Latest Stanley Kubrick news:
February 2015. Two of Stanley Kubrick's early films, The Killing and Killer's Kiss receive a double feature Blu-ray and DVD release on 9th February 2015. The release features a host of extras including a collectors booklet, trailers, and most exciting, an appreciation by Ben Wheatley.
November 2014. Eight of Stanley Kubrick's films feature in a new box set, entitled, rather uninspiringly, Stanley Kubrick: 8-Film Masterpiece Collection is released on Blu-ray on 10th November 2014. The eight films are:
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb;
2001: A Space Odyssey;
A Clockwork Orange;
Full Metal Jacket and
Eyes Wide Shut. The release also features a 78 page hardcover book; the documentaries - Kubrick Remembered, Stanley Kubrick: A Life in Pictures, O Lucky Malcolm!, Once Upon A Time...A Clockwork Orange and Stanley Kubrick In Focus, plus commentaries, rare interviews and behind-the-scenes featurettes.
January 2013. This is very exciting news for fans of Stanley Kubrick, Kubrick's 1953 debut feature Fear and Desire willl be released later this month. Kubrick disassociated himself from this low budget film, his lamentation no doubt down in part to his well known perfectionsim. It will be released on DVD and Blu-ray as part of the Masters of Cinema collection. Extra features includes the early short The Seafarers, and a booklet discussing the film.
Latest - July 2008. July 2008 will see a major film season retrospective of Stanley Kubrick's work broadcast on Channel 4 television in the UK. The Stanley Kubrick Season commences on 15th July with a new documentary focusing on Kubrick's life and collected archives. The season will also include screenings of the early documentary shorts Day of the Fight and Flying Padre, together with the feature films the rarely seen Killer's Kiss and The Killing along with 2001: A Space Odyssey, Barry Lyndon, Paths of Glory, Lolita and The Shining. What an absolute treat.
Stanley Kubrick biography part 1: early years to 1959.
Stanley Kubrick was born in New York on 26th July 1928, the son of a Manhattan physician father and a Romanian mother. Something of a loner, much of his early life was taken up with going to the movies as many times a week as he could manage, and more often than not believing he could make much better films than the ones he had just watched. He also became an avid photographer after receiving a stills camera from his father on his 13th birthday. Kubrick found he had an immediate aptitude for photography, and began to earn money in high school by selling his photography to magazines. After he failed to achieve the academic grades required to follow in his father's footsteps to get him into medical school, Kubrick found his way (in 1945) into the world of employment as an apprentice photographer for 'Look' magazine. Over the next few years Kubrick became a features photographer (which gave him the chance to travel abroad) and also married the first of his three wives (high school sweetheart Toba Metz), he also avidly continued his obsession with the movies by going to the movies as often as possible. By 1950 he was straining at the leash to make a movie.
Sinking all the money he had saved from his photography job, 1951 saw Kubrick make his first short, a 16 minute documentary titled Day Of The Fight. The film was based around a pictorial that he had produced for 'Look' magazine a couple of years earlier, and it literally covers a day (and fight night) in the life of boxer Walter Cartier on the day of his bout against Bobby James. The film is said to have cost Kubrick $3,900 to make and he sold it to RKO for $4,000. The experience gained was invaluable for Kubrick. There is not much in the film to suggest what was in store for Kubrick, and it seems like any run-of-the-mill documentary of the sort that ran in the cinemas throughout the 1940s and 50s. You can watch Day of The Fight on YouTube - Day of the Fight part 1 and Day of the Fight part 2.
Spurred on by the thought of making more movies, Kubrick managed to gain some commissions for further documentaries. The first of which was Flying Padre (1951). Moving on from his first film, Flying Padre is two days in the life of Father Fred Stadtmuller, a priest in Harding County, New Mexico whose parish is so large that it can only be tended to with the aid of a small plane. Although the short film is much more ambitious in scope, the 9 minute film is again very workmanlike and completely unremarkable (albeit the documentary is interesting in itself). The film is also available to view on YouTube - Flying Padre.
1953 saw Kubrick moving forward into colour film with the 30 minute commissioned documentary called The Seafarers. This was a basic promotional film made on behalf of the Seafarers International Union, made to encourage sailors to join the union in order to enjoy the benefits of the association. The film was long thought lost, but was recovered in the mid 1990s. The film's subject is somewhat dry, but even at this early stage it was starting to become clear in the choice of shots and camera movements that a director was beginning to emerge. The film is available to watch at dailymotion.com - The Seafarers part 1 and The Seafarers part 2.
