Stanley Kubrick Exhibition: Melbourne
2006
An True Story that in the telling, became
oddly resonant.
Copyright (c) Alex Rieneck 2006. All Rights
Reserved.
In February of this year, 2006, I learnt at the last minute
that there was an exhibition on Stanley Kubrick at the
Australian Centre of the Moving Image in Melbourne. What
can I say? I live under a rock. Melbourne is the second
largest and the most cultured city in Australia, though I
am afraid that that is not saying much in the great scale
of things. All in all, Australia is a bit of a desert where
culture is concerned, particularly under its present regime
of squinting Christian retards. But I digress. I found out
about the exhibition at the last minute, and after some
frantic phone calls discovered that the exhibition was not
coming to Sydney, where I live. Under my rock. That was not
really a surprise. Sydney thinks that "Art" means property
deeds hanging on a wall, and that "sculpture" is some dead
bastards cricket bat. I'm digressing again, aren't I? It
guess it must be the memory of what happened next.
It was just before the beginning of a long weekend, at no
notice. To cut a long depressing story short, I got on a
long distance bus for the 1000 KM overnight journey to
Melbourne. It was a "Firefly" coach and what with it being
the long weekend it was quickly packed. I got jammed
up between the window and this guy who had done the
dishes with his clothes before he left home. He had
apparently then let his clothes dry on him. He had a
habit of running around in his sleep. In front of me,
behind me and indeed filling the entire back of the
upstairs of the bus was a vast family of happy Asians.
They were on a big adventure. While they had decided
to leave their chickens at home, I heard some weird
damn noises from back there. They were very loud
people. Ten hours. Ten hours in a plane would have
gotten me to Kuala Lumpur, Malaysia. Anyway, the bus
wended its third world down the highway towards
Melbourne. I read my book. Just out of Bumhole, the
air-conditioning died. Within minutes the guy next to
me started sweating, greasily. About an hour and a
half later the bus stopped at Ghoulburn. There was oxygen on planet
Ghoulburn. It was great. The rest of
the journey, all four hours of it, was completed
without air-conditioning. The bus arrived at Spencer
Street at five in the morning. I couldn't check into
my hotel until ten. I got coffee, and breakfast on
Swanston Street. Then I sat around in a
park reading until ten.
The hotel was locked. I waited. At 11 some people came out.
They looked like recently paroled rural junkies. They told
me that the night before a huge drunken party had taken
place and the Police had arrived at 3am and the the desk
clerk was hung over and still too angry to open up because
someone had bashed him during the big fight before the
Police had arrived. I sat on the steps and I thought
nostalgically about my deposit and how they had my credit
card number, and other black thoughts. About 12 pm this
murderous looking Irish guy started evicting people from
the hotel. Everybody ejected from the place without
exception told me that the place was "fucked" and that the
desk clerk guy was a "fucking cunt." After the first four,
I concluded a few things. Most of them had *lived* in this
hotel (shudder) and unless there had been some sort prior
consultation, their choice of epithetage in relation to the
hotel and to the desk clerk was the sort of thing of which
doctoral thesis' are made. I saw clear evidence of either
Areal lingusitic units or
telepathic phenomena. On reflection, I decided that
what with the lack of raw materials telepathy was the
less likely explanation. I was left with the image of
two unutterably filthy bone-thin junkies raddling
their pathetic belongings up the street in an old
shopping trolley screaming abuse at the world and each
other. Such is Australia in the twenty-first century
under John Howard.
The desk clerk guy was actually quite nice, perhaps
unsurprisingly. My room was not. Perhaps unsurprisingly.
The Victoria Hall Hotel (now gone,
apparently) was across the road from Old Melbourne Jail and had started life
as a low rise office block. The building occupied a
corner and the corridors curved around the shape of
the street outside so that each room had a large
window that would not open and and air-conditioning
that kept everything cool and stuffy at the same time.
The carpets were stained the walls were marked and the
door of my room looked like it had been given a really
good kicking at some time in the past. Their website
had made special mention of the places cleanliness.
There were very small blood spots on the white laminex
of the bedside table next to the bed head. The sort of
blood spots people get when they clean a hypodermic
syringe or pop a vein. I was staying for three nights.
The room itself was nice enough, grey, spartan and it
had a desk. I made myself at home. I had a shower and
headed out towards the Kubrick exhibition.
Two blocks down the street four men in a Holden Commodore somewhat-correctly
identified me as a "fucking poofter." They shouted this
and other things at me which I have since forgotten at
me until the lights changed. They were too far out of
range to hit me with their spit, but they tried,
manfully. Then they drove off. The locals in the
street were apparently used to such displays and
ignored it. Melbourne is, after all, "Australia's
number two tourist city" and a "cosmopolitan and world
class metropolis" ready to "take its place on the
world stage." I got to queue at the exhibition, and
then they managed to fuck my ticket up, by giving me
so many bullshit pamphlets that my ticket was left on
the desk. At 2.54pm, about twenty-one hours forty
minutes after I left home, I entered the exhibition.
Within minutes I had forgotten that I hadn't slept for 48
hours, and that my back felt like it had been used as tram
tracks, and that I hadn't eaten anything more substantial
than a Subway sandwich all day. The exhibition
simply swamped my mind with stuff, with thoughts that
crowded into my mind, one on top of the other almost
too fast to grasp. There was everything. Starting from
black-and-white images taken by Kubrick in his early
formative years, the exhibition formed a patchy
timeline hat covered each of Kubrick's major works
including the projects which never took flight. It was
an assault of ... stuff. There were pictures from the
making of Barry Lyndon (Probably my all time favourite
film) and actual costumes from that film. There were
masks from "Eyes Wide Shut" including, in pride of
place, in its own case, under a special spotlight, the
mask that (*gasp*) Tom Cruise wore. That exhibit was
noticeably popular with large numbers of fertile,
egg-bearing women. There were bits and pieces of
everything from genuine scripts and props for "Full
Metal Jacket" to vast trunk loads of original research
materials for the Napoleon film that never was. There
was "Clockwork Orange" and there was "The Shining"
there was astonishingly large amounts of stuff from
"2001: A Space Odyssey" the room as silent except for
a continual low murmur of human voices and occasional
snatches of music from the multimedia displays. I was
in my element. I stayed all day.
