British Battles The Front Lines Of History In Colour by KEN & DENISE GUEST


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It is not insignificant that this early photographic effort by Kubrick should be granted an almost iconic presentation, since the photographer’s identity may not have been known to editor Leo Rosten. In other words, the picture was chosen strictly for its intrinsic quality, combining a historic moment with an expressive composition. Another indirect reference to the impact of Kubrick’s work in Cowles’ memoirs concerns a lost advertising contract: “After a lengthy sales effort, … we convinced Campbell Soup to become a Look advertiser.

Departures from the script often occur, which requires a certain flexibility. Kubrick would later comment on being able to adjust to “the reality of the final moment” and take advantage of an opportunity, even if it meant exposing weaknesses in the script (Strick & Houston, 134). Rothstein mentions the importance of coverage, the notion that since film is cheap, one might as well shoot as much as possible from various angles, to provide the layout artist with a greater range of options (12). This logic is virtually identical to Kubrick’s practice during his film career, made infamous in particular by his numerous takes of certain scenes, which drove some actors to exhaustion (LoBrutto, 431).

The subtle influence of this loosely organized advisory group has also brought an apparent change in the young man’s clothing tastes” (C. Kubrick, 36). The commentary goes on to indicate that Kubrick needed no such help in photographic matters, which was no doubt partly written as a sign of confidence in and encouragement to their junior colleague. He is also described as a “two-year veteran,” perhaps as a further means of acknowledging the end of his apprenticeship. The reference to a “loosely organized advisory group” confirms the Look staff ’s role in collectively mentoring Kubrick.

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