1953 saw the release of Kubrick's first proper feature film - Fear and Desire. The film concerns a team of soldiers who are positioned behind enemy lines in a fictional war. Made with a budget of $20,000 (financed from family and friends), the film had the feeling of outstretching itself in terms of ambition and competence, and although it gained respectable reviews, it did very poorly commercially and was unseen for many years and was believed lost. Such was his dislike of his debut feature, that Kubrick himself went to extraordinary lengths to block screenings of Fear and Desire years later. One can only assume that it was Kubrick's perfectionist streak that was the reason he so fought against Fear and Desire being made available to watch in cinemas years later, it is by no stretch of the imagination a bad film, and given its budget and the director's relative inexperience, it has much to commend it. The film itself can be watched on YouTube in 9 parts - Fear and Desire part 1.
With more borrowed money and deferred payment from future profits Kubrick set out on his second short feature film, 1955's Killer's Kiss. Kubrick would again take on many of the behind the camera roles (director, co-producer, cinematographer, editor, dubbing, sound man) in an effort to cut costs and get the film made. This seemingly gave him an early grounding into the many aspects of the art of film making that would stand him in such good stead in his future masterpieces. The films itself has a relatively straight forward plot - Davy, a boxer, happens upon a dancer, Gloria, being beaten by Vincent (her boss and lover). Davy intervenes and shortly Gloria and Davy get together, much to the annoyance of Vincent who sends out his gangster friends to kill Davy. With Killer's Kiss Kubrick was moving on from student film maker to 'B' movie maker. The low budget is evident and the story is particularly unremarkable, but what can be seen through the film is the first flickerings of a cinematic artist at work. The cinematography is particularly impressive, as is Kubrick's brave decision to slowly develop the plot (such as there is) through the film. Killer's Kiss is a particularly fine effort given the circumstances and budgetary constraints that it was made under, the fact it received worldwide distribution is a testament to its potential, despite a rather unspectacular reception from the cinema going public. Kubrick's second wife, Ruth Sobotka, would feature in the film as a ballet dancer.
Based on the potential showed by Killer's Kiss, James B. Harris (a producer) helped back his next feature The Killing (1956). Based on the the Lionel White novel Clean Break, Kubrick and his co-writer adapted a tale of a heist gone wrong at a race track. The film has an, unusual for the time but now done to death, non-linear plot progression and the heist is shown from differing points of view (think Reservoir Dogs et al). The Killing was Stanley Kubrick's first 'proper' studio picture, and the luxury of having a professional budget and crew allowed Kubrick the freedom to create as he saw fit, and despite coming only a year after Killer's Kiss, his progress in achieving a cohesive and impressive piece of work is very evident. The film received much critical acclaim (but again only modest takings at the cinemas), and garnered a BAFTA award nomination for best film. It also brought Kubrick to the attention of MGM who offered him very favorable terms to make some films for them. Kubrick settled on The Burning Secret to be his first film for MGM, however this was to be one of a fair number of Kubrick's projects that would fail to see the light of day and keep his body of work to a precious too few films.
Next came Stanley Kubrick's true breakthrough film Paths Of Glory (1957) a film that had been turned down by every studio in town until Kirk Douglas agreed to star. Based on the 1935 story by Humphrey Cobb (itself based on a true story) and adapted by Kubrick and his co-writers, Paths Of Glory was his first film for United Artists. The story follows regiments of the French army in the trenches of World War 1. After a futile and ill-conceived attack on the German positions, some soldiers are unable or plain unwilling to carry out the majorly-flawed further attack plans on the German positions. The General of the regiments, who is keen to impress his commanders, looks to make example of the 'cowardice' and cover-up the ludicrous attack on the well defended strategic German position, orders 100 random soldiers to be executed to discourage insubordination. This figure is reduced to three soldiers and a court martial trial is arranged to try the soldiers for cowardice. Paths Of Glory was again not a significant success at the box office, but it was a considerable critical success and, even today, it is regarded as one of Kubrick's very best pieces of work. The film again received a BAFTA nomination for best film. Paths Of Glory is a brave subject to tackle (indeed it was not shown in France or Germany for many years) and it is Kubrick's first masterpiece. The cinematography is beautiful, the slowly unfolding plot is a masterpiece of genuine terror and tension, and the performances, from Kirk Douglas and Adolphe Menjou in particular, are judged to perfection. One wonders whether this film would have been even more of a critical success at the time had it not been made at a time when the memories / experiences of war were so fresh - i.e. so close to the end of World War 2 and Korea. Happily for Kubrick, he met his third wife Christiane on the set of the film, and he married her shortly after filming was completed. Christiane played a pivotal role in the movie as a prisoner of war forced to sing before the rowdy French soldiers at the end of the movie.
