithful while obviously working around quite a bit, but a

0:33:44.400 --> 0:33:49.440
<v Speaker 1>fairly faithful adaptation of his book that I feel frames

0:33:49.520 --> 0:33:55.240
<v Speaker 1>the story appropriately or more appropriately. And there's been a

0:33:55.320 --> 0:33:58.520
<v Speaker 1>number of interviews done with him and done with basically

0:33:58.600 --> 0:34:03.040
<v Speaker 1>everyone involved in this movie. Be that like, almost none

0:34:03.040 --> 0:34:05.120
<v Speaker 1>of his script is used in this movie, so even

0:34:05.160 --> 0:34:07.600
<v Speaker 1>though his name is on it, he thought very little

0:34:07.640 --> 0:34:10.359
<v Speaker 1>of it. And I also, I'm like, I'm not here

0:34:10.400 --> 0:34:14.840
<v Speaker 1>to stand for Vladimir Nabukov hardcore. He's got some weird

0:34:14.920 --> 0:34:17.920
<v Speaker 1>ship going on in his life. And I don't mean criminally,

0:34:18.040 --> 0:34:21.600
<v Speaker 1>I don't, I don't mean anything approaching like stuff like that,

0:34:21.640 --> 0:34:24.240
<v Speaker 1>but he's just I mean, look of Vladimir Nabukov's family.

0:34:24.320 --> 0:34:28.839
<v Speaker 1>They were famously executing other authors, so have a lot

0:34:28.840 --> 0:34:31.359
<v Speaker 1>of ship going on with that. It's a whole thing

0:34:31.560 --> 0:34:35.160
<v Speaker 1>like there so Nabukov has got his own thing going on, right,

0:34:35.200 --> 0:34:39.080
<v Speaker 1>He's just kind of a bizarre cultural figure. But he

0:34:39.120 --> 0:34:42.040
<v Speaker 1>didn't like this movie. The draft he wrote of this

0:34:42.320 --> 0:34:47.160
<v Speaker 1>movie at least resembles his book, and for me, for

0:34:47.239 --> 0:34:54.040
<v Speaker 1>the movies specifically, framing is everything, and this movie and

0:34:54.120 --> 0:34:59.319
<v Speaker 1>the movie are framed not at all, like basically not

0:34:59.400 --> 0:35:04.760
<v Speaker 1>at all. So yeah, Stanley Kubrick hacked into this script.

0:35:05.440 --> 0:35:07.600
<v Speaker 1>I'm sure he was also trying to get his movie

0:35:07.640 --> 0:35:09.560
<v Speaker 1>to pass the production code so that I could still

0:35:09.560 --> 0:35:14.640
<v Speaker 1>be made. But like, fuck Stanley Kubrick, Matt Like fuck him.

0:35:15.040 --> 0:35:18.640
<v Speaker 1>When has he ever successfully written a female character or treated,

0:35:19.040 --> 0:35:22.160
<v Speaker 1>you know, an actress with dignity? Fucking never is when?

0:35:22.800 --> 0:35:29.160
<v Speaker 1>So uh fux Stanley Kubrick particularly, And I guess let's

0:35:29.160 --> 0:35:32.960
<v Speaker 1>talk about what happens in the movie. Well, first let's

0:35:32.960 --> 0:35:34.879
<v Speaker 1>take a quick break and then we'll come right back.

0:35:41.040 --> 0:35:46.200
<v Speaker 1>All right, So here's the recap. We open on Humbert. Humbert.

0:35:46.560 --> 0:35:51.759
<v Speaker 1>He shows up to a rundown mansion belonging to this guy,

0:35:51.960 --> 0:35:56.640
<v Speaker 1>Claire Quilty, who is played by Peter Sellers. They have

0:35:56.800 --> 0:35:59.160
<v Speaker 1>some kind of history, but it's not clear at this

0:35:59.239 --> 0:36:04.160
<v Speaker 1>point what Humbert mentions a girl named Lolita, and then

0:36:04.239 --> 0:36:08.960
<v Speaker 1>he eventually shoots and kills Quilty. Then we cut to

0:36:09.080 --> 0:36:13.600
<v Speaker 1>four years earlier. Humbert is a recent European transplant to

0:36:13.760 --> 0:36:17.200
<v Speaker 1>the US. He arrives at a house in New Hampshire

0:36:17.239 --> 0:36:19.520
<v Speaker 1>where he will be spending the summer before he heads

0:36:19.840 --> 0:36:23.200
<v Speaker 1>off to Beardsley College in I think it's Ohio to

0:36:23.880 --> 0:36:28.520
<v Speaker 1>um teach French literature. Now, the owner of this house,

0:36:28.880 --> 0:36:34.120
<v Speaker 1>Charlotte Hayes, shows him around and played by Shelley Winters,

0:36:34.239 --> 0:36:40.040
<v Speaker 1>my birthday twin oh and wow, today's your birthday, so

0:36:40.080 --> 0:36:45.279
<v Speaker 1>that's amazing. So he's kind of on the fence about

0:36:45.280 --> 0:36:47.399
<v Speaker 1>whether or not he wants to live here. But then

0:36:47.760 --> 0:36:50.839
<v Speaker 1>she shows him out to the garden and out there

0:36:51.360 --> 0:36:57.319
<v Speaker 1>is Charlotte's teenage daughter, Lolita. She is sunbathing in a bikini,

0:36:57.520 --> 0:37:02.399
<v Speaker 1>and Lolita simply being really helps Humbert decide to move in.

0:37:02.960 --> 0:37:08.920
<v Speaker 1>Mrs Hayes. Charlotte becomes interested in Humbert pretty much right away,

0:37:09.760 --> 0:37:14.640
<v Speaker 1>but Humbert becomes interested in Lolita. There's a scene where

0:37:14.680 --> 0:37:19.560
<v Speaker 1>they all go to a community dance. I suppose this

0:37:19.640 --> 0:37:23.040
<v Speaker 1>is all like the scenes are so weird because there's

0:37:23.040 --> 0:37:27.160
<v Speaker 1>a lot of I mean, one thing that was done

0:37:27.360 --> 0:37:29.960
<v Speaker 1>for this movie to allow it to be made was

0:37:30.040 --> 0:37:33.360
<v Speaker 1>to age Lolita up because in the book she is twelve.

0:37:33.520 --> 0:37:36.200
<v Speaker 1>Am I read about that she is twelve? Yeah, and

0:37:36.239 --> 0:37:40.280
<v Speaker 1>in the movie she's fourteen or fifteen. Yeah, not entirely sure.

0:37:40.719 --> 0:37:46.560
<v Speaker 1>The actor who plays Lolita in this movie lyon, oh,

0:37:46.600 --> 0:37:50.000
<v Speaker 1>fourteen at the time shooting. Okay, yeah, she's sixteen when

0:37:50.040 --> 0:37:53.560
<v Speaker 1>it comes out. Got okay, yeah. Yeah. So they aged

0:37:53.600 --> 0:37:57.720
<v Speaker 1>her up slightly, and they added in like a boyfriend character,

0:37:58.440 --> 0:38:02.440
<v Speaker 1>I would guess to make her seem less innocent. I

0:38:02.480 --> 0:38:04.640
<v Speaker 1>don't know really what to think, but this whole boyfriend

0:38:04.680 --> 0:38:09.760
<v Speaker 1>think this is just like invented for the movie. Okay, Kenny, Kenny,

0:38:09.800 --> 0:38:14.480
<v Speaker 1>fake fake news, fake news, Kenny. And then here at

0:38:14.520 --> 0:38:18.719
<v Speaker 1>this dance, we learn that Charlotte has a habit of

0:38:18.760 --> 0:38:21.320
<v Speaker 1>going after men who are not interested in her because

0:38:21.320 --> 0:38:25.680
<v Speaker 1>she approaches Quilty who is there, and he doesn't really

0:38:25.719 --> 0:38:28.600
<v Speaker 1>seem to remember who she is, even though it's implied

0:38:28.760 --> 0:38:32.759
<v Speaker 1>that they have had sex before. This is also totally

0:38:32.800 --> 0:38:35.400
<v Speaker 1>made up for the move invented. Yeah, okay, good to

0:38:35.480 --> 0:38:40.520
<v Speaker 1>know he doesn't remember Charlotte, but he does remember Charlotte's daughter, Lolita.

0:38:41.239 --> 0:38:45.319
<v Speaker 1>So that comes into play later. Now Charlotte kind of

0:38:45.360 --> 0:38:49.760
<v Speaker 1>goes back to throwing herself at Humbert, who again only

0:38:49.880 --> 0:38:54.480
<v Speaker 1>has eyes for a child, and they go back to

0:38:54.880 --> 0:38:59.160
<v Speaker 1>the house. After this dance, Lolita returns and this makes

0:38:59.320 --> 0:39:03.040
<v Speaker 1>Humbert very happy. But Charlotte is starting to get the

0:39:03.120 --> 0:39:07.759
<v Speaker 1>sense that Humbert is interested in Lolita. So Charlotte kind

0:39:07.760 --> 0:39:09.719
<v Speaker 1>of lashes out and she says, go to bed, you

0:39:09.800 --> 0:39:12.759
<v Speaker 1>little pest, and then she kind of has a little outburst.

0:39:13.000 --> 0:39:18.880
<v Speaker 1>She sure does. Um. Then Humbert starts writing in a diary,

0:39:19.000 --> 0:39:21.400
<v Speaker 1>or maybe he has been already, but he basically started.

0:39:21.440 --> 0:39:24.960
<v Speaker 1>He's like writing in his diary about his affection for Lolita,

0:39:25.360 --> 0:39:31.120
<v Speaker 1>who he starts to call his nymphete and barf um.

0:39:31.719 --> 0:39:36.279
<v Speaker 1>But Charlotte reveals that she is sending Lolita away for

0:39:36.320 --> 0:39:39.600
<v Speaker 1>the summer to camp because she wants to keep sas

0:39:39.600 --> 0:39:43.960
<v Speaker 1>a free up her schedule to be hitting on Humbert

0:39:44.000 --> 0:39:48.800
<v Speaker 1>all summer, right, we are to believe, and Humbert is

0:39:48.880 --> 0:39:52.520
<v Speaker 1>very disappointed by this. There's a scene where Lolita comes

0:39:52.520 --> 0:39:55.800
<v Speaker 1>in the house and wishes him a farewell and says,

0:39:55.880 --> 0:39:59.799
<v Speaker 1>you know, don't forget me. Then Humbert gets a letter

0:39:59.840 --> 0:40:02.960
<v Speaker 1>from Charlotte professing her love for him, saying, one of

0:40:03.000 --> 0:40:07.120
<v Speaker 1>my favorite lines in fiction. I saw that you had

0:40:07.200 --> 0:40:10.560
<v Speaker 1>changed your Twitter bio to this. It is such a

0:40:10.680 --> 0:40:13.799
<v Speaker 1>fun line. I mean, in a very depressing work, it

0:40:13.920 --> 0:40:16.720
<v Speaker 1>is a fun line. I'm a passionate and lonely woman

0:40:16.760 --> 0:40:19.560
<v Speaker 1>and you are the love of my life. I'm like, okay, drama,

0:40:19.760 --> 0:40:25.360
<v Speaker 1>Like I Charlotte's letter is so over dramatic, and I

0:40:25.440 --> 0:40:28.319
<v Speaker 1>love it. Yeah. She's basically like, get out of my

0:40:28.440 --> 0:40:33.520
<v Speaker 1>house because I love you unless you also love me,

0:40:33.680 --> 0:40:36.640
<v Speaker 1>and then you have to stay and be my lover forever.

0:40:37.280 --> 0:40:40.520
<v Speaker 1>You're like a Charlotte like I just I I mean,

0:40:41.120 --> 0:40:45.400
<v Speaker 1>we'll talk about but like that letter is always fun

0:40:45.600 --> 0:40:48.040
<v Speaker 1>for me. I hate that he laughs at her. I'm like,

0:40:48.080 --> 0:40:49.880
<v Speaker 1>this is the this is the best writing in the

0:40:49.960 --> 0:40:55.080
<v Speaker 1>movie is Charlotte's letter. But I love Charlotte's letter. Yeah. So,

0:40:55.080 --> 0:40:58.839
<v Speaker 1>so he reads this letter and then he marries her,

0:40:59.400 --> 0:41:01.880
<v Speaker 1>and the implicate Asian here is that he marries her

0:41:02.000 --> 0:41:05.520
<v Speaker 1>so that he will have the opportunity to see Lolita again.

0:41:06.360 --> 0:41:09.640
<v Speaker 1>But then Charlotte says that she has decided to send

0:41:09.719 --> 0:41:14.120
<v Speaker 1>Lolita from camp straight to boarding school and then straight

0:41:14.160 --> 0:41:18.879
<v Speaker 1>to college from there, meaning that Humbert probably won't really

0:41:18.920 --> 0:41:22.240
<v Speaker 1>ever see her again, so he freaks out. He starts

0:41:22.280 --> 0:41:28.160
<v Speaker 1>to premeditate him murdering Charlotte loudly and all the time

0:41:28.400 --> 0:41:31.040
<v Speaker 1>like there I know. And it's so it like adds

0:41:31.080 --> 0:41:34.120
<v Speaker 1>to it that it's James Mason, just like the most

0:41:34.200 --> 0:41:37.279
<v Speaker 1>British person ever, being like maybe I should kill her,

0:41:37.520 --> 0:41:40.880
<v Speaker 1>Like you're just like shut up, man, like what are

0:41:40.920 --> 0:41:45.879
<v Speaker 1>you doing? This is also this is really deviated from

0:41:45.880 --> 0:41:49.040
<v Speaker 1>what happens in the book as well. But anyways, got it, Yeah,

0:41:49.080 --> 0:41:51.520
<v Speaker 1>I don't. I don't remember it well enough. But Humbert

0:41:51.560 --> 0:41:55.320
<v Speaker 1>decides against killing his wife Um, and we're supposed to

0:41:55.400 --> 0:42:02.080
<v Speaker 1>be like, wow, awesome, like hero cool. But Charlotte has

0:42:02.120 --> 0:42:05.839
<v Speaker 1>just discovered Humbert's diary, in which he has insulted her

0:42:06.320 --> 0:42:11.360
<v Speaker 1>and expressed his love for Lolita, so she is distraught,

0:42:11.760 --> 0:42:15.439
<v Speaker 1>runs out into the street, and is killed when she's

0:42:15.520 --> 0:42:19.759
<v Speaker 1>hit by a car. Humbert is mostly unfazed by this.

