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| Tue. July 14 | 3:30 PM | TCM |
| James Mason | ... | Prof. Humbert Humbert | |
| Shelley Winters | ... | Charlotte Haze | |
| Sue Lyon | ... | Lolita | |
| Gary Cockrell | ... | Richard T. Schiller | |
| Jerry Stovin | ... | John Farlow | |
| Diana Decker | ... | Jean Farlow | |
| Lois Maxwell | ... | Nurse Mary Lore | |
| Cec Linder | ... | Dr. Keegee | |
| Bill Greene | ... | George Swine | |
| Shirley Douglas | ... | Mrs. Starch | |
| Marianne Stone | ... | Vivian Darkbloom | |
| Marion Mathie | ... | Miss Lebone | |
| James Dyrenforth | ... | Frederick Beale Sr. | |
| Maxine Holden | ... | Miss Fromkiss | |
| John Harrison | ... | Tom | |
| Colin Maitland | ... | Charlie Sedgewick | |
| Terry Kilburn | ... | Man (as Terence Kilburn) | |
| C. Denier Warren | ... | Potts | |
| Roland Brand | ... | Bill Crest | |
| Peter Sellers | ... | Clare Quilty | |
| rest of cast listed alphabetically: | |||
| Irvin Allen | ... | Hospital attendant (uncredited) | |
| Beverly Bennett | ... | Friend (uncredited) | |
| Ed Bishop | ... | Ambulance attendant (uncredited) | |
| Angela Bradley | ... | Friend (uncredited) | |
| Jean Carnt | ... | Teenager (uncredited) | |
| Jean Collins | ... | Teenager (uncredited) | |
| Peter Cushing | ... | Dr. Frankenstein (archive footage) (uncredited) | |
| Jennifer Dodd | ... | Dark-haired Teenager (uncredited) | |
| Anne Flack | ... | Friend (uncredited) | |
| Susanne Gibbs | ... | Mona Farlow (uncredited) | |
| Jacqueline Harris | ... | Teenager (uncredited) | |
| Loraine Hart | ... | Cute girl (uncredited) | |
| Gloria Johnson | ... | Friend (uncredited) | |
| Jenny Jones | ... | Friend (uncredited) | |
| Lilian Keeton | ... | French / Spanish girl (uncredited) | |
| Eric Lane | ... | Roy (uncredited) | |
| Linda Lawrence | ... | Teenager (uncredited) | |
| Christopher Lee | ... | Frankenstein's Creature (archive footage) (uncredited) | |
| Isabelle Lucas | ... | Louise (uncredited) | |
| Coral Morphew | ... | Friend (uncredited) | |
| Jeanette Neale | ... | Girl (uncredited) | |
| Maria Nicholas | ... | Dark Girl (uncredited) | |
| Robert C. Overton | ... | Kenny Oberton (uncredited) | |
| Sonya Petrie | ... | Blonde girl (uncredited) | |
| Jacqueline Poole | ... | Teenager (uncredited) | |
| Craig Sams | ... | Rex (uncredited) | |
| Roberta Shore | ... | Lorna (uncredited) | |
| Marti Webb | ... | Friend (uncredited) | |
Directed by | |||
| Stanley Kubrick | |||
Writing credits | ||
| Vladimir Nabokov | (novel "Lolita") | |
| Vladimir Nabokov | (screenplay) | |
| Stanley Kubrick | uncredited | |
Produced by | |||
| James B. Harris | .... | producer | |
| Eliot Hyman | .... | executive producer (uncredited) | |
Original Music by | |||
| Nelson Riddle | |||
Cinematography by | |||
| Oswald Morris | (director of photography) | ||
Film Editing by | |||
| Anthony Harvey | |||
Casting by | |||
| James Liggat | |||
Art Direction by | |||
| William C. Andrews | (as Bill Andrews) | ||
Makeup Department | |||
| Betty Glasow | .... | hair stylist | |
| George Partleton | .... | makeup artist | |
| Stella Morris | .... | assistant makeup artist (uncredited) | |
Production Management | |||
| Raymond Anzarut | .... | production supervisor | |
| Robert Sterne | .... | production manager | |
Second Unit Director or Assistant Director | |||
| René Dupont | .... | assistant director (as Rene Dupont) | |
| Dennis Stock | .... | second unit director | |
| John Danischewsky | .... | assistant director (uncredited) | |
| Roy Millichip | .... | assistant director (uncredited) | |
Art Department | |||