When I went back the next day (the last of the exhibition)
I took pictures with my mobile phone. As you'd expect, the
quality is low but they should do as illustration to some
points I found interesting. First and perhaps most
visceral,
Kubrick's home-made camera chariot.
Built out of an old wheelchair, this unit, heavily weighted
was capable of supporting an arriflex and a camera operator
for long tracking shots. The thing looked functional and
jerry built and strong, and it underscored the essentially
home made nature of all films, something that it very
easily forgotten in the face of the oceans of mindless
gloss that the industry generates. The wisdom I extracted
from this thing is simple. What is on screen is what
matters, the tawdry embarrassing shambles behind the camera
is beside the point.
Bowman's forgotten helmet.
When Bowman leaves the Discovery in his attempt to rescue
Poole, he leaves his helmet behind, allowing HAL to think
that he can lock Bowman out. This is the helmet that Bowman
should have had with him. The image does not do it justice,
this prop is of exceptional build quality, far above
anything that I saw at say, the "Star Wars" exhibition.
This is not surprising given the difference in the way that
Kubrick and Lucas shoot things. This was a truly wonderful
thing, this helmet was.
Moonwatcher
I have seen a few film stars in my life. I saw a "tired and
emotional" Rutger Hauer once. I saw Holly Hunter. But I
have never squatted on a floor and gazed at a filmstars
head up for the best part of half-an-hour before, up
really, really close. It was weird. When you see filmstars
in the flesh, they move and blush and say things.
Moonwatcher stayed utterly still and I stared at each
individual hair follicle. It was as if someone had cut off
a major stars head and put it in a box and let me look at
it. I *knew* this guy! Each surface of his face is as
familiar to me as my own, or Sean Connery's. I could see
through the eye sockets into the empty head behind, and I
still found myself seeing a real person, and not a mask.
Wisdom extracted: Real is real is real.
Audrey Hepburn.
Kubrick wanted Audrey Hepburn to star in his film of
"Napoleon." It would have been utterly inspired casting.
Hepburn knocked him back. She was too tired. This is her
knock back letter. The film never got made. Wisdom
extracted: Sometimes it just doesn't fly. Who knows why?
Kubrick's Flying Book
Long ago I read somewhere that Kubrick's assistant said
that Kubrick had decided that he wanted to make a horror
film next. The assistant said that Kubrick, as was his
wont, bought every horror novel on the market and started
reading them looking for the one that he wanted to make.
The assistant was working in the next room and he said
that, every few minutes he would hear this loud "bonk" as
Kubrick would throw the book at the wall behind the
assistants head. There were a lot of "bonks" because
Kubrick though that horror books, by-and-large, were shit.
He said so and, by-and-large I have to agree with him.
Suddenly the assistant realised that he hadn't heard a
"bonk" for a long while. He got up and went and looked,
Kubrick was completely engrossed in a book. It was "The
Shining" by Stephen King. It was undoubtedly this very
copy, complete with Kubrick's scrawling notes throughout.
Zoom In.
This is a detail of Page 86 of Kubrick's copy of "The
Shining." Kubrick has highlighted the line, "People who
shine can sometimes see things that are going to happen,
sometimes they can see things that DID happen." He has
then written in the margin, "I think maybe that is the
kind of thing I've seen."
It was like my head stopped still. Not "think I have seen"
not "people say they have seen" but "I have" when
suddenly exposed to proof that someone who one has profound
respect for has had "Doris Stokes" moments, one stops to
think. Instantly, some of the weirder things I have
seen gained untold levels of validation in my mind.
There was, after all, no doubt in Kubrick's mind when
he wrote "I have seen" he trusted his perceptions.
After all, they were all that he (or anyone else for
that matter) has. Kubrick was patently a wise man and
obviously an exceptionally intelligent one, and he
made his living and his reputation trusting his
perceptions above the perceptions of all around him.
His perceptions have stood the test of time, and
validate themselves again with every showing and every
DVD rental. My mind instantly and concretely said to
itself "if this plastic view of reality was good
enough for Kubrick" it is good enough for me.... and
then I found that some part inside me had relaxed, as
if I had released a breath that I had been holding for
a long, long, time.
Then, hard on the heels of that thought came another. Why
write this in a margin? After all, Kubrick knows. Who is
this message FOR? Does the fact that it is a message from
Kubricks mind, to another, some other mind, make it more or
less likely to be true? Kubrick was after all, a showman as
well as being, in another way, a shaman. Here we have
Stephen King saying, through the mouth of a fictional
character, things that are undoubtedly based on some
filtered form of King's real experience, being edited,
printed, read by Kubrick, underlined, annotated, put in a
glass case and seen by me years after the director's death.
I asked myself again, "Who was this message for?" and try
as hard as I could all I could feel was the glass of the
glass case and somehow half-see or perhaps half-smell the
person who had made the notes in the book. And then,
suddenly, I actually got the point. I laughed quietly to
myself, and two days later, went home on the train. It was
alright. Three hours late, but alright.
Alex Rieneck
5 October 2006
Copyright (C) Alex Rieneck 2006
All Rights reserved.
No reproduction without prior written approval from the
author.