From David Lynch to Quentin Tarantino: A list of Stanley Kubrick’s 93 favourite films
“The screen is a magic medium. It has such power that it can retain interest as it conveys emotions and moods that no other art form can hope to tackle.”—Stanley Kubrick.
From the moment Stanley Kubrick released his first short film in 1951 he didn’t look back, forging a career in cinema like no other and maintains his legacy as one of the most influential filmmakers in cinematic history.
After releasing a series of shorts on a shoestring budget, United Artists Film Studios gave Kubrick his first major Hollywood opportunity by funding his 1956 film noir project The Killing. The picture would become the solid foundations which allowed Kubrick to go on and create modern classics such as Spartacus, Dr. Strangelove, A Clockwork Orange, 2001: A Space Odyssey, The Shining and more.
Kubrick, who was not only fascinated by cinema and the deeper workings of the industry, also considered himself to be a true cinephile and studied the work of his colleagues with a feverish desire. While he rarely commented on some of favourite films and directors, a master list of 93 films which he considered to be the greatest was curated through a number of reliable sources.
In an article by Nick Wrigley for the British Film Institute, a deep study of Kubrick’s favourite pictures was collected with the help of the director’s right-hand man Jan Harlan. In a separate list, one compiled by The Criterion Collectionwith the help of Kubrick’s daughter Katharina Kubrick-Hobbs, 93 films have been collected which are understood to be Kubrick’s all-time favourites.
“Highest of all I would rate Max Ophuls, who for me possessed every possible quality,” Kubrick once said in an interview with Cahiers du cinéma in 1957. “He has an exceptional flair for sniffing out good subjects, and he got the most out of them. He was also a marvellous director of actors.”
Discussing his own work and the profession in which he specialises, Kubrick added: “In terms of working with actors, a director’s job more closely resembles that of a novelist than of a Svengali. One assumes that one hires actors who are great virtuosos. It is too late to start running an acting class in front of the cameras, and essentially what the director must do is to provide the right ideas for the scene, the right adverb, the right adjective.
“The director must always be the arbiter of esthetic taste,” he continued. “The questions always arise: Is it believable, is it interesting, is it appropriate? Only the director can decide this.”
Three years later, after studying his field in more detail, Kubrick discovered more work of his colleagues and adapted his outlook on who he considered to be some of the greatest filmmakers: “I believe Bergman, De Sica and Fellini are the only three filmmakers in the world who are not just artistic opportunists,” he added in an interview dating back to 1960. “By this I mean they don’t just sit and wait for a good story to come along and then make it. They have a point of view which is expressed over and over and over again in their films, and they themselves write or have original material written for them.”
Kubrick’s public comments on directors, actors and films he admired remained a rare commodity but when he did, his words remained loyal to some of his greatest inspirations. Six laters later, in 1966, he added: “There are very few directors, about whom you’d say you automatically have to see everything they do. I’d put Fellini, Bergman and David Lean at the head of my first list, and Truffaut at the head of the next level.”
It comes as little surprise, then, that a list of Kubrick’s favourite films is comprised of two selection from Federico Fellini and three from Ingmar Bergman. The interesting inclusions, however, includes numerous works from the likes of Woody Allen, Steven Spielberg, David Lynch and more.