“A film is – or should be – more like music than like fiction. It should be a progression of moods and feelings. The theme, what’s behind the emotion, the meaning, all that comes later.” – Stanley Kubrick
Imagine, as you walk through Stanley Kubrick: The Exhibition (October 31 to January 25 at the TIFF Bell Lightbox), that you have an iPod loaded with music from Kubrick’s films. Listening to this music as you stroll would further illuminate the artefacts from the filmmaker’s extensive archives that already comprise an extraordinary glimpse into the working habits and intellect of one of the most thorough directorial minds the world of cinema has ever seen.
Prokofiev’sNevsky: The first piece on that iPod, perhaps surprisingly, would have to be Prokofiev’s soundtrack to Eisenstein’s Alexander Nevsky (1938), which Kubrick bought after seeing the film with Alexander Singer, a friend from high school (and later a director himself). Kubrick was so obsessed with the record that he played it continually, well over 100 times, so much so that his younger sister, fed up, broke it “in an absolute rage,” Singer said. “Stanley never got over [the battle on the ice].”