0:42:20.320 --> 0:42:24.600
<v Speaker 1>He then leaves to go pick Lolita up from camp Um,

0:42:24.640 --> 0:42:27.160
<v Speaker 1>telling her that her mother is sick and in the

0:42:27.239 --> 0:42:29.759
<v Speaker 1>hospital and they just kind of have to bide their

0:42:29.800 --> 0:42:32.600
<v Speaker 1>time before until she's well. So they're just going to

0:42:32.680 --> 0:42:35.359
<v Speaker 1>travel around a little bit until then. So they check

0:42:35.400 --> 0:42:38.680
<v Speaker 1>into a hotel and there's only one room left with

0:42:38.800 --> 0:42:43.560
<v Speaker 1>one bed. Quilty also happens to be there. There's a

0:42:43.560 --> 0:42:46.080
<v Speaker 1>scene where he is acting, he's like very high strung.

0:42:46.600 --> 0:42:49.879
<v Speaker 1>He and Humbert talk for a little bit about Lolita,

0:42:50.000 --> 0:42:53.280
<v Speaker 1>and then Humbert returns to the room where he tries

0:42:53.360 --> 0:42:56.879
<v Speaker 1>to get into the bed with Lolita, but then ends

0:42:56.960 --> 0:42:59.799
<v Speaker 1>up sleeping on the cot that has been brought in

0:43:00.200 --> 0:43:04.279
<v Speaker 1>right but the next morning it is implied that they

0:43:04.360 --> 0:43:08.400
<v Speaker 1>do something sexual together off screen a k a. A

0:43:08.600 --> 0:43:14.280
<v Speaker 1>statutory rape happens. Then they set off again in the car,

0:43:14.800 --> 0:43:18.160
<v Speaker 1>Humbert finally tells Lolita that her mother is dead, so

0:43:18.520 --> 0:43:24.680
<v Speaker 1>Lolita is very upset, but eventually Humbert and Lolita kind

0:43:24.680 --> 0:43:28.399
<v Speaker 1>of settle into a life together. And again by that,

0:43:28.520 --> 0:43:33.200
<v Speaker 1>I mean he's a predator and he regularly again and again.

0:43:33.239 --> 0:43:37.560
<v Speaker 1>This is like so wildly deviated from the book where

0:43:38.000 --> 0:43:42.360
<v Speaker 1>they're they're still traveling together, but she is constantly trying

0:43:42.440 --> 0:43:45.600
<v Speaker 1>to escape, and she is constantly trying to get away

0:43:45.680 --> 0:43:51.160
<v Speaker 1>and devise different ways to get away from her abuser

0:43:51.200 --> 0:43:54.000
<v Speaker 1>who's continually manipulating her. In the movie. It is kind

0:43:54.000 --> 0:43:59.120
<v Speaker 1>of portrayed as a mostly fun road trip when yeah,

0:43:59.200 --> 0:44:01.600
<v Speaker 1>I have a lot to say about the tone of

0:44:01.600 --> 0:44:07.239
<v Speaker 1>this movie, which is horrible. Um Okay. So now they're

0:44:07.239 --> 0:44:10.640
<v Speaker 1>living in Ohio and he starts his job as a

0:44:10.680 --> 0:44:14.760
<v Speaker 1>professor of Beardsley College. Lolita's seems to be getting bored

0:44:14.800 --> 0:44:17.759
<v Speaker 1>with their relationship. He doesn't like that she hangs out

0:44:17.800 --> 0:44:20.400
<v Speaker 1>with other boys at school. She wants to do the

0:44:20.440 --> 0:44:23.440
<v Speaker 1>school play, but he won't let her, so then Quilty

0:44:23.520 --> 0:44:27.080
<v Speaker 1>comes in. He has written this play. He shows up

0:44:27.160 --> 0:44:31.640
<v Speaker 1>pretending to be the school psychologist and convinces Humbert to

0:44:31.719 --> 0:44:34.839
<v Speaker 1>let Lolita be in the play. But Humbert finds out

0:44:34.840 --> 0:44:37.600
<v Speaker 1>that Lolita has been lying to him about where she's

0:44:37.600 --> 0:44:40.080
<v Speaker 1>been and who she's been hanging out with. They getting

0:44:40.080 --> 0:44:43.520
<v Speaker 1>a big fight, but eventually she's like, okay, Humbert, let's

0:44:43.560 --> 0:44:47.080
<v Speaker 1>go away again, so they set off. There's a car

0:44:47.200 --> 0:44:52.239
<v Speaker 1>that's been following them for a while, and then Lolita

0:44:52.480 --> 0:44:55.800
<v Speaker 1>gets sick and has to be hospitalized. But when Humbert

0:44:55.840 --> 0:44:58.440
<v Speaker 1>picks her up from the hospital, the staff says that

0:44:58.520 --> 0:45:01.800
<v Speaker 1>another man has already picked her up, so he freaks out.

0:45:01.960 --> 0:45:05.560
<v Speaker 1>He doesn't know where she is he loses contact with

0:45:05.600 --> 0:45:09.920
<v Speaker 1>her for I believe a few years, and then Humbert

0:45:10.000 --> 0:45:13.760
<v Speaker 1>after some time receives a letter from Lolita asking for money,

0:45:14.000 --> 0:45:17.200
<v Speaker 1>so he goes to see her. She is married to

0:45:17.239 --> 0:45:21.880
<v Speaker 1>a young man, she is regnant with his baby, and

0:45:21.920 --> 0:45:25.719
<v Speaker 1>she reveals that she had been having a relationship with

0:45:25.960 --> 0:45:29.720
<v Speaker 1>Quilty during this time that she was in the school play.

0:45:29.760 --> 0:45:33.880
<v Speaker 1>And then I think also before because basically Quilty follows

0:45:34.239 --> 0:45:38.600
<v Speaker 1>her around wherever she goes, it seems, and it was

0:45:38.680 --> 0:45:41.520
<v Speaker 1>him who had picked her up from the hospital. Lolita

0:45:42.280 --> 0:45:44.160
<v Speaker 1>says that she was always in love with him, but

0:45:44.200 --> 0:45:47.839
<v Speaker 1>she did care about Humbert. Humbert gets her to try

0:45:47.840 --> 0:45:50.359
<v Speaker 1>to run away with him, but she refuses, so then

0:45:50.640 --> 0:45:53.279
<v Speaker 1>he goes to Quiality's mansion, which is the scene we

0:45:53.320 --> 0:45:55.520
<v Speaker 1>see in the beginning, and then he murders him and

0:45:55.520 --> 0:45:59.719
<v Speaker 1>then we find out that he dies of coronary thrombosis

0:46:00.280 --> 0:46:03.920
<v Speaker 1>before the trial prison. Yeah, so that is the end

0:46:03.960 --> 0:46:07.759
<v Speaker 1>of the ninety two movie. Again, I mean we will

0:46:07.800 --> 0:46:12.160
<v Speaker 1>continue to repeat this. This is unequivocally a story of

0:46:12.560 --> 0:46:17.640
<v Speaker 1>a child being repeatedly abused by a guardian. Like there

0:46:17.760 --> 0:46:23.000
<v Speaker 1>is no if sandswer buds about it and this movie. However,

0:46:23.719 --> 0:46:26.319
<v Speaker 1>I don't know what this movie thinks is going on,

0:46:26.960 --> 0:46:32.840
<v Speaker 1>because it seems like it is mishandling everything at every turn.

0:46:33.080 --> 0:46:36.600
<v Speaker 1>And where I like to start is it's sort of

0:46:36.640 --> 0:46:39.319
<v Speaker 1>like for SNA like not fortunate, but like alluding to

0:46:39.360 --> 0:46:43.160
<v Speaker 1>this a little earlier of the way that this story

0:46:43.560 --> 0:46:45.960
<v Speaker 1>is framed. If you're going to attempt to tell it,

0:46:46.120 --> 0:46:50.960
<v Speaker 1>which I agree you don't have to, it exists as

0:46:51.080 --> 0:46:55.160
<v Speaker 1>a historical moment of this topic attempting to be discussed

0:46:55.160 --> 0:46:58.520
<v Speaker 1>in the nineteen fifties, that is very worthy of criticism,

0:46:58.560 --> 0:47:01.320
<v Speaker 1>and that's in one place if you're trying to adapt

0:47:01.440 --> 0:47:07.200
<v Speaker 1>this responsibly. I feel that the framing of the story

0:47:07.360 --> 0:47:11.719
<v Speaker 1>is very important because for you know, the book, and

0:47:11.760 --> 0:47:14.520
<v Speaker 1>I feel like I'm like the book, but it is

0:47:14.560 --> 0:47:18.520
<v Speaker 1>important for this friend. The way that the book frames Humbert.

0:47:18.600 --> 0:47:22.279
<v Speaker 1>Humbert is that he is narrating his own story. He

0:47:22.440 --> 0:47:27.960
<v Speaker 1>is doing so from prison, trying to convince a jury

0:47:28.080 --> 0:47:32.000
<v Speaker 1>to let him get off from these crimes that he's

0:47:32.000 --> 0:47:35.600
<v Speaker 1>committed a murder. But also he is admitting that he

0:47:36.040 --> 0:47:41.319
<v Speaker 1>um is a rapist of an m minor, So this

0:47:41.360 --> 0:47:43.640
<v Speaker 1>is something he's acknowledging over and over. So he is

0:47:43.680 --> 0:47:49.239
<v Speaker 1>perhaps not is he perhaps an unreliable narrator, but not

0:47:49.400 --> 0:47:53.799
<v Speaker 1>just that Kate there is. The book starts with a

0:47:54.120 --> 0:47:59.000
<v Speaker 1>um an introduction by a different fictional character who basically

0:47:59.040 --> 0:48:02.279
<v Speaker 1>tells you not to trust a word you're about to hear.

0:48:03.000 --> 0:48:06.880
<v Speaker 1>And so, just based on my own research and experience

0:48:06.920 --> 0:48:09.439
<v Speaker 1>with the like, the book is intended to be an

0:48:09.440 --> 0:48:13.040
<v Speaker 1>experiment of You're told very explicitly at the beginning of

0:48:13.040 --> 0:48:16.400
<v Speaker 1>the story, do not fall for this person ship. They're lying,

0:48:16.920 --> 0:48:21.879
<v Speaker 1>and then the book becomes well will you fall for it? Anyways? Basically, um,

0:48:22.000 --> 0:48:26.880
<v Speaker 1>this is completely absent from every movie adaptation, and it

0:48:27.000 --> 0:48:31.080
<v Speaker 1>is so important into like if you're going to adapt it,

0:48:31.320 --> 0:48:34.719
<v Speaker 1>this has to be included, Like, it absolutely needs to

0:48:34.719 --> 0:48:38.120
<v Speaker 1>be included. There's another thing that Humbert again, it's like

0:48:38.160 --> 0:48:41.359
<v Speaker 1>he's a fucking liar, so you don't know really. I

0:48:41.400 --> 0:48:44.080
<v Speaker 1>also think it's weird that it's like commonly accepted that

0:48:44.480 --> 0:48:47.360
<v Speaker 1>Charlotte just happened to walk into traffic. I always I'm like,

0:48:47.400 --> 0:48:50.400
<v Speaker 1>I think he's lying about that, but whatever, Yeah, he

0:48:50.520 --> 0:48:54.440
<v Speaker 1>probably pushed her, he probably killed her, like why but

0:48:54.680 --> 0:48:57.960
<v Speaker 1>even like literary scholars are like, wow, he really looked

0:48:57.960 --> 0:49:00.960
<v Speaker 1>out there I'm like, I'm I've like he killed he

0:49:01.120 --> 0:49:04.080
<v Speaker 1>was just premeditating her murder. I don't know if that

0:49:04.320 --> 0:49:07.400
<v Speaker 1>is in the book. Well that hasn't happened. But but like,

0:49:07.400 --> 0:49:11.560
<v Speaker 1>like on her way to report him for being a

0:49:11.680 --> 0:49:14.680
<v Speaker 1>criminal of the highest degree, she happened to get hit

0:49:14.680 --> 0:49:16.279
<v Speaker 1>by a car. I mean, give me a fucking break.

0:49:16.320 --> 0:49:20.120
<v Speaker 1>But in any case, this framing is so important and

0:49:20.480 --> 0:49:23.759
<v Speaker 1>humber this is included in the movie, but also in

0:49:23.960 --> 0:49:27.880
<v Speaker 1>the worst stupidest way possible. He also mentioned at the

0:49:27.960 --> 0:49:31.800
<v Speaker 1>beginning of the book that he had loved and lost

0:49:32.000 --> 0:49:36.040
<v Speaker 1>a young woman who was about Lolita's age when he

0:49:36.160 --> 0:49:38.960
<v Speaker 1>was that age and I and he uses that as

0:49:38.960 --> 0:49:42.160
<v Speaker 1>a manipulative narrator to get you to say, well, this

0:49:42.239 --> 0:49:45.120
<v Speaker 1>is why I did this horrible crime is because something

0:49:45.160 --> 0:49:47.680
<v Speaker 1>bad happened to me when I was that age, which

0:49:47.719 --> 0:49:49.840
<v Speaker 1>is a very manipulative tactic that is used by a

0:49:49.880 --> 0:49:54.359
<v Speaker 1>lot of abusers. Again, this is completely omitted from this.

0:49:54.920 --> 0:49:57.279
<v Speaker 1>I feel like this movie. I mean tell me if

0:49:57.280 --> 0:50:00.400
<v Speaker 1>you I feel like this movie pretty much just events

0:50:00.600 --> 0:50:05.160
<v Speaker 1>Humbert's narrative as fact as this is what happened period, Like,

0:50:05.200 --> 0:50:08.839
<v Speaker 1>there is no the movie does not question him at all.

0:50:09.320 --> 0:50:13.719
<v Speaker 1>At all. It's ridiculous. There's no implication that he might

0:50:13.920 --> 0:50:17.280
<v Speaker 1>be an unreliable narrator. They're like, these are the events

0:50:17.400 --> 0:50:21.960
<v Speaker 1>of the story. This is exactly how they played out. Explicitly,

0:50:22.120 --> 0:50:25.920
<v Speaker 1>he does voiceover like I guess he is the narrator,

0:50:26.040 --> 0:50:30.200
<v Speaker 1>but there's no I mean, like for your average viewer,

0:50:30.840 --> 0:50:33.960
<v Speaker 1>an unreliable narrator is like a concept that you need

0:50:34.000 --> 0:50:37.839
<v Speaker 1>to make pretty fucking clear. Like you can't just be like,

0:50:38.040 --> 0:50:41.279
<v Speaker 1>here's James Mason, a very established movie star who you

0:50:41.400 --> 0:50:45.920
<v Speaker 1>probably like, don't believe him, Like that is a difficult

0:50:46.280 --> 0:50:48.640
<v Speaker 1>that's a difficult concept. You have to make that super

0:50:48.760 --> 0:50:52.280
<v Speaker 1>duper clear. And I wonder, I mean, I've really tried

0:50:52.320 --> 0:50:54.920
<v Speaker 1>to follow the thread of like, well, who thwarted this

0:50:55.040 --> 0:50:59.520
<v Speaker 1>from happening? Because nabokov screenplay includes everything I just talked about.

