Action / Drama / Romance

Rotten Tomatoes Critics - Certified Fresh 67%
Rotten Tomatoes Audience - Upright 75%
IMDb Rating 6.9 10 41365


Uploaded By: OTTO
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November 20, 2014 at 03:37 PM



Melanie Griffith as Charlotte Haze
Jeremy Irons as Humbert Humbert
Dominique Swain as Dolores 'Lolita' Haze
Frank Langella as Clare Quilty
720p 1080p
930.38 MB
24.000 fps
2hr 17 min
P/S 10 / 130
2.06 GB
24.000 fps
2hr 17 min
P/S 8 / 56

Movie Reviews

Reviewed by Alex Zambelli 10 / 10

Why did we have to wait over 40 years to see the real "Lolita"?

Adrian Lyne's "Lolita" has everything it takes to be a good movie adaptation. Lyne follows the original plot very closely, with few slight changes. Even the dialogues in many scenes remained exactly the same. Most of the movie is a flashback, but Lyne doesn't make the same mistake as Kubrick and he follows the correct order of events (Quilty's murder, i.e.).

The casting is excellent. Jeremy Irons proved to be a much better choice than James Mason was in Kubrick's version. Irons delivers probably one of his best performances as he portrays the tragic character of Humbert Humbert. Iron's voice overs help us get into the mind of Humbert and understand his thoughts and actions. Dominique Swain is excellent as Lolita. She is the perfect nymphet. Young and innocent, but vulgar and crude at the same time. Frank Langella as Clare Quilty is a little bit "too mysterious" and he probably should've been a bit funnier, as his character was in Nabokov's book.

The final reason why this movie is better than its predecessor is its photography. The colors are just amazing. They actually seem to follow the mood of the story - from excitingly colorful to tragically dark.

I'm going to keep this user comment rather short. I could compare it to Kubrick's version some more, but it's easier if you just read my comment for Kubrick's "Lolita".

The highlight of the movie is definitely the last scene in which Humbert surrenders to the police - he stands on the top of a hill, listens to the voice of children playing and expresses his remorse for ruining Lolita's life. In this one scene, Lyne managed to capture the whole point of the book that Kubrick totally missed in his movie.

The movie is a perfect 10. Just please go see it without any prejudice.

Reviewed by jjh6519 9 / 10

Lost Narrative Folds

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.

Reviewed by FlickJunkie-2 8 / 10

Humbert the noble, or how to make a pedophile lovable.

This is an excellent adaptation of Vladimir Nabokov's brilliant book about the sordid relationship between a grown man and a teenage girl. Although still disconcerting, the subject of pedophilia is far less shocking today than when the book was published almost 50 years ago. Yet, despite the subject matter, the book was wildly popular because it was a literary work of art, beautifully written with some of the most splendid metaphors and descriptive narrative in American literature. This was all the more amazing when one considers that English was Nabokov's second language.

Director Adrian Lynn (Fatal Attraction, 9 ½ weeks, Indecent Proposal) is no stranger to stories with perverse sexual content. His presentation of the story does the book justice although certain interpretations may not have been what Nabokov had in mind. Lynn gives us a presentation that is very sympathetic to Humbert. Nabokov's Humbert was very complex, partly a victim of his fixation on young girls, partly a sexual predator and partly a hopeless romantic. Nabokov's Lolita was extremely innocent, just approaching the threshold of sexual curiosity and urges, more playful than consciously provocative. While Nabokov hints at a mutual seduction, he leans far more heavily towards Humbert as the cause of the events even though Humbert is clearly helpless in the face of his obsession. Lolita entered into the sexual relationship more as a result of longings burgeoning from her blossoming sexuality than a desire to seduce Humbert in particular, who was not even her first lover.

Lynn's presentation transforms Humbert from the seducer into the seduced, whose weakness for young girls is manipulated by a sexually precocious siren tempting him to dash himself on the shoals of pedophilia. Lynn portrays Lolita as the aggressor, an adolescent temptress who knows she is desired and simultaneously teases and entices him to do her lustful bidding, knowing he is powerless to resist. Lynn's Humbert is more of a hapless romantic than a fiend, ennobling him as a victim of love rather than the confounded sociopath he really is. In Lynn's version, Humbert becomes the fly to Lolita's spider.

However, after the initial seduction when they take to the road, the film is very true to the book in chronicling the decay of the relationship, Humbert's further plunge into feelings of romantic desperation and Lolita's shrewish exploitation of him as she increasingly uses sex as a weapon. The book was very effective at portraying the relationship as a symbiosis of two deficient beings, each selfishly taking from the other what was needed. Lynn does an excellent job of portraying that here. As the relationship degenerates, Lynn is effectual at portraying the ugly side of both characters. The bitterness and rancor that results is compelling. To his credit, he understands that Nabokov's story was more of a character study than a sex story and Lynn avoids the temptation of becoming too lurid, focusing instead on solid character development of two very flawed beings.

I must take a moment to give Lynn the highest praise for his period renderings. This is one of the finest portrayals of 1940's Americana I can remember. The costumes, hairstyles, cars, furniture, locations and sets create a 40's reality that is like being hurtled back in a time machine. The music is not just precise for the period, but it is perfectly integrated with the story. As the two travel, the music changes to reflect the region. Having Lolita dance and sing to period music on the radio is a nice touch because that is exactly what teenage girls of any era are apt to do.

The acting is first rate all around. When the film was made, Dominique Swain was 17, and although she looked young for her age, she could never pass for 12. So for the first part of the film before Charlotte's demise, she is simply too mature. However, for the road trip she is ideal. Though I don't agree with Lynn's early interpretation of Lolita as the teenage temptress, I can't imagine it being done any better than the performance Swain delivers. She is playful and provocative in a childlike manner, part pixie and part vamp. Once they get on the road, Swain hits stride with a performance that is almost a force of nature. She is powerful and intense, effortlessly moving back and forth between sweet innocence and the emotional torrent typified by the `murder me' scene. It is an outstanding performance with depth and breadth that is very unusual for an actor so young.

Jeremy Irons is wonderful as Humbert, giving him as amiable a personality as one could possibly imagine for a character with such vile intentions. Irons injects a good deal of wry humor into the part in addition to giving Humbert an almost quixotic romantic quality. Melanie Griffith is just the wrong actress to play Charlotte. She looks nothing like the portly and plain character described in Nabokov's book. Though her acting is fine and she is appropriately obsequious, she is far too attractive to be the repulsive troll Humbert despised. It takes away from Humbert's desperation because it hardly seems like a great sacrifice to have married Charlotte to be near Lolita.

Frank Langella (Dracula) is more obnoxious than mysterious as Quilty, making the audience want to exhort Humbert to pull the trigger as he confronts Quilty with the revolver. Again, I think this is probably Lynn's doing since his vision is clearly that of a Humbert sympathizer.

This is a fine film with great production values, terrific performances and a classic story. I feel that it surpasses Kubrik's adaptation in its ability to capture many of the finer points of Nabokov's book, even though Nabokov collaborated on the Kubrik film. I rated it an 8/10. It is definitely worth digging out of the rental stacks.

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