Stanley Kubrick's brain was a perfectionist, neurotic machine. It expressed itself with the calm voice of Hal 9000 but behind the wild eyes of an axe-swinging Jack Nicholson. He was obsessed with the white of the spaceship that he navigated through the planets like a cosmic worm in '2001: A Space Odyssey', of the Korova Milk Bar and the dancing Jesus figurines in Alex DeLarge's bedroom. He was obsessed with the red of the carmpet in the Overlook Hotel and of Lolita's lollipop. He was obsessed with the hurricane of paper money like furious butterflies in the airport scene of 'The Killing'.
This exhibition at the CCCB is impressive, a peek into the mind of the genius, labyrinthine like the orgy of masks in 'Eyes Wide Shut', like the sinuous trenches where the soldiers in 'Paths of Glory' trudged through knee-deep mud, praying they wouldn't be killed. From Kubrick's beginnings as a photographer for 'Look' magazine and his time documenting the life of boxer Walter Cartier to all the works he left unfinished, the exhibition takes you on an electrifying journey that's at times diabolical, at times satirical, at times pure pop pleasure.
You also get a look at storyboards that Saul Bass drew for the battle scenes in 'Spartacus' and photos that Weegee took of Peter Sellers when he was getting ready for his various roles in 'Dr. Strangelove'. There's the wardrobe from 'Barry Lyndon' and from the terrifying twins out of 'The Shining', models of spacecraft and a case with cameras and lenses he used on various sets, with an accurate, millimetric explanation about camera movement and lighting. I could carry on like this for hours and hours, but you'll really only understand when you experience it for yourself.