0:51:00.120 --> 0:51:02.840
<v Speaker 1>It includes the character at the beginning that is like,

0:51:02.880 --> 0:51:06.359
<v Speaker 1>don't believe anything you're about to hear. It includes, if

0:51:06.360 --> 0:51:08.840
<v Speaker 1>you're going to try to adapt it, the necessary things

0:51:09.440 --> 0:51:13.319
<v Speaker 1>I think. But I'm like, well, who does Kuber say

0:51:13.480 --> 0:51:16.640
<v Speaker 1>don't bother? Does the production code say, like who is

0:51:16.680 --> 0:51:22.120
<v Speaker 1>the person that says no, it bothers me? It's and

0:51:22.160 --> 0:51:25.120
<v Speaker 1>it just dooms the movie too. I mean, any live

0:51:25.160 --> 0:51:29.479
<v Speaker 1>action interpretation of this that is translated faithfully I think

0:51:29.719 --> 0:51:34.640
<v Speaker 1>is not even worth trying and is just is irresponsible.

0:51:35.360 --> 0:51:37.080
<v Speaker 1>But this one in particular, I mean it's like you're

0:51:37.080 --> 0:51:41.520
<v Speaker 1>not even fucking trying. I know, I know the code,

0:51:41.600 --> 0:51:44.399
<v Speaker 1>and like, don't go in the comments about the code.

0:51:44.400 --> 0:51:48.480
<v Speaker 1>We know about the code. But in that case, what

0:51:49.800 --> 0:51:54.520
<v Speaker 1>cat fighting outside? There's no a bunch of cats that

0:51:54.640 --> 0:51:57.279
<v Speaker 1>fight in the alley next to my house. I live

0:51:57.360 --> 0:52:04.080
<v Speaker 1>in a cartoon. Uh so, I'm right. So what happens

0:52:04.200 --> 0:52:08.800
<v Speaker 1>in this adaptation in the sixty two one is the story.

0:52:09.040 --> 0:52:14.560
<v Speaker 1>Because there's no mention of like, don't believe anything this

0:52:14.600 --> 0:52:19.080
<v Speaker 1>man says, don't fall for his manipulation tactics, etcetera. The

0:52:19.120 --> 0:52:23.560
<v Speaker 1>movie gets framed as being like almost like a rom com,

0:52:23.600 --> 0:52:27.360
<v Speaker 1>like there are there's a lot of visual jokes about

0:52:27.400 --> 0:52:31.160
<v Speaker 1>like his attraction to Lolita. The inclusion of Peter Seller's

0:52:31.200 --> 0:52:34.680
<v Speaker 1>at all, like a famous comic actor of this era

0:52:35.280 --> 0:52:38.359
<v Speaker 1>takes up way too much screen time in this movie.

0:52:38.400 --> 0:52:43.040
<v Speaker 1>But like that aside, that's a that's a very specific

0:52:43.080 --> 0:52:46.000
<v Speaker 1>decision you're making by putting a famous comic actor like

0:52:46.400 --> 0:52:51.680
<v Speaker 1>second build in this movie. What are you saying, Like, Yeah, so,

0:52:51.719 --> 0:52:54.919
<v Speaker 1>like the tone that this movie takes I absolutely think

0:52:55.160 --> 0:52:57.960
<v Speaker 1>is horrendous because it frames a lot of what happens

0:52:58.000 --> 0:53:01.480
<v Speaker 1>as comedy and as jokes, like in cite some examples

0:53:01.520 --> 0:53:05.520
<v Speaker 1>at some point. But and while the movie ends tragically

0:53:05.680 --> 0:53:10.000
<v Speaker 1>for Humbert, like he kind of gets his come up

0:53:10.080 --> 0:53:13.520
<v Speaker 1>and I guess to like the not degree that he

0:53:14.080 --> 0:53:17.560
<v Speaker 1>should have, but like he does. That is how they

0:53:17.719 --> 0:53:22.200
<v Speaker 1>end his story in Nabakrov's book, but it omits. I mean,

0:53:22.280 --> 0:53:25.520
<v Speaker 1>the the one thing that this movie does that I

0:53:25.560 --> 0:53:29.360
<v Speaker 1>think is at least interesting and not just like Blanket

0:53:29.600 --> 0:53:34.960
<v Speaker 1>I hate it is that it gives Lolita a happy

0:53:35.320 --> 0:53:40.560
<v Speaker 1>ish ending, which is not how any other adaptation nor

0:53:40.600 --> 0:53:45.240
<v Speaker 1>the source material ends in the book. Canonically, she dies

0:53:45.280 --> 0:53:50.800
<v Speaker 1>in childbirth and as I mean, uh, it's just a

0:53:50.840 --> 0:53:54.200
<v Speaker 1>track like she has a tragic life and and passes

0:53:54.239 --> 0:53:58.640
<v Speaker 1>away very young, which and I was reading it at

0:53:58.680 --> 0:54:03.520
<v Speaker 1>the time, like I really loved Lolita as a kid,

0:54:03.600 --> 0:54:05.920
<v Speaker 1>and I kind of like looked up to her in

0:54:05.960 --> 0:54:09.279
<v Speaker 1>a way that was unhealthy because I was misinterpreting what

0:54:09.320 --> 0:54:11.880
<v Speaker 1>was happening. But I cared a lot about the character

0:54:12.000 --> 0:54:14.160
<v Speaker 1>and like to know that she dies at the end

0:54:14.960 --> 0:54:17.360
<v Speaker 1>at least helped me understand a little bit that she

0:54:17.440 --> 0:54:20.680
<v Speaker 1>had been done this huge disservice in her life, that

0:54:20.760 --> 0:54:24.680
<v Speaker 1>her life had literally been, you know, taken from her.

0:54:25.880 --> 0:54:28.520
<v Speaker 1>This movie does not go this way. It kind of

0:54:28.640 --> 0:54:33.680
<v Speaker 1>ends kind of optimistically for her, which I would suspect

0:54:33.719 --> 0:54:36.520
<v Speaker 1>has something to do with the code of like, well,

0:54:36.560 --> 0:54:41.480
<v Speaker 1>don't kill our titular character who never did anything wrong.

0:54:41.960 --> 0:54:45.480
<v Speaker 1>It's the only choice this movie makes that is remotely interesting,

0:54:45.640 --> 0:54:49.400
<v Speaker 1>is not. It is allowing lowly as character to live on,

0:54:49.600 --> 0:54:53.239
<v Speaker 1>which you know, I don't know. I guess I don't

0:54:53.239 --> 0:54:56.480
<v Speaker 1>feel one way or another about it. It's interesting, it's different. Um.

0:54:56.520 --> 0:55:00.840
<v Speaker 1>There are two things I do remember from the book.

0:55:01.320 --> 0:55:05.480
<v Speaker 1>It's been a while. It's been fifteen years since I've

0:55:05.520 --> 0:55:10.719
<v Speaker 1>read the book, so I don't remember it very well.

0:55:11.480 --> 0:55:13.719
<v Speaker 1>Let me know if I'm remembering this correctly, jam May,

0:55:13.719 --> 0:55:17.120
<v Speaker 1>since you've read it more recently. Is there a component

0:55:17.160 --> 0:55:20.759
<v Speaker 1>of the book where Humbert as he's like writing in

0:55:20.840 --> 0:55:25.240
<v Speaker 1>his diary and describing his relationship with Lolita. I feel

0:55:25.239 --> 0:55:29.960
<v Speaker 1>like he's often saying that like she is coming onto

0:55:30.120 --> 0:55:33.640
<v Speaker 1>him by, like she's like he's always like she's a nymphete.

0:55:33.680 --> 0:55:38.920
<v Speaker 1>She's like a nymphomaniac. She's always trying to initiate like

0:55:39.000 --> 0:55:42.120
<v Speaker 1>sexual contact with me, Like he's kind of blaming it

0:55:42.200 --> 0:55:44.919
<v Speaker 1>on her. Is that something? And I remember a lot

0:55:44.960 --> 0:55:47.200
<v Speaker 1>of the tone of and that's a lot of what

0:55:47.320 --> 0:55:51.759
<v Speaker 1>his character does in the book. I think intentionally by

0:55:51.800 --> 0:55:56.080
<v Speaker 1>the author is that he oscillates between blaming his victims

0:55:56.520 --> 0:56:00.360
<v Speaker 1>and a deep hatred of himself. So it pends on

0:56:00.400 --> 0:56:02.640
<v Speaker 1>what part in the book you were in. At certain

0:56:02.680 --> 0:56:05.879
<v Speaker 1>parts he blames her whole sale in a way that

0:56:06.120 --> 0:56:09.840
<v Speaker 1>reading it as an adult, you know is not true.

0:56:10.520 --> 0:56:14.520
<v Speaker 1>Um and is him offloading all of his own baggage

0:56:14.600 --> 0:56:18.640
<v Speaker 1>onto a child and saying, I mean the thing that

0:56:18.680 --> 0:56:22.080
<v Speaker 1>people have said about victims since the beginning of time

0:56:22.080 --> 0:56:24.279
<v Speaker 1>of like they were asking for it is basically what

0:56:24.360 --> 0:56:27.400
<v Speaker 1>he's saying by inventing this vocabulary word at all. And

0:56:27.400 --> 0:56:29.640
<v Speaker 1>then in other sections of the book, which we really

0:56:29.680 --> 0:56:33.640
<v Speaker 1>don't see in any of these adaptations, he kind of switches.

0:56:33.719 --> 0:56:39.760
<v Speaker 1>When Lolita shows extreme like an example would be when

0:56:39.800 --> 0:56:43.520
<v Speaker 1>she finds out that her mother is actually dead and

0:56:43.840 --> 0:56:48.919
<v Speaker 1>not sick. She grieves her and is really upset and

0:56:48.960 --> 0:56:51.600
<v Speaker 1>cries for days and days and at this point in

0:56:51.600 --> 0:56:55.600
<v Speaker 1>the narrative, he starts to go to like step zero

0:56:55.719 --> 0:56:59.160
<v Speaker 1>point one of introspection and starts to feel a lot

0:56:59.160 --> 0:57:01.439
<v Speaker 1>of guilt and his like, oh my god, I'm doing

0:57:01.480 --> 0:57:04.560
<v Speaker 1>this horrible thing to this child. What am I doing?

0:57:04.680 --> 0:57:07.520
<v Speaker 1>I'm I'm a monster, I'm a horrible person. He calls

0:57:07.560 --> 0:57:12.520
<v Speaker 1>himself like a pentapod monster, like he called There's sections

0:57:12.640 --> 0:57:16.240
<v Speaker 1>where he seems completely aware of what he's doing but

0:57:16.320 --> 0:57:19.320
<v Speaker 1>continues to do it anyways, which makes him even work right,

0:57:19.360 --> 0:57:22.360
<v Speaker 1>And then there's other sections where he's just blaming his victims.

0:57:22.400 --> 0:57:29.040
<v Speaker 1>So it's different headspaces of just a wholesale abuser. This this,

0:57:29.560 --> 0:57:32.680
<v Speaker 1>it's not even so it doesn't cross James Mason's mind

0:57:32.680 --> 0:57:35.920
<v Speaker 1>that he's doing anything wrong. And I think that that

0:57:36.000 --> 0:57:40.120
<v Speaker 1>has a lot to do with setting the code aside,

0:57:40.720 --> 0:57:44.840
<v Speaker 1>the view of that Hollywood has of women and girls

0:57:45.000 --> 0:57:48.640
<v Speaker 1>at this time of I think that the you know,

0:57:48.720 --> 0:57:50.960
<v Speaker 1>the way that it's like you're saying, Caitlin, it's so

0:57:51.000 --> 0:57:55.200
<v Speaker 1>often framed as a joke that this man who's almost

0:57:55.200 --> 0:57:58.720
<v Speaker 1>forty and James Mason was over forty, uh is having

0:57:58.760 --> 0:58:01.800
<v Speaker 1>a relationship with a child, a person who cannot consent

0:58:01.880 --> 0:58:04.760
<v Speaker 1>to them and kind of joking around, like you know,

0:58:05.520 --> 0:58:07.680
<v Speaker 1>which was a real culture and that was a real

0:58:07.800 --> 0:58:12.840
<v Speaker 1>thing that happened in in mid century America, and there's

0:58:13.120 --> 0:58:16.919
<v Speaker 1>countless examples of it, and certainly, I mean, we don't

0:58:16.920 --> 0:58:20.360
<v Speaker 1>have time to recap the history of how Hollywood has

0:58:20.400 --> 0:58:25.480
<v Speaker 1>treated child stars and how and the legacy that continues

0:58:25.520 --> 0:58:28.200
<v Speaker 1>to this day of abuse that happens to young people.

0:58:29.160 --> 0:58:30.840
<v Speaker 1>But it is I feel like it's treated as a

0:58:30.920 --> 0:58:33.840
<v Speaker 1>joke because in this time you could just treat it

0:58:33.880 --> 0:58:36.200
<v Speaker 1>as a joke, like it you didn't even need to

0:58:36.240 --> 0:58:38.880
<v Speaker 1>explain where you were coming from. It was just culturally

0:58:38.920 --> 0:58:45.200
<v Speaker 1>accepted as a joke. The movie frames again his attraction

0:58:45.240 --> 0:58:50.080
<v Speaker 1>to her as like, isn't it so fun and cute

0:58:50.240 --> 0:58:54.120
<v Speaker 1>that he's attracted to an underage girl? Like and she

0:58:54.280 --> 0:58:58.440
<v Speaker 1>and she's also interested in him and all this stuff

0:58:58.520 --> 0:59:03.400
<v Speaker 1>of it's so it's and it does lead I think,

0:59:03.440 --> 0:59:06.600
<v Speaker 1>I mean, I feel like, yeah, I mean, this is

0:59:06.640 --> 0:59:10.120
<v Speaker 1>not a hot take. I wish to god I had

0:59:10.200 --> 0:59:14.200
<v Speaker 1>not found out about this property when I was twelve

0:59:14.240 --> 0:59:19.360
<v Speaker 1>years old, when I was like Lolita's age, because you know,

0:59:19.400 --> 0:59:21.800
<v Speaker 1>it's it's for most twelve year olds at that time,

0:59:21.800 --> 0:59:24.200
<v Speaker 1>and for most young people, it's not You're just not

0:59:24.280 --> 0:59:28.000
<v Speaker 1>going to have the frame of reference to understand what

0:59:28.040 --> 0:59:30.040
<v Speaker 1>you're reading. I don't think it should be a book

0:59:30.040 --> 0:59:32.760
<v Speaker 1>that's banned outright, Like, if you don't want to read it,

0:59:33.160 --> 0:59:36.400
<v Speaker 1>definitely don't. And I absolutely understand why you wouldn't want to.

0:59:36.880 --> 0:59:40.960
<v Speaker 1>But when it's presented to like who is this movie for?

0:59:41.520 --> 0:59:45.400
<v Speaker 1>Is my question like, who the fuck is is even for?