Despite the critical success of Paths Of Glory, Kubrick would spend the next couple of years trying to get his projects commissioned. Abortive attempts to make films with Kirk Douglas and Marlon Brando, amongst other projects, all came to nought.
Stanley Kubrick biography part 2: The 1960s.
With Kubrick unable to progress his projects, lady luck stepped in to help him along. In 1959 Kirk Douglas was the producer and prospective star of Spartacus, when, only two weeks into production, the director Anthony Mann was fired. Douglas offered Kubrick the gig of director and Kubrick accepted.
Spartacus was based on the novel by Howard Fast about the life of the rebellious slave Spartacus, who defies the Roman Army and puts together an army of slaves who go out to defeat smaller regiments on the Roman army. What follows is an out and out historical epic, packed with memorable scenes, lots of battles and a superb no expense spared cast (Douglas, Olivier, Laughton, Ustinov). The film was Kubrick's first real commercial success with a public that had already lapped up the epic Ben-Hur the previous year. It was a massive critical success too, garnering six oscar nominations (winning four of them). Kubrick though would later distance himself from the film. The production had not been a hugely happy experience with Kubrick and Douglas at constant loggerheads over the detail and direction of the film. From the end result it seems like the weight of Douglas won that particular battle (it's striving epic proportions seem more a result of Douglas quest for a rival to Ben-Hur rather than Kubrick's wish for some real truth and 'bite' for the story). Kubrick would go on to undoubtedly win the war.
Stanley Kubrick's discomfort with the Hollywood system, funding problems, and his lack of control over the necessary finer points of his own films would see him leave America for England, and would usher in the start of a run of films that would see Stanley Kubrick elevated to the realms of undisputed cinematic genius.
Stanley Kubrick was disillusioned with his taste of Hollywood movie making. His work on Spartacus had been a constant compromise with its star Kirk Douglas, leading Kubrick to feel that the film was a pale shadow of what it mght have been under his own control. Having optioned the rights to Vladimir Nabokov's classic novel Lolita, Kubrick moved to England in an attempt to gain the necessary funding and desired independence to make the film and avoid potential censorship issues that would inevitably ensue had the film been made in the States.
Lolita (1962) would be Kubrick's first movie made in his new home of England, and it was shot between November 1960 and May 1961. After some reluctance he persuaded Nabokov to write and adapted screenplay of his novel. As ever with Kubrick things are never that easy, and Nabokov went through various drafts, before eventually Kubrick took over and shaped the adaptation to fit his own vision of the movie. Just to upset Kubrick further he had to compromise on elements of the story in order that the film would be permissible by the board of censors. The story itself surrounds Humbert Humbert a middle aged professor (played brilliantly by James Mason) who becomes besotted with a sexually precocious 14 year old girl named Lolita, so besotted that he marries Lolita's mother Charlotte (wonderfully played by Shelley Winters) in order to be close to Lolita. When Charlotte suddenly discovers the truth of Humbert's motives, she is overcome by shock and runs out of the house only to be run over and killed by a car. Humbert picks up Lolita to tell her that Charlotte is ill in hospital and that he must look after her now. The two then commence a love affair. As Humbert and Lolita continue the affair, Humbert becomes paranoid, controlling and jealous and feels Lolita is slipping through his grasp. In the background a strange multi-disguised character Mr Quilty (played by the strange multi personality Peter Sellers - obviously preparing the way for his role in Dr Strangelove) is there to upset things even further. One of the opening lines in the film is "I am Spartacus", one of many self-referencing moments occurring in Stanley Kubrick films that, like most everything else, he was reluctant to talk about. Despite the films controversial subject ('cleverly' played up in the promotional campaign for the film) Lolita was very well received, winning nominations from both the Academy Awards, Golden Globes and BAFTA.
