The viewer of the document opens up a special perspective on director Kubrick as a private person and employer.
How The Italian boy who dreamed of a career as an F1 driver ended up as a creditor of one of the most prestigious directors in film history?
Italian Alex Infascellin documentary S Is for Stanley: My friend Kubrick (2015) tells the U.S. director Stanley Kubrickia (1928–1999) and Italian Emilio D’Alessandroa united bond, which was an exceptional puzzle of working and friendship.
D’Alessandro worked for Kubrick for thirty years, Bell orange (1971) Eyes Wide Shutin (1999) until graduation and the death of Kubrick. The first dune hit the spot while D’Alessandro was still a taxi driver. The center offered a special gig: the task was to transport In the bell orange to See a Huge Penis Sculpture at the Movie Filming Site. Whatever, D’Alessandro said, and took care of it.
Tight in an hour-long documentary, D’Alessandro, who is ordinary and jumbled, tells the story of that case and his otherwise very special career, sitting uncomplicatedly in his warehouse. It is, of course, a considered choice by which Infascelli emphasizes the difference between Kubrick, who had a reputation as a director of genius, and this sympathetic wage earner.
Gradually, D’Alessandro’s job description expanded from a chauffeur to a general affairs manager who fed pets, went to the store, helped find filming locations, and was always at least a phone call away from his boss. In addition to making frequent calls, Kubrick used to leave his wishes and instructions on small sticky notes.
While the stillness of the documentary stinks at times from the chatter of a former employee, it has a nice spirit to it. The viewer has a special perspective on Kubrick as a private person and employer. As a boss, he was as demanding as a director, and drove D’Alessandron into near-exhaustion.
Disregard there was still no whole picture. Kubrick was immensely animal-loving, and on the other hand showed D’Alessandro a deep affection and confidence. Eyes Wide Shutin he immersed the tributes to his friend: the film features a café called Caffé da Emilio, and D’Alessandro also flashes in the film as the seller of the newsstand himself.
Of Kubrick’s films, D’Alessandro didn’t care at first, though he certainly knew the merits and esteem of his superior. The movies were too long for his tastes, so whatever you do. When Kubrick introduced Hohdon attached to the main body Jack Nicholsonin To D’Alessandro, this wondered why the director didn’t take it Charles Bronsonia.
S Is for Stanley: My friend Kubrick, Netflix