0:59:46.440 --> 0:59:50.120
<v Speaker 1>This also extends to I mean, Lolita is I think,

0:59:50.120 --> 0:59:54.240
<v Speaker 1>to an extent, demonized and made to say, well, this

0:59:54.400 --> 0:59:58.800
<v Speaker 1>was a very like sexual fourteen or fifteen year old.

0:59:58.920 --> 1:00:01.560
<v Speaker 1>So I think at the movie frames that of like, well,

1:00:01.880 --> 1:00:06.720
<v Speaker 1>can you really blame him? And it's like, yeah, you can,

1:00:07.640 --> 1:00:12.160
<v Speaker 1>and you should and you should but this but but

1:00:12.240 --> 1:00:16.240
<v Speaker 1>I think that this movie has such a nothing view

1:00:16.520 --> 1:00:19.920
<v Speaker 1>of of Lolita. She's she's barely written at all. And

1:00:19.960 --> 1:00:22.919
<v Speaker 1>I'm sure that that again I mean code code code, right,

1:00:23.360 --> 1:00:29.240
<v Speaker 1>but I mean she's robbed of any element that made

1:00:29.280 --> 1:00:32.520
<v Speaker 1>her a character, because I mean a lot of what

1:00:32.640 --> 1:00:34.840
<v Speaker 1>you encounter with her in the book and to some

1:00:34.920 --> 1:00:38.040
<v Speaker 1>extent in other adaptations is it making it very clear

1:00:38.080 --> 1:00:40.240
<v Speaker 1>that she's a kid and she has the interest that

1:00:40.280 --> 1:00:43.520
<v Speaker 1>a kid does and she's like a really she's like

1:00:43.880 --> 1:00:47.240
<v Speaker 1>a twelve year old with a big personality, who likes

1:00:47.440 --> 1:00:50.320
<v Speaker 1>who's like very rebellious and has a complicated relationship with

1:00:50.320 --> 1:00:53.680
<v Speaker 1>her mom and all this stuff. Like, you know, people

1:00:53.720 --> 1:00:56.400
<v Speaker 1>didn't identify with this character. I didn't identify with her

1:00:56.400 --> 1:00:58.640
<v Speaker 1>when I was twelve for no reason. She had a

1:00:58.680 --> 1:01:03.000
<v Speaker 1>personality that you can recognize. But this is that this

1:01:03.080 --> 1:01:05.160
<v Speaker 1>is just the kind of another thing that's taken from

1:01:05.200 --> 1:01:07.959
<v Speaker 1>her in this movie. We know really nothing about her

1:01:08.600 --> 1:01:11.600
<v Speaker 1>right and the movie has no interest in getting to

1:01:11.800 --> 1:01:13.760
<v Speaker 1>know her, which is just going to make it that

1:01:13.840 --> 1:01:17.120
<v Speaker 1>much harder for a viewer to empathize with what she's

1:01:17.160 --> 1:01:21.120
<v Speaker 1>going through. Let's take another break and then we'll be

1:01:21.240 --> 1:01:29.640
<v Speaker 1>right back for a more discussion. Going back to the

1:01:29.720 --> 1:01:34.720
<v Speaker 1>kind of use of visual comedy to set the tone

1:01:34.760 --> 1:01:38.480
<v Speaker 1>of this movie. Like there's a scene where after Humbert

1:01:38.480 --> 1:01:40.120
<v Speaker 1>has moved in, they all go to a drive in

1:01:40.200 --> 1:01:42.600
<v Speaker 1>movie theater and there's like a scary moment in the

1:01:42.680 --> 1:01:46.640
<v Speaker 1>horror movie that they're watching, and both Charlotte and Lolita

1:01:46.760 --> 1:01:51.560
<v Speaker 1>each put a hand on one of Humbert's knees, and

1:01:51.800 --> 1:01:55.959
<v Speaker 1>he takes off Charlotte's hand because he's not interested in her,

1:01:56.440 --> 1:01:59.880
<v Speaker 1>and he like puts his hand on Lolita's hand, and

1:02:00.240 --> 1:02:05.000
<v Speaker 1>then like Charlotte realizes what's happening, and he realizes that

1:02:05.040 --> 1:02:08.240
<v Speaker 1>she realizes, so then everyone kind of like retreats into

1:02:08.240 --> 1:02:10.400
<v Speaker 1>themselves and like pulls their hand away, and it's like

1:02:10.440 --> 1:02:13.959
<v Speaker 1>this this like kind of oh, and then the whole

1:02:14.000 --> 1:02:17.840
<v Speaker 1>cot seeing there's like a three minute slapstick comedy scene

1:02:17.880 --> 1:02:20.320
<v Speaker 1>about like, oh shucks for him that he doesn't get

1:02:20.360 --> 1:02:22.280
<v Speaker 1>to sleep in a bed and he has to set

1:02:22.360 --> 1:02:25.560
<v Speaker 1>up a cot. It's made to want like it's the

1:02:25.600 --> 1:02:29.320
<v Speaker 1>fact that this is a predatory, statutory rapist. It's a joke.

1:02:29.560 --> 1:02:34.560
<v Speaker 1>It's a long and it's a long joke, and no

1:02:34.600 --> 1:02:38.840
<v Speaker 1>matter like how fucking like brainless you were in nineteen

1:02:38.880 --> 1:02:41.440
<v Speaker 1>sixty two, no one could laugh at this joke. It

1:02:41.560 --> 1:02:44.520
<v Speaker 1>is not It's just horrible in every single one like

1:02:45.680 --> 1:02:49.000
<v Speaker 1>it also another thing that frustrates me in these adaptations,

1:02:49.200 --> 1:02:51.920
<v Speaker 1>and this one is no different. And no disrespect to

1:02:51.960 --> 1:02:55.480
<v Speaker 1>Shelly Winters. She is not given really the tools to

1:02:55.520 --> 1:03:00.000
<v Speaker 1>succeed here, Nor was Melanie Griffith, who gives my favorite

1:03:00.040 --> 1:03:04.320
<v Speaker 1>at Charlotte performance in the un though she was really good,

1:03:05.000 --> 1:03:10.160
<v Speaker 1>having been given nothing right, But again, Charlotte is just

1:03:10.760 --> 1:03:15.840
<v Speaker 1>because these movies take Humbert's word as law. Charlotte is

1:03:16.080 --> 1:03:21.680
<v Speaker 1>portrayed as this as this very shrill, clueless, like not

1:03:21.840 --> 1:03:33.080
<v Speaker 1>particularly intelligent, hyper sexualized monster, like pathetic, desperate, hysterical, jealous,

1:03:33.120 --> 1:03:38.400
<v Speaker 1>like every negative trick her own child. And and again

1:03:38.440 --> 1:03:41.480
<v Speaker 1>this has taken his law. I and again it's like

1:03:41.520 --> 1:03:44.120
<v Speaker 1>you can't know. Also, these people don't exist. I know that,

1:03:44.840 --> 1:03:51.160
<v Speaker 1>but there's just again, even in literary analysis, this interpretation

1:03:51.200 --> 1:03:54.280
<v Speaker 1>of Charlotte is taken very wholesale of like, yeah, this

1:03:54.480 --> 1:03:59.240
<v Speaker 1>annoying woman who you know presents herself as an obstacle

1:03:59.280 --> 1:04:02.240
<v Speaker 1>in the first active of this story, but she obstacle.

1:04:02.520 --> 1:04:04.640
<v Speaker 1>But again, it's like, if you think about the fact

1:04:04.680 --> 1:04:07.920
<v Speaker 1>that you're told at the beginning, this person is going

1:04:07.960 --> 1:04:11.080
<v Speaker 1>to misrepresent everything to make himself look better. Would he

1:04:11.120 --> 1:04:15.520
<v Speaker 1>not benefit by making her look like a horrible, incompetent mother.

1:04:16.040 --> 1:04:19.960
<v Speaker 1>Would he not benefit from portraying her this way? Like,

1:04:20.880 --> 1:04:23.800
<v Speaker 1>I'm not claiming that this character would have been a

1:04:23.800 --> 1:04:26.720
<v Speaker 1>perfect person. It sounds like from the jump she and

1:04:26.760 --> 1:04:30.959
<v Speaker 1>her daughter have a very contentious relationship. Lots of twelve

1:04:31.040 --> 1:04:34.160
<v Speaker 1>year olds do with their mothers. They also, like she

1:04:35.000 --> 1:04:37.080
<v Speaker 1>in in the book, this is I don't remember if

1:04:37.080 --> 1:04:39.439
<v Speaker 1>this referenced in this movie. I've seen so many versions

1:04:39.480 --> 1:04:41.360
<v Speaker 1>of this, so I apologize if I'm getting this wrong.

1:04:41.920 --> 1:04:47.600
<v Speaker 1>But um, she you know, has lost a husband that's referenced. Um,

1:04:47.680 --> 1:04:50.480
<v Speaker 1>she has not. She's very cruel about it in this movie.

1:04:50.480 --> 1:04:53.840
<v Speaker 1>They really they're like, well, he didn't have sex with me, good,

1:04:53.960 --> 1:04:56.720
<v Speaker 1>so I hate him, And you're like, that's not really

1:04:57.360 --> 1:05:00.600
<v Speaker 1>anything that in the movie. In this movie she was

1:05:01.800 --> 1:05:06.680
<v Speaker 1>kind of obsessed with him. Yeah, in the one she

1:05:06.720 --> 1:05:09.000
<v Speaker 1>says he didn't fuck me right, and so I don't

1:05:09.000 --> 1:05:11.600
<v Speaker 1>care that he died, and you're like, that's not something

1:05:11.640 --> 1:05:15.320
<v Speaker 1>people say either way. She She's like in Mourning, there's

1:05:15.400 --> 1:05:18.240
<v Speaker 1>also a long tangent she goes on in the book

1:05:18.280 --> 1:05:21.800
<v Speaker 1>of like she had lost a baby when he was

1:05:21.920 --> 1:05:25.080
<v Speaker 1>very young, and Lolita had a brother, and that he

1:05:25.120 --> 1:05:28.400
<v Speaker 1>passed away very young, and that she had never quite

1:05:28.800 --> 1:05:31.960
<v Speaker 1>fully grieved that, and that that informed her relationship with

1:05:32.000 --> 1:05:35.240
<v Speaker 1>her daughter, was mourning this other child, and that was

1:05:35.600 --> 1:05:38.560
<v Speaker 1>one of the things that made their relationship very complicated,

1:05:38.960 --> 1:05:42.480
<v Speaker 1>which is really interesting and not something that is often

1:05:42.560 --> 1:05:46.040
<v Speaker 1>discussed of, Like this deep depression that she would have

1:05:46.080 --> 1:05:48.160
<v Speaker 1>been in and how does that affect the child who

1:05:48.240 --> 1:05:51.160
<v Speaker 1>lives on and like this is a real world problem.

1:05:51.160 --> 1:05:54.040
<v Speaker 1>It's I'm not saying that this is the best exploration

1:05:54.120 --> 1:05:57.000
<v Speaker 1>of it, but it's just kind of like all of

1:05:57.040 --> 1:05:59.800
<v Speaker 1>that is pushed aside, even though I think it's in

1:06:00.040 --> 1:06:01.960
<v Speaker 1>staying in the book that you're giving that information to

1:06:02.040 --> 1:06:04.520
<v Speaker 1>make of what you will. And then he's like, she's

1:06:04.520 --> 1:06:06.800
<v Speaker 1>annoying and you're supposed to take that as law, Like

1:06:06.880 --> 1:06:08.760
<v Speaker 1>that's whatever, that's a part of what the book's trying

1:06:08.800 --> 1:06:11.200
<v Speaker 1>to do. But the movie is just they're like, Nope,

1:06:11.400 --> 1:06:14.280
<v Speaker 1>she's annoying, we hate her, we don't care when she dies.

1:06:14.480 --> 1:06:18.480
<v Speaker 1>It's better that that he gets Lolita away from her,

1:06:18.520 --> 1:06:21.120
<v Speaker 1>Like that's what the movie wants. And it's like even

1:06:21.120 --> 1:06:23.360
<v Speaker 1>I get that, like even the viewers of the movie

1:06:23.400 --> 1:06:25.800
<v Speaker 1>are not going to think that because they know that

1:06:25.880 --> 1:06:29.600
<v Speaker 1>he is a bad person. But I feel like the way, yeah,

1:06:29.640 --> 1:06:32.000
<v Speaker 1>the way he builds up her character is to make

1:06:32.080 --> 1:06:37.600
<v Speaker 1>you not feel too bad when she mysteriously dies the

1:06:37.600 --> 1:06:40.520
<v Speaker 1>second she's about to report him, he kills her. I'm

1:06:40.560 --> 1:06:45.080
<v Speaker 1>just like, how all these fucking literary geniuses are like, no,

1:06:45.320 --> 1:06:48.960
<v Speaker 1>she walked into traffic she was confused and I was

1:06:49.000 --> 1:06:54.360
<v Speaker 1>like he killed her whatever. In this movie, also, she

1:06:54.360 --> 1:06:58.160
<v Speaker 1>she's given like a gun, like she's given that whole thing,

1:06:58.280 --> 1:07:01.320
<v Speaker 1>like that was a whole weird that doesn't happen. She

1:07:01.480 --> 1:07:03.880
<v Speaker 1>she's like, the gun isn't loaded, and he's like I

1:07:04.000 --> 1:07:06.320
<v Speaker 1>did that and he looks done and it is loaded.