Buoyed by the success of Lolita, Stanley Kubrick set out to make his political / nuclear war satire Dr Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964). Kubrick managed to obtain funding to make the film on the condition that Peter Sellers be given four main roles in the film (the studio being convinced that much of Lolita's success was due to Seller's multi-personality performance given in the film - all of which would have stoked further Seller's already out of control ego). In the end due to Seller's breaking his foot he only took three of the lead roles. The film was again made in England, this time a result of Peter Sellers being required to stay in the country because of his impending divorce. The film itself is a fine comedy satire surrounding an attempted unilateral nuclear attack on the USSR by a delusional US Air Force commander, and the ridiculous efforts of both sides and their allies to prevent the attack happening. Dr Strangelove is both a brilliant and a brilliantly funny film. Sellers is undeniably excellent in this film as is George C. Scott. Such is the films enduring impact on cinema, that many of the scenes are now well known even to the few people who have not actaully seen the film (for instance Slim Pickens riding the warhead like a bucking bronco and Dr Strangelove unable to control his arm that is wanting to give a nazi salute). The film was a huge success and it received four academy award nominations (Sellers for actor, plus the screenplay, director and picture), though they lost out on all awards - three to the woeful My Fair Lady. With the success of Dr Strangelove Kubrick had convinced the studios that he was in fact a true autuer of cinema who could be trusted with complete artistic control of the films, and this paved the way for his next film -the epic 2001: A Space Odyssey.
With his hard fought total creative control finally in place, Stanley Kubrick decided to make a sci-fi epic. Taking his inspiration from the Arthur C. Clarke short story The Sentinel, Kubrick and Clarke set about simultaneously writing the screenplay and novel respectively in late 1965, that would become 2001: A Space Odyssey. Filming began in early 1966, and due to its complexity editing wasn't started until March 1968. Over budget and 16 months late, the film was released to a very mixed reception in April 1968. The story (and to be honest there isn't much of one) concerns evolution from the time of the apes onto 2001 when space travelers are heading towards Jupiter to find an answer to the next stage of evolution, guided of course by their 'faithful' onboard super computer Hal 9000. 2001: ASO was a very different type of movie - deliberately enigmatic, slow to develop, mysterious, beautiful and sparse (the first line of dialogue is almost 30 minutes into the film). It has since that time continued to split audiences, those who love it and those who hate it, those who think they know what it means (with thousands of different interpretations) and those who have no idea. What is undeniable is that 2001 is an amazing piece of work, beautifully shot by cinematographer Geoffrey Unworthy, with some amazing special effects and beautifully scored (its pioneering use of classical music integral to the film - most notably the Blue Danube Waltz segment). The film is a vindication of Kubrick's wish for total creative control (he was director, producer, writer as well as being hugely involved with the special effects used). The film won Kubrick his first and only Oscar win for the film's special effects, and also nominations for best director and screenplay.
Kubrick's next planned project was a film about Napoleon which reached advanced stages before the studio's dropped it due to the costs involved and the losses that similar films (Waterloo et al) had recently made.
Stanley Kubrick biography part 3: 1970 to 1999.
With a desire to make a film more quickly (filming took place between September 1970 and April 1971 - very quick for the perfectionist director who throughout his career insisted on multiple takes - much to many actors annoyance) and also with a smaller budget, Kubrick decided to adapt the Anthony Burgess novella A Clockwork Orange. The story set in the near future revolves around Alex a violent teenage delinquent whose purpose in life is violence, robbery and pleasure. Alex finally gets caught and is sent to prison for his crimes of murder and robbery. In an effort to get released from prison early he agrees to take place in a new psychological and drug based treatment which renders him unable to commit acts of violence against anybody by inflicting a sickening paralysis on Alex's body if he even thinks about violence. Newly cured Alex is paraded before the press by the justice minister and set free early from his long prison sentence, with the public safe in the knowledge that he is no longer a danger to society. His victims and political agitators are not so forgiving. The film is an absolute masterpiece (ranking at #3 in our list of the Top 100 British films). Kubrick wisely stays quite faithful to the original story, but brings it to life magnificently with some quite remarkable cinematography, an excellent cast (special notice must be given to the excellent Malcolm McDowell as Alex), and judicious use of synthesizer classical music (courtesy of Wendy Carlos). The story was often quoted an unfilmable (even though the Rolling Stones were once reportedly lined up to star in a previous version that failed to make it off the drawing board), so Kubrick's skill at bringing the story to life, with wit and the eccentricities of the Nadsat language spoken by Alex and his 'droogs' is no mean feat. Despite its controversial subject matter the film earned four nominations at the Oscars (including director, screenplay, picture).
