• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Ransom Center Magazine

  • Articles
  • Sections
    • Art
    • Conservation
    • Exhibitions + Events
    • Film
    • Literature
    • Performing Arts
    • Photography
    • Rare Books
    • Research + Teaching
  • Print Edition
    • Fall 2019
    • Spring 2019
    • Fall 2018
    • Spring 2018
    • Fall 2017

Stanley et Anthony: A correspondence between Stanley Kubrick and Anthony Burgess

February 25, 2014 By Michael Gilmore

Stanley et Anthony: A correspondence between Stanley Kubrick and Anthony Burgess

On the surface, it is a correspondence between friends:  Did you read the book I sent? Did you like it?

 

Generic questions for most, perhaps, but the inquiry was from Stanley Kubrick, and the questions concerning Arthur Schnitzler’s book Traumnovelle were addressed to Anthony Burgess. A series of letters in 1976 between Kubrick and Burgess in the Ransom Center’s Anthony Burgess collection shed light on the early stages of the work that would later be translated into Kubrick’s final film, Eyes Wide Shut (1999).

 

In 1976, Kubrick, sensing his research for his planned biographical film about Napoleon Bonaparte would not pan out due to financing problems, was looking for a post-2001, A Space Odyssey (1968) project. He first read Schnitzler’s dream story in 1968 and was so enamored of it, he sought the film rights, but, fearing his involvement would inflate the price, he convinced Jay Cocks, a journalist at the time, to acquire the rights by proxy.

 

Kubrick even had in mind an actor for the role of Fridolin: Woody Allen.

 

During this time, screenwriter Terry Southern, who helped Kubrick turn the script for Dr. Strangelove (1964) into a hip satire, gave Kubrick a copy of A Clockwork Orange. Kubrick put the Schnitzler project on a back burner, which placed Southern in a bit of a bind with Mick Jagger and The Beatles.

 

It was understood that once the rights for A Clockwork Orange had been optioned by producer Si Litvinoff, Southern would write the screenplay, Jagger was to play the part of Alex and the rest of the Rolling Stones would play Alex’s droogs. The Beatles were to compose and record the music. Litvinoff had shopped the idea around to a dozen different directors without success. As the original plan was coming apart at the seams, it was reported that actor David Hemming, star of Blowup (1969), was under consideration for the lead. A petition signed by Marianne Faithful, each of The Beatles, and a few hangers-on in the London Bohemian underground of the time—including The Flasher and Strawberry Bob—was sent to Southern denouncing his perceived treachery.

 

The rights for A Clockwork Orange sold for $500, $2,000, or $5,000, depending which account you read. Burgess was unimpressed with his financial gain on the deal and dismayed that he had suddenly, in the eyes of the press and public alike, become an “expert” on juvenile violence. He was thankful though, that in conversation with Kubrick, he did get the idea for his next novel, Napoleon Symphony.

 

After the release of the film A Clockwork Orange (1971), Kubrick used his Napoleon research in the making of Barry Lyndon (1975). It would be another 20 years before the Schnitzler project would culminate in the film Eyes Wide Shut, which is listed in Guinness World Records as the film with the longest continual shoot: 400 days. In retrospect, 400 days isn’t long at all, considering the making of the film took 30 years from gestation to final cut.

 

But in 1976, Burgess still felt undercompensated after the film version of A Clockwork Orange had become a critical and commercial success, and it must have rankled him that a few critics pointed to satirized authority figures in the film as resembling rumpled versions of Burgess himself. As for the exchange of letters between Kubrick and Burgess, you can sense a certain edginess in Burgess’s response to Kubrick’s complaints that in Traumnovelle “[t]here is, I fear, a narrative anti-climax which I have not been able to improve without doing violence to what I believe were Schnitzler’s ideas …”

 

“The question is,” Burgess writes, “do you want me to do anything about it? If so, how and when and for how much?” 

 

Filed Under: Books + Manuscripts, Film, Research + Teaching Tagged With: 2001: A Space Odyssey, A Clockwork Orange, Anthony Burgess, Arthur Schnitzler, David Hemming, Eyes Wide Shut, Film, Manuscripts, Marianne Faithful, Mick Jagger, Napoleon Symphony, Si Litvinoff, Stanley Kubrick, Terry Southern, The Beatles, Tramnovelle

About Michael Gilmore

Gilmore was a Library Assistant in the Cataloging Department from 1982-1989. He rejoined the Ransom Center in 2013 as a Library Assistant in the Reading Room. He is the author of two books of poetry, Lyrika (1982) and Restless Astronomy (2008).

Reader Interactions

Primary Sidebar

https://www.youtube.com/watch?v=STZt3_D4Eg0

Archives

Before Footer

Sign up for eNews





Connect With Us

  • Facebook
  • Instagram
  • Twitter
  • YouTube

About

Ransom Center Magazine is an online and print publication sharing stories and news about the Harry Ransom Center, its collections, and the creative community surrounding it.
Contributors



HRC logo

Copyright © 2019 The Harry Ransom Center Magazine


The University of Texas at Austin · Web Privacy Policy · Web Accessibility Policy