1:07:06.520 --> 1:07:10.800
<v Speaker 1>So like every right, every way she's characterized just makes

1:07:10.800 --> 1:07:16.560
<v Speaker 1>her seem so awful, Like the movie frames that whole

1:07:16.600 --> 1:07:22.040
<v Speaker 1>situation as like the movie wants you to root against

1:07:22.080 --> 1:07:24.720
<v Speaker 1>Humbert being with an adult woman Charlotte because of the

1:07:24.720 --> 1:07:27.920
<v Speaker 1>negative way that she's characterized, and the movie wants you

1:07:28.040 --> 1:07:33.680
<v Speaker 1>to root for Humbert pursuing a child. The movie frames

1:07:33.720 --> 1:07:38.320
<v Speaker 1>it horrifically. And yeah, again, it all goes back to

1:07:38.360 --> 1:07:42.720
<v Speaker 1>the fact that it doesn't question Humbert's interpretation of events

1:07:42.760 --> 1:07:45.400
<v Speaker 1>at all, and there's no context as to why he's

1:07:45.400 --> 1:07:47.880
<v Speaker 1>presenting this information this way and what he wants you

1:07:47.920 --> 1:07:52.480
<v Speaker 1>to take away. And again, yeah, and every adaptation Charlotte

1:07:52.520 --> 1:07:54.960
<v Speaker 1>has done a huge disservice. I feel like people don't

1:07:55.000 --> 1:07:58.560
<v Speaker 1>really talk about that because I mean, obviously, because Lolita

1:07:58.600 --> 1:08:02.280
<v Speaker 1>has done the biggest disserves of all where she is

1:08:03.120 --> 1:08:05.600
<v Speaker 1>you know, And I think most cases erased from her

1:08:05.640 --> 1:08:11.360
<v Speaker 1>own story and her at any reference in the original

1:08:11.400 --> 1:08:17.800
<v Speaker 1>work to her emotions and her grief and her confusion

1:08:18.240 --> 1:08:21.240
<v Speaker 1>and her figuring out what is happening to her and

1:08:21.320 --> 1:08:26.240
<v Speaker 1>repeated attempts to get herself out are essentially erased or

1:08:26.760 --> 1:08:31.880
<v Speaker 1>severely condensed to make her just less important to the story,

1:08:32.040 --> 1:08:36.200
<v Speaker 1>right to just invalidate her feelings and her experience. It

1:08:36.280 --> 1:08:39.920
<v Speaker 1>makes me so sad for her. I really really love

1:08:40.520 --> 1:08:43.840
<v Speaker 1>her as a character and feel like there's a real

1:08:43.960 --> 1:08:50.840
<v Speaker 1>opportunity here to examine a victims story. Do I think

1:08:50.880 --> 1:08:53.799
<v Speaker 1>that a you know, an older man is the person

1:08:53.960 --> 1:08:56.400
<v Speaker 1>to do this? Of course I don't, But I've been

1:08:56.960 --> 1:09:00.519
<v Speaker 1>being that she is this, you know, iconic character in

1:09:00.560 --> 1:09:06.520
<v Speaker 1>American literature. She's just never been given an opportunity to

1:09:06.560 --> 1:09:10.000
<v Speaker 1>show even what's on the page, much less explore deeper,

1:09:10.400 --> 1:09:12.800
<v Speaker 1>which is what a lot of good film adaptations of

1:09:12.840 --> 1:09:15.719
<v Speaker 1>books are supposed to do, is take the important character

1:09:16.040 --> 1:09:18.280
<v Speaker 1>and then give you a deeper look at who they

1:09:18.320 --> 1:09:20.799
<v Speaker 1>are and what their struggle is and what their grief

1:09:20.920 --> 1:09:25.320
<v Speaker 1>is and and and all of this through the performances.

1:09:25.520 --> 1:09:29.280
<v Speaker 1>And it's just not allowed to happen here. She brings

1:09:29.280 --> 1:09:32.360
<v Speaker 1>me to the thing that I hate the most about

1:09:32.400 --> 1:09:37.320
<v Speaker 1>this movie is a problem that follows through every adaptation

1:09:37.320 --> 1:09:42.759
<v Speaker 1>of this is supersizing clear qualities role in the narrative.

1:09:43.200 --> 1:09:46.639
<v Speaker 1>This is a creative choice that has made literally every time,

1:09:47.320 --> 1:09:50.599
<v Speaker 1>and I hate it. He is present in the book.

1:09:51.280 --> 1:09:56.040
<v Speaker 1>He's not wearing Count Olaf disguises in the book, but there,

1:09:56.120 --> 1:09:59.760
<v Speaker 1>but it is implied that he and um Dolores had

1:09:59.760 --> 1:10:02.559
<v Speaker 1>no each other like when she was very young, and

1:10:02.560 --> 1:10:07.479
<v Speaker 1>that he had already been grooming her. And it's kind

1:10:07.479 --> 1:10:10.320
<v Speaker 1>of left ambiguous in the book as to what actually happens,

1:10:10.400 --> 1:10:13.360
<v Speaker 1>which I just kind of can't speak to it. But

1:10:13.479 --> 1:10:16.800
<v Speaker 1>he was certainly grooming her in in the book from

1:10:16.840 --> 1:10:20.320
<v Speaker 1>a very young age and does follow them as he

1:10:20.360 --> 1:10:23.759
<v Speaker 1>does in this and is killed at the end. But

1:10:24.360 --> 1:10:26.920
<v Speaker 1>this movie just, I mean, I think because this movie

1:10:27.000 --> 1:10:30.120
<v Speaker 1>doesn't know what to do with its title character and

1:10:30.280 --> 1:10:35.080
<v Speaker 1>has no interest in exploring the fact that it's protagonist

1:10:35.240 --> 1:10:40.960
<v Speaker 1>is a fucking criminal of the highest degree. They just

1:10:41.040 --> 1:10:46.240
<v Speaker 1>supersize another male character and try to deepen the history

1:10:46.360 --> 1:10:50.360
<v Speaker 1>and the relationship with Humbert and quality, and I just

1:10:50.640 --> 1:10:55.000
<v Speaker 1>couldn't think of a real like a relationship between two

1:10:55.080 --> 1:10:58.800
<v Speaker 1>characters and this story that I care about less. I

1:10:58.840 --> 1:11:03.720
<v Speaker 1>don't care about two predators and how their enemies like

1:11:04.240 --> 1:11:08.760
<v Speaker 1>who gives a funk? Like it? Just I hate it.

1:11:08.760 --> 1:11:12.920
<v Speaker 1>It's such a lazy choice. It's such a like, of course,

1:11:13.040 --> 1:11:19.000
<v Speaker 1>you hand off this extremely difficult, problematic story to a

1:11:19.040 --> 1:11:21.320
<v Speaker 1>male director and they just kind of are like, I

1:11:21.360 --> 1:11:25.880
<v Speaker 1>don't know, let's let's get the other male character in it.

1:11:26.000 --> 1:11:29.880
<v Speaker 1>More so I understand what we're talking about. Like, I

1:11:29.960 --> 1:11:35.200
<v Speaker 1>hate it. This happens in the movie, happens in the musical,

1:11:35.760 --> 1:11:40.960
<v Speaker 1>happens in the hoodward I'll be play, which is um,

1:11:40.960 --> 1:11:44.200
<v Speaker 1>it happens every single time. And I think that that

1:11:44.360 --> 1:11:49.679
<v Speaker 1>choice especially has a lot to do with not the code.

1:11:49.920 --> 1:11:51.920
<v Speaker 1>This is the choice where I'm like, this is not

1:11:52.000 --> 1:11:55.360
<v Speaker 1>the code. This is the filmmaker making a choice on

1:11:55.400 --> 1:11:59.000
<v Speaker 1>how to handle the code. It's like, oh, I know

1:11:59.040 --> 1:12:03.679
<v Speaker 1>what I'll do. I will make a like male predator

1:12:03.800 --> 1:12:08.040
<v Speaker 1>character way bigger, even though the lead character of this

1:12:08.800 --> 1:12:12.840
<v Speaker 1>is a male predator. Why do that? I just I

1:12:12.920 --> 1:12:16.840
<v Speaker 1>hate this choice so much. I think it's so lazy

1:12:16.960 --> 1:12:24.360
<v Speaker 1>and bad. I hate it, especially making it what yeah, yeah,

1:12:24.400 --> 1:12:27.679
<v Speaker 1>he's like he's being Peter Seller's He's like, in every

1:12:27.720 --> 1:12:30.840
<v Speaker 1>scene he's in, he's doing some kind of character, right,

1:12:30.880 --> 1:12:34.000
<v Speaker 1>He's like in disguise, he's pretending to be other people,

1:12:34.120 --> 1:12:41.400
<v Speaker 1>inspector cluz oing it through this horrifying, dense narrative, and

1:12:41.479 --> 1:12:45.240
<v Speaker 1>it's just like, that is not, No, that is not

1:12:45.479 --> 1:12:48.040
<v Speaker 1>He's do you know what movie you're in? Who do

1:12:48.040 --> 1:12:51.880
<v Speaker 1>you think you are? Bill Nighy and I Frankenstein. You

1:12:51.960 --> 1:12:54.080
<v Speaker 1>just didn't read the script and you showed up and

1:12:54.120 --> 1:12:57.200
<v Speaker 1>you're like, I'm doing what? Like it Just he's like

1:12:57.520 --> 1:13:00.920
<v Speaker 1>Dana Carvey and Master of Disguise. He's like, I can be.

1:13:01.040 --> 1:13:04.360
<v Speaker 1>You need to just remove yourself. You just need to

1:13:04.400 --> 1:13:09.400
<v Speaker 1>like go and read a book for one. Like just

1:13:09.760 --> 1:13:14.719
<v Speaker 1>it's so infuriating that this character is and it's always

1:13:14.720 --> 1:13:18.559
<v Speaker 1>done in slightly different ways. Frank Lngella plays him in

1:13:20.400 --> 1:13:24.200
<v Speaker 1>and he plays the character very differently. Regardless, it's still

1:13:24.760 --> 1:13:28.320
<v Speaker 1>a huge part and it is not written as a

1:13:28.400 --> 1:13:30.200
<v Speaker 1>huge part. I think it is just a choice that

1:13:30.320 --> 1:13:34.680
<v Speaker 1>lazy male creatives have made to handle the parts of

1:13:34.680 --> 1:13:37.320
<v Speaker 1>the story that they are ill equipped to handle. And

1:13:37.600 --> 1:13:41.320
<v Speaker 1>I feel like it is very clear, you know, if

1:13:41.400 --> 1:13:44.160
<v Speaker 1>you have agreed to adapt this work and you do

1:13:44.240 --> 1:13:48.880
<v Speaker 1>not have experience as a survivor of abuse as a

1:13:48.880 --> 1:13:52.479
<v Speaker 1>young person yourself. The first thing you do is research

1:13:52.600 --> 1:13:57.240
<v Speaker 1>that and speak to people and know what you're fucking

1:13:57.280 --> 1:14:02.200
<v Speaker 1>talking about and adapting. So like it's just like logic,

1:14:02.400 --> 1:14:07.439
<v Speaker 1>like one, yeah, like do you know what you're talking

1:14:07.479 --> 1:14:10.200
<v Speaker 1>about in your work? Like, I just it makes me

1:14:10.320 --> 1:14:16.120
<v Speaker 1>so mad that these mediocre fucking I don't care about

1:14:16.360 --> 1:14:19.320
<v Speaker 1>Stanley Lee Krubrick so whatever dragged me. I don't give

1:14:19.320 --> 1:14:23.719
<v Speaker 1>a ship. He's terrible to women, and I just I whatever.

1:14:23.880 --> 1:14:26.240
<v Speaker 1>I know he's made good movies. I don't really care.

1:14:27.080 --> 1:14:31.040
<v Speaker 1>I just think it's so irresponsible and so lazy. And

1:14:31.160 --> 1:14:35.559
<v Speaker 1>just the fact that people have even attempted to say, like, oh,

1:14:35.600 --> 1:14:38.679
<v Speaker 1>this is this movie is only bad because of reasons

1:14:38.680 --> 1:14:42.040
<v Speaker 1>that have nothing to do with the filmmaker, who also

1:14:42.080 --> 1:14:46.280
<v Speaker 1>wrote most of the movie. It's like you can't. I mean,

1:14:47.040 --> 1:14:49.080
<v Speaker 1>I agree that the code is a big part of

1:14:49.120 --> 1:14:51.519
<v Speaker 1>why this movie is never going to work, but it

1:14:51.600 --> 1:14:56.320
<v Speaker 1>has a lot to do with Stanley Kubrick, a whole lot.

1:14:57.640 --> 1:15:02.000
<v Speaker 1>It's just so yeah, because like because when he does

1:15:02.640 --> 1:15:06.280
<v Speaker 1>decide to have lowly to on screen, this is okay.

1:15:06.320 --> 1:15:07.960
<v Speaker 1>So this is something I'm kind of like figuring out

1:15:07.960 --> 1:15:09.800
<v Speaker 1>in real time, so bear with me here. But like

1:15:10.680 --> 1:15:14.919
<v Speaker 1>even the way that she is introduced on screen visually,

1:15:15.040 --> 1:15:18.000
<v Speaker 1>like the first time we meet her character in the movie,

1:15:18.760 --> 1:15:22.000
<v Speaker 1>she's lying on the lawn. She is in this kind

1:15:22.040 --> 1:15:25.720
<v Speaker 1>of seductive pose, or what the movie would have you

1:15:25.760 --> 1:15:29.200
<v Speaker 1>think is that she like is wearing these sunglasses. She

1:15:29.320 --> 1:15:31.599
<v Speaker 1>like tilts them down in a very kind of like

1:15:32.200 --> 1:15:36.120
<v Speaker 1>film fatality way. I feel like she's like licking a lollipop.

1:15:36.240 --> 1:15:39.760
<v Speaker 1>She's like, well, the thing is, she is not actually

1:15:40.160 --> 1:15:43.640
<v Speaker 1>doing that in the movie, right, This is fascinating, and

1:15:43.680 --> 1:15:46.320
<v Speaker 1>I think it's like, Okay, I know I'm prepared to

1:15:46.320 --> 1:15:49.639
<v Speaker 1>do this podcast, and so I'm like really in it.

1:15:49.800 --> 1:15:53.880
<v Speaker 1>But she doesn't actually do that in the movie. You

1:15:53.920 --> 1:15:55.960
<v Speaker 1>remember it that way because that is what is on

1:15:56.000 --> 1:15:59.120
<v Speaker 1>the poster, and that is what happens in every like

1:16:00.040 --> 1:16:04.680
<v Speaker 1>it's she is presented very sexualized and male gaze in

1:16:04.720 --> 1:16:07.760
<v Speaker 1>her introductory scene. But this whole image that is the

1:16:08.240 --> 1:16:11.439
<v Speaker 1>I think the most prevalent image that people have taken

1:16:11.439 --> 1:16:15.479
<v Speaker 1>away from any version of this story is the young

1:16:15.520 --> 1:16:19.479
<v Speaker 1>girl wearing heart shaped sunglasses and licking a lollipop. That

1:16:19.560 --> 1:16:22.160
<v Speaker 1>exact image does not appear in the movie. At all.

1:16:22.680 --> 1:16:27.760
<v Speaker 1>It doesn't appear anywhere. It is something that exists nowhere,

1:16:28.080 --> 1:16:32.080
<v Speaker 1>Like it is fucking fascinating to me that it that

1:16:32.840 --> 1:16:36.519
<v Speaker 1>that I mean, that's just marketing. That is literally just

1:16:36.840 --> 1:16:41.360
<v Speaker 1>marketing designed to titilate a male viewer into thinking, you know,

1:16:41.439 --> 1:16:44.479
<v Speaker 1>and she's making eye contact with the camera and that image.

1:16:44.600 --> 1:16:48.679
<v Speaker 1>It's strictly marketing. It has nothing to do with anything.