A Clockwork Orange (1971) caused a furore in the press, who had latched onto the 'ultra-violence' that were integral to the film (not helped by the fact that Kubrick had only read the US version of the original novella when he was writing his screenplay, that left out the vital final chapter in which Alex grows up and renounces his childish and violent ways). The press had a field day pointing out the film appeared to glory in its stylised violence, and they felt vindicated when reporting every act of youth violence experienced after the release suggesting that in some way the violence had been inspired by the film (completely missing the fact A Clockwork Orange was a humorous satire, and in any case Britain had always had a significant youth violence problem). Kubrick and his family were threatened with violence themselves unless the film was withdrawn, fearing for his family Kubrick persuaded Warner Bros to drop A Clockwork Orange from cinema screenings in the UK. The film then gained a cult following on pirate video with many poor copies of the films being watched for many years (the poor picture quality seemed to blur the satirical elements and humour that could be readily gleaned in the film otherwise). It was only after Kubrick's death that the film was digitally restored and re-released in the cinemas and on DVD.
Due to the reaction to A Clockwork Orange in his adopted home in England, Kubrick withdrew even further into his private life with wild rumours in the press about his reclusiveness. In 1972 he turned down an impressive offer to direct The Exorcist. His next film would see him escape his visions of the future to plunder the past, with an adaptation of a story set in the 18th century named The Luck of Barry Lyndon (1844) by William Makepeace Thackeray.
Barry Lyndon (1975) tells the story of Redmond Barry an Irishman who is co-opted into the British Army to fight the Seven Years War. Soon he deserts and is forced to join the Prussian Army. When the war ends he works as a spy who tails a professional gambler who he subsequently joins forces with to cheat his way across the country. Barry happens upon Countess Lyndon and becomes her lover. Presently her husband dies and Barry marries the countess, providing Barry with the chance to ingratiate himself with the rich and noble in order to make a comfortable life for himself, but not everybody is easily charmed by the dashing young man.
Despite the over 3 hours running time and being low on action, this is a very entertaining film made with precision and abundant in style. The look and sound of the film is quite remarkable. Barry Lyndon was shot over two years (300 individual shooting days) and the film looks absolutely impeccable (John Alcott quite correctly winning the oscar for his cinematography). The production was was beset by problems (being shut down twice), not least with Kubrick's legendary perfectionism and multi-take approach reeking havoc on the original budget and scheduling of the film - by this time Kubrick was recasting parts over and over and his once speedy editing was now a painfully slow task - the final scene taking a massive 42 days alone to edit. The film won four Oscars (Cinematography, costume, art direction and music) and three further nominations (for Kubrick's usual - direction, screenplay and picture - all main prizes going to One Flew Over The Cuckoo's Nest).
It would take a full five years before Kubrick released his next film - the horror classic The Shining (1980). Kubrick adapted the story from Stephen King's novel and set about making the film on the largest set ever built to that point of time. The Shining tells the story of ex-teacher and would be writer Jack (played by Jack Nicholson) who gets a job care taking a hotel closed for the off season in the secluded mountains of Colorado and takes along his wife Wendy (Shelley Duvall) and their young son Danny. In their isolation Danny begins to experience a mysterious telepathic / clairvoyant powers ("the shining") and sees visions of previous guests of the hotel. Jack meanwhile is experiencing writers block, which gnaws away at him, and with the isolation fever biting he begins a descent into madness, with his family locked in the hotel alone with him.
A relative commercial success the film was more or less universally ignored by the critics (no Oscar nominations this time) at the time of its original release. The film has since gone through a reappraisal which has seen it being championed as a worthy addition to Kubrick's body of work. The film again looks nothing short of amazing, with a Kubrick taking full advantage of steadicam to film some incredible sequences. Kubrick again pushed the lead actors Jack Nicholson and Shelley Duvall to their absolute limits with constant rewrites and multiple takes of the same scenes in order for him to get takes perfectly. With the actors portraying mania and on the verge of a nervous breakdown respectively so perfectly, one wonders how much acting was required in the portrayal. Kubrick's faithful adaptation is perfectly complimented by the amazing suspense, terror and tension that he maintains along the entire second half until the climactic ending. The rigors of the filming process and particularly his own uncontrollable quest for perfection seems at this point to have affected Kubrick himself, and it would take a further seven years before he would make another film.
