After seeing the Kubrick version, and thinking no one could ever make a better Humbert than James Mason or a better Lolita than Sue Lyon, I saw this updated version, and I was very impressed. It's actually an improvement.
1. Quilty: Of all the things I did not like about the Kubrick version, it was Peter Sellers' quirkily irritating and totally unclear portrayal of this jerk. The latest version completely downplays the character, other than to show that he is a dark, mysterious, monstrous person who keeps showing up in the shadows. Also, it finally clarifies that Quilty is the very worst of Humbert... It is Humbert without a soul, conscience or any redeeming quality. It becomes clear that he is truly a monster, and makes Humbert look almost saintly by comparison.
2. Humbert and Lolita: While I enjoyed the chemistry between James Mason and Sue Lyon immensely, the chemistry between Jeremy Irons and Dominique Swain is ten times better. This is due mostly to Swain, who basically portrays a part of herself. Her teasing and her battles with Irons are priceless and extremely believable. Also, the Sue Lyon version showed Humbert going after an older teen, not as repugnant as the Dominique Swain version showing Humbert going after an actual underaged teen. Also, in this version, most of the movie is about Humbert and Lolita, and their adventures, misfortunes and run from the law.
3. Humbert himself: For the first time, we see the reason for his obsession, and it isn't entirely pedophilia, as in the case of Quilty. Irons is given many additional scenes to show the conflict between his better nature and his pedophile nature, to show that he understands that what he is doing is not only wrong but will be his downfall.
4. The ending: I prefer the way it ended so much more in this later version. First, Quilty finally, for the first time, comes out of the shadows, and we see him for his repulsive self. Sellers' portrayal was too offbeat to allow us to despise this guy as he should be despised. Also, the final "fini" is so downbeat so as to let you know in no uncertain terms that you have just witnessed a multiple tragedy.
Adrian Lyne did an excellent job of directing, and the music of Ennio Morricone was a great help to the also excellent cinematography.
1. Quilty: Of all the things I did not like about the Kubrick version, it was Peter Sellers' quirkily irritating and totally unclear portrayal of this jerk. The latest version completely downplays the character, other than to show that he is a dark, mysterious, monstrous person who keeps showing up in the shadows. Also, it finally clarifies that Quilty is the very worst of Humbert... It is Humbert without a soul, conscience or any redeeming quality. It becomes clear that he is truly a monster, and makes Humbert look almost saintly by comparison.
2. Humbert and Lolita: While I enjoyed the chemistry between James Mason and Sue Lyon immensely, the chemistry between Jeremy Irons and Dominique Swain is ten times better. This is due mostly to Swain, who basically portrays a part of herself. Her teasing and her battles with Irons are priceless and extremely believable. Also, the Sue Lyon version showed Humbert going after an older teen, not as repugnant as the Dominique Swain version showing Humbert going after an actual underaged teen. Also, in this version, most of the movie is about Humbert and Lolita, and their adventures, misfortunes and run from the law.
3. Humbert himself: For the first time, we see the reason for his obsession, and it isn't entirely pedophilia, as in the case of Quilty. Irons is given many additional scenes to show the conflict between his better nature and his pedophile nature, to show that he understands that what he is doing is not only wrong but will be his downfall.
4. The ending: I prefer the way it ended so much more in this later version. First, Quilty finally, for the first time, comes out of the shadows, and we see him for his repulsive self. Sellers' portrayal was too offbeat to allow us to despise this guy as he should be despised. Also, the final "fini" is so downbeat so as to let you know in no uncertain terms that you have just witnessed a multiple tragedy.
Adrian Lyne did an excellent job of directing, and the music of Ennio Morricone was a great help to the also excellent cinematography.