1:16:48.800 --> 1:16:51.120
<v Speaker 1>But it's the thing that everyone took away from it,

1:16:51.320 --> 1:16:53.679
<v Speaker 1>including me. Apparently. The way she's introduced in the movie

1:16:53.720 --> 1:16:56.000
<v Speaker 1>is similar. Where she is lying on the lawn, she's

1:16:56.000 --> 1:16:58.439
<v Speaker 1>wearing a bikini. There's a lot of people who have

1:16:58.520 --> 1:17:01.760
<v Speaker 1>including the actress Sue Lyon, who I want to talk

1:17:01.760 --> 1:17:06.000
<v Speaker 1>about a little bit as well, Um who she She implied,

1:17:06.120 --> 1:17:08.720
<v Speaker 1>and many people involved with this production implied that she

1:17:08.960 --> 1:17:12.320
<v Speaker 1>was chosen because she was more developed than many girls

1:17:12.320 --> 1:17:15.640
<v Speaker 1>her age, and she's presented that way. She's presented in

1:17:15.680 --> 1:17:19.439
<v Speaker 1>a bikini. Um, she's you know, hanging out on the lawn,

1:17:19.520 --> 1:17:24.320
<v Speaker 1>she's sunbathing. She looks at him very seductively and kind

1:17:24.320 --> 1:17:29.200
<v Speaker 1>of starts teasing him right away. This is a hyper

1:17:29.240 --> 1:17:33.759
<v Speaker 1>sexualized version of how it's presented in the book. The movie.

1:17:33.800 --> 1:17:36.200
<v Speaker 1>You get a different hyper sexualized version in the book.

1:17:37.680 --> 1:17:42.519
<v Speaker 1>What it is is it's a young girl laying out

1:17:42.560 --> 1:17:47.040
<v Speaker 1>on the lawn reading a magazine, and everything else is

1:17:47.800 --> 1:17:51.479
<v Speaker 1>like it's a very ordinary image, but the way it's

1:17:51.720 --> 1:17:55.519
<v Speaker 1>written by a narrator that you have been told not

1:17:55.560 --> 1:18:00.160
<v Speaker 1>to trust is hyper sexualized, and every movie kind of

1:18:00.240 --> 1:18:03.960
<v Speaker 1>adapts it the same. It's the same problem is like

1:18:04.479 --> 1:18:06.720
<v Speaker 1>the framing and the male gaze that comes with this

1:18:07.040 --> 1:18:10.120
<v Speaker 1>is coming from the unreliable male gaze that it's presented

1:18:10.160 --> 1:18:13.840
<v Speaker 1>as in the book, and just it's just these like

1:18:14.200 --> 1:18:16.519
<v Speaker 1>I don't know, like Stanley Cooper has never read a book.

1:18:16.520 --> 1:18:19.719
<v Speaker 1>He doesn't under he clearly hasn't been at grad school, Kalin.

1:18:21.200 --> 1:18:24.080
<v Speaker 1>I mean, he also made a movie that I mean,

1:18:24.120 --> 1:18:27.760
<v Speaker 1>with The Shining that Stephen King hated. He's bad at adaptations,

1:18:27.800 --> 1:18:30.840
<v Speaker 1>as it turns out, he's bad, Like he's I just

1:18:30.960 --> 1:18:32.920
<v Speaker 1>don't like I know that he's making us up. I

1:18:32.960 --> 1:18:35.799
<v Speaker 1>just don't care. I just don't care. I don't have time. Sorry,

1:18:36.360 --> 1:18:40.120
<v Speaker 1>only so like what my point is that I'm still

1:18:40.120 --> 1:18:43.360
<v Speaker 1>trying to figure out. But like, like the movie does

1:18:43.920 --> 1:18:48.000
<v Speaker 1>frame a lot of what she does as being seductive,

1:18:48.040 --> 1:18:51.160
<v Speaker 1>which I think kind of goes to what happens in

1:18:51.520 --> 1:18:54.679
<v Speaker 1>the book where he's like, oh, this, this nim fit

1:18:54.960 --> 1:18:58.800
<v Speaker 1>is tantalizing me, and like we see we see that

1:18:58.880 --> 1:19:01.479
<v Speaker 1>in the movie where like she's right beside him, like

1:19:01.560 --> 1:19:05.160
<v Speaker 1>doing a hula hoop, which is just a normal activity

1:19:05.200 --> 1:19:07.879
<v Speaker 1>that a child would do. But because he's a predator,

1:19:08.360 --> 1:19:12.840
<v Speaker 1>he is liked is right in that shot, like he's

1:19:13.120 --> 1:19:15.840
<v Speaker 1>staring at her. Do you see her staring You see

1:19:15.920 --> 1:19:18.960
<v Speaker 1>him staring at her? But what we need But because

1:19:19.520 --> 1:19:22.120
<v Speaker 1>because this movie doesn't make it clear at all that

1:19:22.200 --> 1:19:26.040
<v Speaker 1>he is an unreliable narrator, the movie just makes it

1:19:26.040 --> 1:19:32.040
<v Speaker 1>seem like she is deliberately tantalizing him. I think what's

1:19:33.920 --> 1:19:36.360
<v Speaker 1>in the same way Humbert does by not framing it

1:19:36.479 --> 1:19:41.280
<v Speaker 1>as like it's blaming her. Yeah, I think for that

1:19:41.320 --> 1:19:47.360
<v Speaker 1>to be approached differently. You okay, remember the scene in

1:19:48.240 --> 1:19:52.080
<v Speaker 1>Fast Times at Regimont High where Phoebe Kates's character is

1:19:52.120 --> 1:19:54.479
<v Speaker 1>getting out of a swimming pool and then you get

1:19:54.680 --> 1:20:00.040
<v Speaker 1>Judge Reinhold's point of view, like fantasy version of it

1:20:00.439 --> 1:20:04.720
<v Speaker 1>looks like, yeah, he's seeing her in slow motion and

1:20:04.840 --> 1:20:08.680
<v Speaker 1>she's being really sexy and seductive and she takes her

1:20:08.720 --> 1:20:12.439
<v Speaker 1>top off and it's like male gaze for days. And

1:20:12.479 --> 1:20:14.760
<v Speaker 1>then it cuts to what actually is happening, where she

1:20:14.880 --> 1:20:17.439
<v Speaker 1>like jumps out of the pool because she's like choking

1:20:17.479 --> 1:20:19.840
<v Speaker 1>on water and it's like she's got hair all over

1:20:20.040 --> 1:20:25.200
<v Speaker 1>in her face, and it's just like, yes, I totally agree.

1:20:25.360 --> 1:20:29.519
<v Speaker 1>Like it is a very simple I mean, maybe goofy

1:20:29.640 --> 1:20:32.000
<v Speaker 1>for this thing, but like it makes it clear that

1:20:32.160 --> 1:20:35.280
<v Speaker 1>what he's seeing and what is happening are two very different,

1:20:35.479 --> 1:20:38.320
<v Speaker 1>very different things. That's what needs to be established here.

1:20:38.680 --> 1:20:42.160
<v Speaker 1>And it never is. It never is in any of

1:20:42.160 --> 1:20:46.960
<v Speaker 1>these adaptations. It never is. I Caitlin, need to send

1:20:47.000 --> 1:20:53.639
<v Speaker 1>you a song that from this musical. I like some

1:20:53.720 --> 1:20:56.360
<v Speaker 1>people will say that the musical is the best this

1:20:56.439 --> 1:20:59.400
<v Speaker 1>has ever been adapted, which is just a look into

1:20:59.520 --> 1:21:05.040
<v Speaker 1>how horrible the adaptations are there. This is just so

1:21:05.200 --> 1:21:08.400
<v Speaker 1>over the top that I had to laugh. But it's

1:21:08.520 --> 1:21:12.720
<v Speaker 1>very fun. This lyric in the song goes like this,

1:21:12.800 --> 1:21:16.120
<v Speaker 1>it's a lyric about Humbert. The town's talking about Humbert.

1:21:16.240 --> 1:21:18.920
<v Speaker 1>Something's not right with this guy. That's literally what the

1:21:18.960 --> 1:21:22.160
<v Speaker 1>tone of the song is. And then towns person number

1:21:22.200 --> 1:21:26.439
<v Speaker 1>five says, who is this viper that loves them post diaper?

1:21:26.800 --> 1:21:29.519
<v Speaker 1>That's the line in the song that he sings, he

1:21:29.560 --> 1:21:33.280
<v Speaker 1>says who loves him that? And it is this kind

1:21:33.320 --> 1:21:38.600
<v Speaker 1>of uncritical, like bullshit, like trying to acknowledge what is

1:21:38.640 --> 1:21:44.680
<v Speaker 1>happening without with also while being completely ill equipped to

1:21:44.800 --> 1:21:48.559
<v Speaker 1>do so. Yeah, I just that line really like I

1:21:48.600 --> 1:21:51.360
<v Speaker 1>had to like throw my computer into the ocean after

1:21:51.400 --> 1:21:55.320
<v Speaker 1>I heard that that. It's the most like if you

1:21:55.360 --> 1:21:58.360
<v Speaker 1>want the soundtrack is on YouTube. It's very bizarre. But

1:21:58.720 --> 1:22:01.000
<v Speaker 1>for this, I think, yeah, with the Hula group seen

1:22:01.040 --> 1:22:04.640
<v Speaker 1>as a perfect example of like the movie is blaming

1:22:04.800 --> 1:22:07.880
<v Speaker 1>her for what eventually happens. It is setting the viewer

1:22:08.000 --> 1:22:11.160
<v Speaker 1>up to say that she's quote unquote asking for it.

1:22:11.240 --> 1:22:14.240
<v Speaker 1>That thing that we have you know, heard and discussed

1:22:14.600 --> 1:22:17.360
<v Speaker 1>so many different times that is lived like that just

1:22:17.439 --> 1:22:21.439
<v Speaker 1>a false narrative that has leveraged against victims. And this

1:22:21.960 --> 1:22:27.320
<v Speaker 1>movie is just like yep, we agreed, which brings me too.

1:22:28.040 --> 1:22:31.640
<v Speaker 1>I think my last major thing for for this is

1:22:32.280 --> 1:22:36.919
<v Speaker 1>talking a little bit about Sue Lion, who played Lolita

1:22:37.000 --> 1:22:40.920
<v Speaker 1>in this movie. She passed away last year and she's

1:22:40.960 --> 1:22:46.679
<v Speaker 1>a very interesting figure in movie history. I've done quite

1:22:46.720 --> 1:22:49.920
<v Speaker 1>a bit of research on her. There's not actually a

1:22:50.000 --> 1:22:54.759
<v Speaker 1>lot because and this is a kind of continuing trend

1:22:55.000 --> 1:22:59.960
<v Speaker 1>that young actresses who are cast as Lovelita historically don't

1:23:00.120 --> 1:23:04.960
<v Speaker 1>tend to work for very long. And I think that again,

1:23:05.120 --> 1:23:09.320
<v Speaker 1>it's everyone is different. I'm not trying to loop all

1:23:09.360 --> 1:23:12.280
<v Speaker 1>of these people into the same narrative, but there are

1:23:12.360 --> 1:23:16.320
<v Speaker 1>similarities that I think are worth mentioning, which include the

1:23:16.400 --> 1:23:20.439
<v Speaker 1>fact and I think it really speaks to Hollywood issues,

1:23:21.000 --> 1:23:24.280
<v Speaker 1>not even issues with the story, it's more societal issues

1:23:24.439 --> 1:23:29.040
<v Speaker 1>of Sue Lion is cast as an unknown for this

1:23:29.120 --> 1:23:33.840
<v Speaker 1>part when she's fourteen. She later describes what sounds like

1:23:34.000 --> 1:23:36.800
<v Speaker 1>She she frames it is like, isn't this funny in

1:23:36.840 --> 1:23:40.400
<v Speaker 1>the eighties? But what she described I thought it sounded

1:23:40.960 --> 1:23:43.479
<v Speaker 1>very fucked up. She she went to this audition with

1:23:43.520 --> 1:23:46.439
<v Speaker 1>Stanley Kubrick, and she frames us by being like, and

1:23:46.479 --> 1:23:48.000
<v Speaker 1>you know, normally when you go to an audition and

1:23:48.000 --> 1:23:50.519
<v Speaker 1>they're like, Okay, turned this way, I turned this way. Ah,

1:23:50.680 --> 1:23:53.920
<v Speaker 1>here's the line, thanks for coming in, Sia whatever. But

1:23:54.000 --> 1:23:57.759
<v Speaker 1>she said this audition, he asked her very personal questions

1:23:58.080 --> 1:23:59.720
<v Speaker 1>right when she got there, and he said, do you

1:24:00.240 --> 1:24:02.160
<v Speaker 1>where do you go? What do you do? What time

1:24:02.160 --> 1:24:04.080
<v Speaker 1>do you come home? What does your mom think of you?

1:24:04.280 --> 1:24:06.880
<v Speaker 1>Where did you get that dress? What? What size is it? Like?

1:24:07.280 --> 1:24:11.160
<v Speaker 1>Asked her all these really personal questions in order to

1:24:11.200 --> 1:24:14.519
<v Speaker 1>get the role right. So already we're like, okay, if

1:24:14.560 --> 1:24:18.120
<v Speaker 1>you didn't remember why you hated Stanley Kubrick, there's a

1:24:18.160 --> 1:24:22.599
<v Speaker 1>fun reminder. But so she she's put into this movie,

1:24:22.640 --> 1:24:25.840
<v Speaker 1>she wins a Golden Globe for playing this part, and

1:24:25.840 --> 1:24:29.719
<v Speaker 1>then goes on to really not have much of a career,

1:24:29.760 --> 1:24:32.200
<v Speaker 1>and then she retires from acting pretty young. She has

1:24:32.200 --> 1:24:35.320
<v Speaker 1>a very tumultuous personal life that is not really relevant

1:24:35.320 --> 1:24:40.120
<v Speaker 1>to our discussion. But all that to say that I

1:24:40.160 --> 1:24:44.599
<v Speaker 1>do believe that there is a stigma that comes with

1:24:44.640 --> 1:24:48.679
<v Speaker 1>playing a role like Lolita, especially when it is written

1:24:48.720 --> 1:24:52.639
<v Speaker 1>as irresponsibly as it regularly is in these adaptations, where

1:24:53.120 --> 1:24:56.280
<v Speaker 1>I mean, it's like Peter Sellers certainly didn't have a

1:24:56.400 --> 1:24:59.559
<v Speaker 1>fucking problem getting work after being in this movie, James

1:24:59.560 --> 1:25:02.880
<v Speaker 1>Mason's they didn't have problems. Shelley Winters didn't have problems.

1:25:02.920 --> 1:25:08.760
<v Speaker 1>But it is these young actresses who are sexualized, over sexualized,

1:25:09.320 --> 1:25:13.240
<v Speaker 1>playing a character that is in its essence misrepresenting and

1:25:13.320 --> 1:25:16.479
<v Speaker 1>blaming them for what is happening to them. And then

1:25:16.479 --> 1:25:20.560
<v Speaker 1>you see that they don't even really get to reap

1:25:20.720 --> 1:25:23.960
<v Speaker 1>the benefits of having started this huge movie. They're kind

1:25:23.960 --> 1:25:27.559
<v Speaker 1>of discarded by Hollywood and by the culture at large.