The next Stanley Kubrick film to be released was Full Metal Jacket (1987). Kubrick again revisited the war film genre that he had previously covered in both Fear And Desire and Paths Of Glory. With a still modest budget of $17m, Kubrick set about making his a film about the Vietnam war. The film was shot in London between August 1985 and September 1986 (actual filming time was 6 months with some considerable down time due to on set accidents and injuries). The story itself was adapted by Kubrick from the novel Short Timers by Gustav Hasford, and tells the story of new recruits going through their training at a Marine Corps training camp, and then following one of the recruits as he serves on the Marine Corps newspaper reporting the front line action in Vietnam itself. Full Metal Jacket fared well at the box office riding the considerable 'Nam wave started by Oliver Stone's Vietnam war film Platoon. Platoon fared better both commercially and critically (clearing up at the Oscars in 1987, whilst Full Metal Jacket secured a solitary nomination for best screenplay at the 1988 Oscars). As ever the film looks incredible, and the performances too are excellent, but the lack of a coherent message or even an descernable attitude seemed to go against the grain of what was expected of a modern war film and that may have put many off. Full Metal Jacket is a very good film, it is just not a great film, which coming from a talent such as Kubrick's, means it pales in comparison to many of his other films.
Kubrick fell even quieter over the next years. Aryan Papers, an adaptation of Louis Begley's novel Wartime Lies, telling the story of a about a Jewish boy and aunt trying to pass themselves off as Aryan in an attempt to survive in Nazi occupied Poland, was a long standing project Kubrick had been looking to develop over a number of years. The project had to be scrapped when Schindlers List was announced with Kubrick keen to avoid the similarity of content issues that had plagued Full Metal Jacket with Platoon.
Another sci-fi movie, named A.I (Artificial Intelligence), was another longstanding project that Kubrick had been developing. It had been touted as a project in the early 1990s but Kubrick felt that technology / special effects were not yet sufficiently developed to enable him to do justice to his own vision of the story. Then after witnessing the special effects utilised in Jurrasic Park, Kubrick announced that he would be able to make A.I. after all. Meticulous artwork based pre-production and script reshaping on the film started in earnest. As the project dragged on Kubrick announced that in the meantime he would make a film with Hollywood's golden couple Tom Cruise and Nicole Kidman.
Eyes Wide Shut (1999) was based on Arthur Schnitzler's novella Traumnovelle, and told the story of a Manhattan doctor, who upon hearing his wife's secret sexual fantasy, explores his own fantasies and gets led into a strange and dark world of sinister masked sex parties that he is not ready for. Eyes Wide Shut is a singularly unremarkable film, and a hugely disappointing one especially considering Kubrick had been wanting to make the film for many years (as far back as 1970). True Kubrick could never make a bad film, true again many rate this film amongst his very best, but the nagging doubt remains that in this, his final film, he went out with a bit of a whimper. The lack of narrative of the film is not made up for by the attempt to convey the macinations of the two lead characters psychological motivations, and for the very first time it felt like a Stanley Kubrick film had something missing. Kubrick was of the opinion that it was his best film, though I suspect if that were actually true he would be alone in that view. Reportedly very pleased with the film, Kubrick screened the film for top Warner execs and Cruise and Kidman in the first week of March 1999. On the 7th March 1999 Stanley Kubrick died of a heart attack whilst sleeping, leaving the world to mourn the passing of a truly unique and uncompromising talent, and perhaps the finest film director of the modern age.
Steven Spielberg resurrected the A.I. project and completed the film in 2001 in tribute to his friend and inspiration. Rumours of unmade Kubrick screenplays surface periodically be it Napoleon, Lunatic at Large or The German Lieutenant, but none yet has made it into production.
Also in 2001, Warners released a 10 DVD box set called The Stanley Kubrick collection, which included 5 of his later films plus a whole host of extras (including a great documentary A Life In Pictures). The boxset is a must for any fan of Kubrick (it is available from our Stanley Kubrick UK store & Stanley Kubrick USA Store).
In a bizarre twist, a 2005 film called Colour Me Kubrick was released telling the true story of con-man Alan Conway who successfully passed himself of as Stanley Kubrick despite bearing little resemblance to him. Well worth a look.