James Fenwick’s Stanley Kubrick Produces focuses not on Kubrick’s artistic achievements as a director, but on his role as a producer and his place in the studio system. The book makes a revisionist assessment of Kubrick’s work, as Fenwick argues that the last decades of his career represented a debilitating decline in his ability to operate as a producer: “What emerges is almost a tragic narrative, Kubrick’s rise and fall as it were.”
The book covers Kubrick’s producing career chronologically, beginning with the independent films he both produced and directed. Fenwick even tracks down a copy of World Assembly of Youth, a short documentary that Kubrick once claimed to have worked on. (“Despite long-standing speculation about Kubrick’s involvement in the project, there is little evidence to support this.”) Fenwick makes an additional discovery: that Kubrick was involved in the sound editing of a film with the working title Shark Safari in 1953. Supported by extensive archive research, the book also provides detailed accounts of Kubrick’s producing partnership with James B. Harris, his collaborations with Kirk Douglas, and his various studio contracts.
The central thesis is that absolute control is a double-edged sword. Kubrick secured total control over every aspect of his films, though this was ultimately a Pyrrhic victory, as his micromanagement increasingly delayed the development of new projects: “Kubrick had become an impotent producer, overwhelmed by his own centralized management style and the information and research that he sought.” (The Channel 4 documentary The Last Movie made a similar point, comparing late-career Kubrick to a computer overloaded with data.)
The book covers Kubrick’s producing career chronologically, beginning with the independent films he both produced and directed. Fenwick even tracks down a copy of World Assembly of Youth, a short documentary that Kubrick once claimed to have worked on. (“Despite long-standing speculation about Kubrick’s involvement in the project, there is little evidence to support this.”) Fenwick makes an additional discovery: that Kubrick was involved in the sound editing of a film with the working title Shark Safari in 1953. Supported by extensive archive research, the book also provides detailed accounts of Kubrick’s producing partnership with James B. Harris, his collaborations with Kirk Douglas, and his various studio contracts.
The central thesis is that absolute control is a double-edged sword. Kubrick secured total control over every aspect of his films, though this was ultimately a Pyrrhic victory, as his micromanagement increasingly delayed the development of new projects: “Kubrick had become an impotent producer, overwhelmed by his own centralized management style and the information and research that he sought.” (The Channel 4 documentary The Last Movie made a similar point, comparing late-career Kubrick to a computer overloaded with data.)