1:25:27.600 --> 1:25:31.720
<v Speaker 1>Of yeah, I mean, there's most Sue Lion movies she

1:25:31.880 --> 1:25:34.760
<v Speaker 1>was in after this, you wouldn't really know, and a

1:25:34.840 --> 1:25:38.000
<v Speaker 1>lot of the there's a similar line that can be

1:25:38.080 --> 1:25:42.840
<v Speaker 1>drawn for the actress who played Lolita in it is

1:25:42.880 --> 1:25:46.920
<v Speaker 1>like a common trend for this character and just extends

1:25:47.720 --> 1:25:52.040
<v Speaker 1>my frustration and my problems with this of like I think,

1:25:52.120 --> 1:25:54.639
<v Speaker 1>I mean, with what she's given. I think Sue Lyon

1:25:54.720 --> 1:25:57.040
<v Speaker 1>does an excellent job, and I feel the same of

1:25:57.080 --> 1:26:00.960
<v Speaker 1>dominiques plain and the fact that they would have to

1:26:01.840 --> 1:26:05.280
<v Speaker 1>in some ways it seems bear the brunt and the

1:26:05.360 --> 1:26:11.320
<v Speaker 1>consequences of the people around them mismanaging the story is

1:26:11.360 --> 1:26:14.320
<v Speaker 1>so frustrating to me. I mean it just truly, no

1:26:14.400 --> 1:26:18.320
<v Speaker 1>one else in these productions suffer except I mean, I

1:26:18.360 --> 1:26:21.439
<v Speaker 1>don't want to say that, but like, career wise, Stanley

1:26:21.520 --> 1:26:25.479
<v Speaker 1>Kubrick's is fucking fine. Adrian Line. I mean, at least

1:26:25.520 --> 1:26:27.800
<v Speaker 1>you can argue that Adrian Line didn't make a movie

1:26:27.800 --> 1:26:31.920
<v Speaker 1>for't even talking about, thank god. But by and large,

1:26:32.040 --> 1:26:38.760
<v Speaker 1>you know, reputation wise and typecasting wise, Jeremy Irons went

1:26:38.800 --> 1:26:41.559
<v Speaker 1>on to play a number of roles and he's fucking

1:26:42.000 --> 1:26:46.679
<v Speaker 1>the worst person ever. Like, I just I just find

1:26:46.840 --> 1:26:52.560
<v Speaker 1>that trend to also be frustrating because it just extends

1:26:52.880 --> 1:26:58.080
<v Speaker 1>this blame onto the person playing the character, and that's

1:26:58.120 --> 1:27:00.240
<v Speaker 1>just I hate that. I hate that so much. H

1:27:02.040 --> 1:27:05.559
<v Speaker 1>It's awful. It's also very telling of just where we've

1:27:05.600 --> 1:27:12.720
<v Speaker 1>been culturally, where you know, we just blame women for everything. Absolutely,

1:27:13.160 --> 1:27:17.280
<v Speaker 1>I it really frustrates me. I'm sorry for bringing this movie,

1:27:17.400 --> 1:27:19.400
<v Speaker 1>but I do. I mean, I'm very curious as to

1:27:19.960 --> 1:27:24.360
<v Speaker 1>what our listeners think if if you, um, we're listening

1:27:24.400 --> 1:27:27.479
<v Speaker 1>to the episode. It's such a complicated work. There's so

1:27:27.560 --> 1:27:32.599
<v Speaker 1>much too obviously talk about, but also just the ways

1:27:32.840 --> 1:27:37.040
<v Speaker 1>that I mean, I feel like of all the irresponsible adaptations,

1:27:37.479 --> 1:27:42.600
<v Speaker 1>the adaptations of this book in particular have been egregiously terrible,

1:27:42.720 --> 1:27:46.360
<v Speaker 1>to the point where I'm like, if this is how

1:27:47.000 --> 1:27:49.920
<v Speaker 1>it's going to be remembered culturally, do you even want

1:27:50.000 --> 1:27:52.080
<v Speaker 1>the book to have been written? If it's just going

1:27:52.120 --> 1:27:54.800
<v Speaker 1>to be given to people that you can't get to

1:27:54.880 --> 1:27:58.519
<v Speaker 1>step of researching it, Like, it's just so absurd to

1:27:58.600 --> 1:28:03.400
<v Speaker 1>me because victims, I mean, I think victims deserve better

1:28:03.439 --> 1:28:07.920
<v Speaker 1>than Lolita in general, for sure, but victims deserve better

1:28:08.000 --> 1:28:12.439
<v Speaker 1>in these adaptations as well. Like there's yeah, yeah, so

1:28:14.120 --> 1:28:19.240
<v Speaker 1>this movie is upsetting and frustrating, and historically, I guess

1:28:19.280 --> 1:28:23.320
<v Speaker 1>I would say it's relevant and it marks a very

1:28:23.360 --> 1:28:25.680
<v Speaker 1>specific point in time. But I also I'm just like,

1:28:26.040 --> 1:28:28.000
<v Speaker 1>if you're still out here being like it was just

1:28:28.080 --> 1:28:32.479
<v Speaker 1>the code. Uh, it wasn't. It definitely wasn't. There's a

1:28:32.560 --> 1:28:36.439
<v Speaker 1>lot of other things at play here, none of them good. No.

1:28:37.040 --> 1:28:41.599
<v Speaker 1>The one other thing I remember pretty distinctly from the book,

1:28:41.640 --> 1:28:44.840
<v Speaker 1>and I only remember this because I remember bringing it

1:28:44.920 --> 1:28:48.200
<v Speaker 1>up in the class discussion we had during the class

1:28:48.240 --> 1:28:53.040
<v Speaker 1>I took in college, where in the book Humbert is

1:28:53.120 --> 1:28:59.240
<v Speaker 1>like obsessed with Lolita's i Q. He's always talking about

1:28:59.240 --> 1:29:03.240
<v Speaker 1>how she has a high i Q. So let's start,

1:29:03.280 --> 1:29:05.800
<v Speaker 1>of course, by saying, and Jamie, I don't have to

1:29:05.840 --> 1:29:07.680
<v Speaker 1>tell you this, but like, I'm in ment i Q.

1:29:08.320 --> 1:29:13.240
<v Speaker 1>I Q tests are like bullshit based on pseudoscience, and

1:29:13.320 --> 1:29:15.000
<v Speaker 1>you are in mensa. Yes, that's sorry, That's what I

1:29:15.040 --> 1:29:19.600
<v Speaker 1>meant to say. Yeah, no, it's it's it's racist, sexist,

1:29:19.680 --> 1:29:22.960
<v Speaker 1>you name it, pseudoscience. That yeah, he does. I mean,

1:29:23.000 --> 1:29:26.240
<v Speaker 1>I think he intentionally in many points like tries to

1:29:26.760 --> 1:29:28.280
<v Speaker 1>I think I think what he's trying to do there

1:29:28.320 --> 1:29:30.200
<v Speaker 1>is just try to make it sound like she is.

1:29:31.560 --> 1:29:34.679
<v Speaker 1>He's like, well, she's smart, so that means that she's

1:29:34.720 --> 1:29:37.639
<v Speaker 1>older than her age, Like just exactly trying to play

1:29:37.680 --> 1:29:42.759
<v Speaker 1>that angle. Yeah, because like i Q stands for intelligence quotient,

1:29:43.439 --> 1:29:46.000
<v Speaker 1>which is a number that you get when you divide

1:29:46.680 --> 1:29:49.760
<v Speaker 1>again and this is all like bullshit pseudoscience, but it's

1:29:49.920 --> 1:29:53.960
<v Speaker 1>when you divide your mental age, which is a number

1:29:54.000 --> 1:29:57.479
<v Speaker 1>that you get from an intelligence test, divide that by

1:29:57.720 --> 1:30:02.519
<v Speaker 1>your actual chronological age. So if someone scores a one

1:30:02.640 --> 1:30:05.120
<v Speaker 1>hundred and fifty on an i Q test, which is

1:30:05.160 --> 1:30:07.639
<v Speaker 1>considered to be a high i Q, and you take

1:30:07.680 --> 1:30:10.280
<v Speaker 1>that test when you're ten years old, it means that

1:30:10.320 --> 1:30:13.799
<v Speaker 1>your actual your chronological age is ten, but your mental

1:30:13.880 --> 1:30:17.240
<v Speaker 1>age is fifteen. So I feel like Humbred is so

1:30:17.280 --> 1:30:19.599
<v Speaker 1>obsessed with her i Q because he's like, well, she

1:30:19.680 --> 1:30:25.759
<v Speaker 1>might be twelve chronologically, but she's closer to It's literally,

1:30:25.800 --> 1:30:28.839
<v Speaker 1>I mean, it's like it's it's so yeah, he's he's

1:30:28.920 --> 1:30:34.479
<v Speaker 1>just a fucking bullshit liar. Where that's for like reading

1:30:34.600 --> 1:30:40.640
<v Speaker 1>levels and Matt nothing to do ability to consent, Like

1:30:40.720 --> 1:30:43.479
<v Speaker 1>it's just so bad faith and ridiculous, but I do

1:30:43.680 --> 1:30:46.320
<v Speaker 1>yeah that I uh, but I feel like that is

1:30:46.360 --> 1:30:51.240
<v Speaker 1>like like four predators who try to justify their behavior.

1:30:51.400 --> 1:30:55.479
<v Speaker 1>They'll they'll site like, oh yeah, well she was maybe

1:30:55.479 --> 1:30:59.479
<v Speaker 1>technically under age, but she was so mature. Yeah. I

1:30:59.760 --> 1:31:04.120
<v Speaker 1>think I feel like that's very common tactic. Yeah, yeah,

1:31:04.160 --> 1:31:08.360
<v Speaker 1>I mean humber humbert are certainly and embodies a lot

1:31:08.400 --> 1:31:14.639
<v Speaker 1>of common tactics of manipulative abuser. I mean, yeah, hell,

1:31:14.840 --> 1:31:16.960
<v Speaker 1>and that's something that could have been in the movie,

1:31:17.000 --> 1:31:21.200
<v Speaker 1>where like if we see him trying to justify his

1:31:21.360 --> 1:31:26.559
<v Speaker 1>behavior through you know, the mental gymnastics he's doing, and

1:31:26.560 --> 1:31:29.599
<v Speaker 1>then we see other characters be like, well wait a minute,

1:31:30.160 --> 1:31:37.080
<v Speaker 1>what So that's another I think opportunity again, if you're

1:31:37.120 --> 1:31:40.080
<v Speaker 1>going to adapt this, that's an opportunity you have as

1:31:40.080 --> 1:31:43.280
<v Speaker 1>a filmmaker to present these things that he is saying

1:31:43.320 --> 1:31:47.320
<v Speaker 1>in this very fancy, flowery language in the book and

1:31:47.360 --> 1:31:49.720
<v Speaker 1>then just having to have that character say it as

1:31:49.840 --> 1:31:54.160
<v Speaker 1>dialogue when it will sound predatory and ridiculous and will

1:31:54.200 --> 1:31:57.799
<v Speaker 1>scare people because it's like he doesn't have the luxury

1:31:57.840 --> 1:32:00.120
<v Speaker 1>of talking his way around the topic as he is

1:32:00.120 --> 1:32:03.240
<v Speaker 1>in the book. That's an I mean, that's something that

1:32:03.840 --> 1:32:08.479
<v Speaker 1>you could have explored of, like how does this person

1:32:08.640 --> 1:32:12.559
<v Speaker 1>try to justify himself in real time? And of course

1:32:12.600 --> 1:32:16.040
<v Speaker 1>it's going to catch up with him. And also a

1:32:16.080 --> 1:32:18.679
<v Speaker 1>lot of what the book deals with that I don't

1:32:18.680 --> 1:32:22.400
<v Speaker 1>think that the movies are successful in is society's failure

1:32:22.479 --> 1:32:26.840
<v Speaker 1>of Lolita. Not only are we seeing this predator succeed

1:32:26.920 --> 1:32:29.760
<v Speaker 1>in taking her away again and again and again, we

1:32:29.800 --> 1:32:33.200
<v Speaker 1>see her communities has failed her, her school system has

1:32:33.200 --> 1:32:35.960
<v Speaker 1>failed her, her government has failed her, law enforcement has

1:32:35.960 --> 1:32:40.479
<v Speaker 1>failed her. She's been failed at every level, and that

1:32:41.240 --> 1:32:45.880
<v Speaker 1>you know, partially due to this kind of extreme passiveness

1:32:46.520 --> 1:32:50.000
<v Speaker 1>that existed in the nineteen fifties in the US. And

1:32:50.120 --> 1:32:54.519
<v Speaker 1>like that was a very deliberate commentary that again, it's

1:32:54.560 --> 1:32:57.640
<v Speaker 1>just like this movie has no interest or ability, I

1:32:57.640 --> 1:33:01.000
<v Speaker 1>don't know which, but like it has no and it

1:33:01.120 --> 1:33:04.679
<v Speaker 1>just is like Peter Sellers is funny. You're just like,

1:33:05.240 --> 1:33:08.960
<v Speaker 1>how is this where we are like, yeah, well, wouldn't

1:33:09.000 --> 1:33:12.800
<v Speaker 1>it be funny if the hotel is all booked up

1:33:13.040 --> 1:33:16.400
<v Speaker 1>and they can only have one room because there's a

1:33:16.439 --> 1:33:20.960
<v Speaker 1>police convention there, and oh, the irony of a pedophile

1:33:21.040 --> 1:33:24.160
<v Speaker 1>who's you know, breaking the law has to be around

1:33:24.200 --> 1:33:27.200
<v Speaker 1>a bunch of cops. T he he what a funny obstacle.

1:33:28.080 --> 1:33:33.480
<v Speaker 1>It's infuriating. It's so like, yeah, creating a comic situation

1:33:33.520 --> 1:33:36.719
<v Speaker 1>out of it, all of it. It's just it's it's

1:33:36.760 --> 1:33:40.280
<v Speaker 1>a it's a waste of everybody's time, and it's worse

1:33:40.320 --> 1:33:44.120
<v Speaker 1>than a ways of time. It's actively detrimental to telling

1:33:44.120 --> 1:33:49.080
<v Speaker 1>a story that could be of use to anybody, to anybody,

1:33:49.800 --> 1:33:51.519
<v Speaker 1>And I feel like that's I mean, that's why nobody

1:33:51.520 --> 1:33:55.200
<v Speaker 1>talks about this movie is because the book is very controversial,

1:33:55.200 --> 1:33:57.280
<v Speaker 1>but some people have found value in it, which is

1:33:57.280 --> 1:34:00.200
<v Speaker 1>why it's such a debate. This movie. No one ever

1:34:00.200 --> 1:34:02.479
<v Speaker 1>found value and so no one is like, well what

1:34:02.600 --> 1:34:06.360
<v Speaker 1>about Peter Sellers? Like, no one is like, it's a

1:34:06.479 --> 1:34:10.880
<v Speaker 1>it's a useless it's a useless movie, and I and

1:34:10.920 --> 1:34:14.640
<v Speaker 1>I hate that Sue Lion and Shelly Winters had to

1:34:15.600 --> 1:34:20.640
<v Speaker 1>deal with any part of it. Um, thank you for

1:34:20.880 --> 1:34:24.840
<v Speaker 1>being willing to discuss this, this movie with me. I

1:34:24.880 --> 1:34:31.120
<v Speaker 1>don't worry now I have I'll be using this as collateral.