| Syd Cain | .... | associate art director (as Sidney Cain) | |
| Roy Dorman | .... | draughtsman (uncredited) | |
| Peter James | .... | set designer (uncredited) | |
| Andrew Low | .... | set designer (uncredited) | |
| A.J. Van Montagu | .... | scenic artist (uncredited) | |
Sound Department | |||
| H.L. Bird | .... | sound recordist | |
| Winston Ryder | .... | dubbing editor | |
| Len Shilton | .... | sound recordist | |
| Keith Batten | .... | sound assistant (uncredited) | |
| Michael Hickey | .... | sound (uncredited) | |
| Don Wortham | .... | boom operator (uncredited) | |
Camera and Electrical Department | |||
| Denys N. Coop | .... | camera operator | |
| Joe Pearce | .... | still photographer (uncredited) | |
| Bert Stern | .... | publicity photographer (uncredited) | |
| Jimmy Turrell | .... | focus puller (uncredited) | |
Costume and Wardrobe Department | |||
| Gene Coffin | .... | costume designer: Miss Winter | |
| Elsa Fennell | .... | wardrobe supervisor | |
| Barbara Gillett | .... | wardrobe (uncredited) | |
Editorial Department | |||
| Lois Gray | .... | assistant editor | |
| John Crome | .... | assistant editor (uncredited) | |
Music Department | |||
| Nelson Riddle | .... | conductor | |
Other crew | |||
| Pamela Davies | .... | continuity | |
| Joyce Herlihy | .... | assistant continuity (uncredited) | |
| Enid Jones | .... | unit publicist (uncredited) | |
| Una Pearl | .... | double (uncredited) | |
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| Lolita | City of Shoulders and Noses | Big Fish | The Lonely Passion of Judith Hearne | Gone with the Wind |
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Having read the Nabokov novel and the two well-known versions of the film, I believe the most accurate way of defining the relations is: Lyne´s film is more faithful to the literal reading of the story, Kubrick's one is far more faithful to its spirit and, what is even more important, it isn't drowned by comparisons with the book.
Probably what bothers most people who have seen both films and read the novel is that Kubrick gives ample space to cynicism, farce and mocking of all the main (and even secondary) characters: it ridicules both the cultured, refined and cosmopolitan Englishman and the pseudo-liberal and fairly tacky Americans (the cultural and behavioral differentiation reminding me of Henry James, just in reverse). The child temptress is here seen more realistically as a sexy however vacuous and irritating teenager and Humbert´s love of her as a noble and real but tremendously stupid infatuation (coming from a cold-headed intellectual like him). Also delightful the portrayal of alcoholic and neurotic Shelley Winters, and particularly of Peter Sellers as a mediocre tv writer enhanced by American middle-class culture. There is a lot of witty sociopolitical criticism here.
Adrian Lynne's version, being utterly romantic (and striving really too hard to be poetic) may seem more accurate on the love story but is really Nabokov's intention to tell a love story as such? I can't really appreciate how such wonderful novelist could be so obvious and open to his reader. Not forgetting the romanticism of Humbert's feelings of despair towards the girl, Kubrick doesn't indulge in a simple love story but explores all the most obscure consequences of irrationality and does so with irony and sarcasm (humour is everywhere) but also with a touch of compassionate dramatism when appropriate.
We have a classic here, both faithful to the novel and full of innovations. Lynne´s intent is merely a limp follower of its two (the literary and the filmic) predecessors.