As remakes go, the general view tends to be that the original is best in most cases, not in this one, or at least not for me.
It?s very difficult not to feel uncomfortable watching parts of this film because of the nature of the story, but Jeremy Irons was extremely impressive, with a wonderful performance from Jeremy Irons as Humbert and a great role played by Dominique Swain as Lolita too, both controversial roles.
The view of this unspeakable romance being told through a Writers eyes, almost tries to justify to justify his acting upon his feelings and instincts. What I also liked about this version was seeing the perspective from each person involved, rather telling the story just through one set of eyes.
For the first time I could see this story through the young girl?s eyes, like many girls her age having feelings for an older man and the innocence of how those feelings could come across to somebody else and be used to manipulate situations, debates are a must for this film.
The film deals with the topic of paedophila well and throughout the film you begin to symphathise with Humbert,but you don't realise it. The film was incredibly emotional and almost made me cry! Now I am going to read the book
From the onset, Lyne makes several clear departures from Kubrick's film. Where Kubrick was subtle to a (pretty major) fault, Lyne is suffocatingly heavy-handed. He makes sure that no symbolism is missed, no matter how obvious or cliche it might be, until it is completely beaten into the ground. Paired with some weak performances--especially from Melanie Griffith--it sends the film into a tailspin almost immediately upon takeoff.
The plot fast-forwards through most of the set-up (where Kubrick's film really shined), choosing to dispose of Griffith early on. The breakneck speed strips out any of her motivations, leaving us baffled by her strained relationship with Lolita and the sudden marriage to Humbert. Things seem to happen for the sake of convenience and not much else. The rest of the plot is a laborious road film, with awkwardly cheesy dream sequences, flashbacks, and stilted exposition (the final confrontation, in particular, is laughably written). By the end of the piece, I was rooting for everyone to die just so that it would finally end.
Lyne had some noble intentions in tackling this project 35 years after the original film. His focus on eroticism isn't misguided (Kubrick later admitted that was one fault of his try), but the entire execution is. I'm still holding out for a rendition of Lolita worthy of it's name, but I doubt I'll see one anytime soon.