1:34:31.280 --> 1:34:38.320
<v Speaker 1>Know what's the word something to yeah to? Because you

1:34:38.400 --> 1:34:41.519
<v Speaker 1>know there's some some movies that I know you don't

1:34:41.520 --> 1:34:46.120
<v Speaker 1>want to do that. I'm like, where this is about? Yeah, fine,

1:34:46.320 --> 1:34:51.080
<v Speaker 1>I did Indiana Jones let that that's true there, But

1:34:51.160 --> 1:34:54.479
<v Speaker 1>in any case, yes, I agree, and I yeah, I

1:34:54.600 --> 1:34:58.880
<v Speaker 1>just my thoughts have been very consumed with this property

1:34:58.960 --> 1:35:01.120
<v Speaker 1>recently and so wanted to bring it on the Bechtel

1:35:01.200 --> 1:35:07.120
<v Speaker 1>Cast and talk about it with you. Yeah, it's just

1:35:08.479 --> 1:35:11.639
<v Speaker 1>wow wow wow um. Yeah, So feel free to leave

1:35:11.680 --> 1:35:15.120
<v Speaker 1>your thoughts in the comments. Were very as always, very

1:35:15.160 --> 1:35:18.400
<v Speaker 1>interested in what you have to say. I did not

1:35:18.560 --> 1:35:22.599
<v Speaker 1>honestly pay attention to if this movie passed. If this

1:35:22.640 --> 1:35:26.000
<v Speaker 1>movie passes the Bechdel tests, I don't give any manner

1:35:26.040 --> 1:35:29.439
<v Speaker 1>of funk about that. If it does, I don't really care.

1:35:30.320 --> 1:35:34.040
<v Speaker 1>I think it probably does Melita and her mom, but

1:35:34.360 --> 1:35:40.479
<v Speaker 1>at I just yeah, I don't really care. It doesn't.

1:35:40.520 --> 1:35:43.120
<v Speaker 1>I don't think it matters for this movie. It doesn't

1:35:43.120 --> 1:35:46.200
<v Speaker 1>super matter. No, it's not really relevant to this discussion.

1:35:46.680 --> 1:35:49.080
<v Speaker 1>And I honestly don't know how to give this movie

1:35:49.160 --> 1:35:52.280
<v Speaker 1>nipples either. I guess I would say zero. I'm going

1:35:52.320 --> 1:35:55.479
<v Speaker 1>to give it negative one million nipples. Yeah, I guess

1:35:55.520 --> 1:35:58.040
<v Speaker 1>I'll just say negative. I guess I'll say I barely

1:35:58.120 --> 1:36:02.200
<v Speaker 1>know that this even apply. I said this discussion, it

1:36:02.360 --> 1:36:05.639
<v Speaker 1>is like the portrayal in this movie. There, there wasn't

1:36:05.640 --> 1:36:10.120
<v Speaker 1>even an attempt. It took a flawed attempt at portraying

1:36:10.160 --> 1:36:16.320
<v Speaker 1>female characters and erased not just Nabokov's problems, but the

1:36:16.520 --> 1:36:19.880
<v Speaker 1>entire character. Just turned the pencil over and y or

1:36:19.960 --> 1:36:25.599
<v Speaker 1>e Uri like just it. Everyone deserves so much better

1:36:25.680 --> 1:36:30.799
<v Speaker 1>than what this movie had to offer. And buck Stanley Kubrick.

1:36:32.080 --> 1:36:36.479
<v Speaker 1>And that's why I suck the other adaptation, the other

1:36:36.520 --> 1:36:40.800
<v Speaker 1>film one. That one is just the other adaptation. It's

1:36:40.840 --> 1:36:44.439
<v Speaker 1>Adrian line. He shouldn't have worked for a long time

1:36:44.479 --> 1:36:48.000
<v Speaker 1>after that. I tell you what the Adrian linement in particular.

1:36:48.400 --> 1:36:52.280
<v Speaker 1>I just I watched it today and I feel terrible.

1:36:52.400 --> 1:36:54.320
<v Speaker 1>You know what I need to do as a palate

1:36:54.360 --> 1:36:57.439
<v Speaker 1>cleanser for having consumed all this little all these Lolita

1:36:57.520 --> 1:37:02.679
<v Speaker 1>movies was watch hard Candy. Hard Candy is everything these

1:37:02.760 --> 1:37:06.600
<v Speaker 1>movies are not. It is a revenge that was. That

1:37:06.680 --> 1:37:10.160
<v Speaker 1>was a fun episode to record. Yes, yes, I and

1:37:10.200 --> 1:37:11.960
<v Speaker 1>I feel like in a way you can view that

1:37:12.240 --> 1:37:16.120
<v Speaker 1>movie as kind of a response to movies like Lolita. Yeah,

1:37:16.240 --> 1:37:21.200
<v Speaker 1>I think someone like saw Stanley Kubrick's Lolita and they're like, well, um,

1:37:21.320 --> 1:37:23.599
<v Speaker 1>I could adopt that better than this, and then they

1:37:23.640 --> 1:37:28.040
<v Speaker 1>made hard candy. I just it still is so infuriating

1:37:28.080 --> 1:37:30.280
<v Speaker 1>to me that the image that people take away from

1:37:30.280 --> 1:37:33.040
<v Speaker 1>this movie doesn't even appear in the movie that says

1:37:33.120 --> 1:37:35.400
<v Speaker 1>everything you need to know about this movie. It is

1:37:35.479 --> 1:37:38.240
<v Speaker 1>just it tricked me to like I like I had

1:37:38.520 --> 1:37:43.080
<v Speaker 1>mapped the poster onto that scene. I guess like almost

1:37:43.120 --> 1:37:47.000
<v Speaker 1>everybody feels this way, like I thought this until I've

1:37:47.439 --> 1:37:49.720
<v Speaker 1>built my life around it for no reason like that.

1:37:51.280 --> 1:37:56.480
<v Speaker 1>It's so I mean manipulative, like it's it's very effective

1:37:56.520 --> 1:38:03.320
<v Speaker 1>marketing that is doing bad things like yeah, it is, Uh,

1:38:03.520 --> 1:38:06.080
<v Speaker 1>I don't know. It is a very interesting case study.

1:38:06.280 --> 1:38:11.920
<v Speaker 1>It's very fucked up and uh you know, yeah, we're

1:38:11.960 --> 1:38:14.720
<v Speaker 1>done talking about it. And now we're done talking. Check

1:38:14.760 --> 1:38:22.240
<v Speaker 1>out the podcast. Oh wow, we'll be back soon with that.

1:38:22.360 --> 1:38:25.320
<v Speaker 1>Thank you for listening again. We uh look forward to

1:38:25.360 --> 1:38:34.559
<v Speaker 1>your perspectives or we'll see it I Frankenstein. Yes, well

1:38:34.680 --> 1:38:39.880
<v Speaker 1>that was our unlocked Lolita episode and once again Jamie

1:38:40.120 --> 1:38:44.320
<v Speaker 1>tell people where and when and how they can listen

1:38:44.360 --> 1:38:50.400
<v Speaker 1>to Lolita Podcast. Lolita Podcast comes out on November twenty three,

1:38:50.760 --> 1:38:54.439
<v Speaker 1>and then new episodes are released every Monday right here

1:38:54.479 --> 1:38:58.480
<v Speaker 1>on on I Heart Radio or wherever you get your podcast,

1:38:58.680 --> 1:39:03.439
<v Speaker 1>and that's the official like edge uh but yeah, I

1:39:03.680 --> 1:39:07.080
<v Speaker 1>uh that So as far as like, there is one

1:39:07.280 --> 1:39:12.880
<v Speaker 1>entire episode dedicated to like deep background on this movie

1:39:13.120 --> 1:39:15.880
<v Speaker 1>in particular, but at a ten episode series, so we're

1:39:15.920 --> 1:39:18.280
<v Speaker 1>taking a look at the book, We're taking a look

1:39:18.320 --> 1:39:21.600
<v Speaker 1>at the author, We're taking a look at the other adaptations.

1:39:21.920 --> 1:39:26.440
<v Speaker 1>There is also entire episodes dedicated to talking to professionals

1:39:26.439 --> 1:39:28.720
<v Speaker 1>and child psychiatry and just like other and and the

1:39:28.800 --> 1:39:31.639
<v Speaker 1>ways that people have reclaimed this text over the years,

1:39:32.240 --> 1:39:36.719
<v Speaker 1>and um, it's an interesting ride. I hope that people

1:39:36.760 --> 1:39:39.439
<v Speaker 1>will listen. But yeah, it's just uh, it's just a

1:39:39.479 --> 1:39:44.519
<v Speaker 1>podcast that will come out on Mondays soon. Excellent. Well,

1:39:44.560 --> 1:39:51.000
<v Speaker 1>speaking of plugs, because this was an unlocked Matreon episode,

1:39:51.040 --> 1:39:53.720
<v Speaker 1>we said at the beginning of the episode, we'll repeat ourselves.

1:39:54.080 --> 1:39:56.160
<v Speaker 1>Check out our Matreon and you can do that by

1:39:56.200 --> 1:40:00.920
<v Speaker 1>going to patreon dot com slash pectel Cast. It gets

1:40:00.920 --> 1:40:05.120
<v Speaker 1>you access to two brand new bonus episodes every single month,

1:40:05.280 --> 1:40:09.839
<v Speaker 1>plus access to the entire back catalog of bonus episodes,

1:40:09.880 --> 1:40:12.960
<v Speaker 1>and like we mentioned, there are upwards of eighty by

1:40:13.000 --> 1:40:16.919
<v Speaker 1>now and if you're listening when this comes out in November,

1:40:17.800 --> 1:40:20.839
<v Speaker 1>we just we're in the middle of Mary Kate Nashley

1:40:20.960 --> 1:40:27.720
<v Speaker 1>month on an important moments in world history. You thought

1:40:27.760 --> 1:40:30.599
<v Speaker 1>this episode was a critical discussion, wait till you get

1:40:30.640 --> 1:40:36.519
<v Speaker 1>to two different Mary Kate Nashley movies. H too too

1:40:36.560 --> 1:40:39.320
<v Speaker 1>much discourse for one episode. So but there there's a

1:40:39.360 --> 1:40:42.479
<v Speaker 1>lot of fun stuff. We always cover um garbage holiday

1:40:42.520 --> 1:40:45.960
<v Speaker 1>movies in December, and it's just it's a fun ride.

1:40:46.000 --> 1:40:49.120
<v Speaker 1>So uh meet us over and the matron from More

1:40:49.960 --> 1:40:54.160
<v Speaker 1>Yes indeed and um yeah all the other stuff. Follow

1:40:54.200 --> 1:40:57.200
<v Speaker 1>us on social media at Bechtelcast on Twitter and Instagram.

1:40:57.760 --> 1:41:01.559
<v Speaker 1>Check out our merch on uh public dot com slash

1:41:01.640 --> 1:41:04.920
<v Speaker 1>the Bechtel Cast. The perfect time for Baby Grinch March

1:41:05.720 --> 1:41:08.759
<v Speaker 1>or as I like car now, Green Baby Boy, Green

1:41:08.880 --> 1:41:13.479
<v Speaker 1>Baby Boy, you need to do a whole after Lolita

1:41:13.560 --> 1:41:15.880
<v Speaker 1>is over. You need to do a separate podcast about

1:41:15.920 --> 1:41:19.080
<v Speaker 1>your journey with Green Baby Boy. I honestly will need

1:41:19.160 --> 1:41:22.800
<v Speaker 1>the relief after after wean Lovelita for six months to

1:41:22.880 --> 1:41:25.960
<v Speaker 1>be like, Okay, this this podcast is just about Baby Grinch.

1:41:26.240 --> 1:41:30.599
<v Speaker 1>Let's just cut to the chase, um and well, if

1:41:30.600 --> 1:41:34.080
<v Speaker 1>you'll allow me to plug something of mine. I have

1:41:34.240 --> 1:41:38.160
<v Speaker 1>a still pretty new Instagram live show that I do

1:41:38.280 --> 1:41:42.640
<v Speaker 1>every Thursday on my Instagram, which you can find that

1:41:42.720 --> 1:41:47.200
<v Speaker 1>at Caitlin Darante. It's called Movie Talk with Caitlin and

1:41:47.320 --> 1:41:51.400
<v Speaker 1>it's just me and a guest chatting about movies. It's

1:41:51.439 --> 1:41:55.559
<v Speaker 1>not the Bechtel Cast because I do no preparation. There's

1:41:55.600 --> 1:41:58.599
<v Speaker 1>no specific movie that gets discussed. It's just a loose

1:41:58.720 --> 1:42:03.960
<v Speaker 1>convo to you were my first guest, what a what

1:42:04.080 --> 1:42:06.840
<v Speaker 1>a blast? And many and and I think so far

1:42:07.000 --> 1:42:09.599
<v Speaker 1>all friends of the cast have been on this so far,

1:42:10.280 --> 1:42:13.400
<v Speaker 1>because it turns out the only people I know our

1:42:13.640 --> 1:42:17.720
<v Speaker 1>former guests on our show. Well well, well, the way

1:42:17.760 --> 1:42:19.640
<v Speaker 1>I was thinking of it is like we truly just

1:42:19.760 --> 1:42:25.240
<v Speaker 1>bring our friends on our show, because that's true. Yeah,

1:42:25.280 --> 1:42:28.320
<v Speaker 1>but yeah, I think I'll keep it pretty close to

1:42:28.320 --> 1:42:31.720
<v Speaker 1>to to Bectel Cast friends on on Movie Talk. So

1:42:31.840 --> 1:42:36.080
<v Speaker 1>check that out again every Thursday at six pm Pacific,

1:42:36.680 --> 1:42:41.280
<v Speaker 1>nine pm Eastern. And that's again on my Instagram at

1:42:41.400 --> 1:42:46.840
<v Speaker 1>Caitlin Darante. And I think that doesn't right, I think,

1:42:46.960 --> 1:42:49.920
<v Speaker 1>so yeah, I have a have a great week, everybody,

1:42:50.080 --> 1:42:54.560
<v Speaker 1>and uh, we'll see you next week with another episode.

1:42:56.600 --> 1:43:00.200
<v Speaker 1>I don't know what I was gonna say with another episode, goodbye,

1:43:00.200 --> 1:43:01.320
<v Speaker 1>it's true. Bye bye,