Lolita: A Screenplay
2011年2月 · Vintage
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關於這本電子書
The screenplay for Kubrick’s 1962 film tells the story of an older man’s obsession with a young girl. • This is the purely Nabokov version of the screenplay and not the same version which was produced as the motion picture Lolita, distributed by Metro-Goldwyn-Mayer, Inc.
“A few days before, at a private screening, I had discovered that Kubrick was a great director, that his Lolita was a first-rate film with magnificent actors, and that only ragged odds and ends of my script had been used. The modifications, the garbling of my best little finds, the omission of entire scenes, the addition of new ones, and all sorts of other changes may not have been sufficient to erase my name from the credit titles but they certainly made the picture as unfaithful to the original script as an American poet’s translation from Rimbaud or Pasternak.
I hasten to add that my present comments should definitely not be construed as reflecting any belated grudge, any high-pitched deprecation of Kubrick’s creative approach. When adapting Lolita to the speaking screen he saw my novel in one way, I saw it in another – that’s all, nor can one deny that infinite fidelity may be an author’s ideal but can prove a producer’s ruin.”
--- From the foreword
“A few days before, at a private screening, I had discovered that Kubrick was a great director, that his Lolita was a first-rate film with magnificent actors, and that only ragged odds and ends of my script had been used. The modifications, the garbling of my best little finds, the omission of entire scenes, the addition of new ones, and all sorts of other changes may not have been sufficient to erase my name from the credit titles but they certainly made the picture as unfaithful to the original script as an American poet’s translation from Rimbaud or Pasternak.
I hasten to add that my present comments should definitely not be construed as reflecting any belated grudge, any high-pitched deprecation of Kubrick’s creative approach. When adapting Lolita to the speaking screen he saw my novel in one way, I saw it in another – that’s all, nor can one deny that infinite fidelity may be an author’s ideal but can prove a producer’s ruin.”
--- From the foreword
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關於作者
Vladimir Nabokov was born on April 23, 1899, in St. Petersburg, Russia. The Nabokovs were known for their high culture and commitment to public service, and the elder Nabokov was an outspoken opponent of anti-Semitism and one of the leaders of the opposition party, the Kadets. In 1919, following the Bolshevik Revolution, he took his family into exile. Four years later he was shot and killed at a political rally in Berlin while trying to shield the speaker from right-wing assassins. The Nabokov household was trilingual, and as a child Nabokov was already reading Wells, Poe, Browning, Keats, Flaubert, Verlaine, Rimbaud, Tolstoy, and Chekhov alongside the popular entertainments of Sir Arthur Conan Doyle and Jules Verne. As a young man, he studied Slavic and romance languages at Trinity College, Cambridge, taking his honors degree in 1922. For the next 18 years he lived in Berlin and Paris, writing prolifically in Russian under the pseudonym "Sirin" and supporting himself through translations, lessons in English and tennis, and by composing the first crossword puzzles in Russian. In 1925, he married Vera Slonim, with whom he had one child, a son, Dmitri. Having already fled Russia and Germany, Nabokov became a refugee once more in 1940, when he was forced to leave France for the United States. There he taught at Wellesley, Harvard, and Cornell. He also gave up writing in Russian and began composing fiction in English. His most notable works include Bend Sinister (1947), Lolita (1955), Pnin (1957), and Pale Fire (1962), as well as the translation of his earlier Russian novels into English. He also undertook English translations of works by Lermontov and Pushkin and wrote several books of criticism. Vladimir Nabokov died in Montreux, Switzerland, in 1977.
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