Medo E Desejo

Stanley Kubrick, a director who I hold in the highest of esteems for his masterpieces (Clockwork Orange, 2001, The Killing, the Shining, Dr. Strangelove, etc) took the film out of circulation, leaving it to be found by only the hardcore fans and completists. After seeing the film for myself, I could see why. At the age of 24, Kubrick had already honed his craft of still photography for LOOK magazine, and had done a few short documentaries. Like many first-time filmmakers that came in the decades after him, his ambition for Fear and Desire was, in short, to just go and make a film, cheaply, more than likely to see if he could do it. On that level, he was successful. However, the film itself definitely is not.

I can't really say that the film is a failure because there was something I did like about it throughout. Even as the film's story went on the wayside, and the actors (whom Kubrick didn't have any idea how to direct, not being a man of the theater), his knack for producing and capturing some great images gets its seeds in this film. At times, there are some shots of close-ups and quick-shots in suspense/action scenes that are eye-catching. Unfortunately, this is all the good I can really say of the film. Although there are a couple of 'name' actors in the film (Frank Slivera, who also appeared in Killer's Kiss, and Paul Mazursky, a director in his own right), the performances overall are dull and very routine.

In fact, that is the film's main demise for me; whenever I watch any Kubrick film, even his early film noirs Killer's Kiss and the Killing, I can tell who made it, as his style by then became distinct, which would continue as he evolved as an artist. It wasn't 'artsy' like I might have pictured (which is usually the case with first-time directors like Scorsese and Spielberg), but watching this film not only did it feel like it wasn't Kubrick, it felt like a lot of the time I was watching some B (or even C) grade movie by a director that time forgot- not quite 'Ed Wood' bad, but close. The music is as standard as can be, the fades are pedestrian, and the plot seems to not really hold that much attention.

In short, as others have said and which I can agree, this is a "doodle pad" of a future ground-breaker, who shows some shots and a few edits that grab some attention (the best scene overall being when the soldiers take the dumb girl hostage), but not enough to really recommend except to those, like myself, who end up seeing everything by Kubrick (or, perhaps, have to see every ultra-low budget war film ever made), if only out of curiosity.

Kubrick's visual flair is undone by a pretentious script and uneven acting. Then too the storyline is a real stretch, so, all in all, I can see why the legendary filmmaker disowned this his first feature length effort. Nonetheless, there's all kind of tension implicit in four guys trapped behind enemy lines. So the premise has real potential. Too bad the script seems more interested in literary tropes than their life-and-death anguish. It's hard to be absorbed into the characters when they're spouting dialogue from Shakespeare. After all, these are supposed to be ordinary guys, not someone declaiming from center stage. And just who decided Pvt. Fletcher should impersonate a dopey clown that's about as humorous and affecting as a kick in the shins. And what about the girl whose deadpan expression never changes regardless the provocation. Clearly, at this stage, Kubrick is more skilled with camera than with actors. All in all, there may be something profound somewhere in the mess, but excuse me if I don't go digging in what may be a fool's errand.

Let me preface this review with one simple statement: Stanley Kubrick is god. I'm a rabid fan, the man could do no wrong, and his death was the greatest loss that film has ever known -- every other director moved up a notch when Stanley went, because Mr. Kubrick was, is and always will be number one...

That said -- it was actually heartening to see "Fear and Desire" and to realize that the film pretty much sucks. In other words, even genius has to be born somewhere, and in his first feature, Mr. Kubrick just didn't have it yet. Pretty much a still "Life" photog at the time, "Fear and Desire" comes across as a pretentious student film, albeit a well shot one. However, this is in the days before Kubrick developed his own style, and so anything eye-catching in this movie is by way of Sergei Eisenstein. At times, the influence is painfully obvious, as in a sequence in which our lead soldiers make a raid on a house held by the enemies -- it might as well be a re-take of "Potemkin," sans the steppes and the lady with the busted glasses. But, the jump cuts, the creation of scene through editing, the visual ellipses is entirely Eisenstein and none at all Kubrick, and the effect is jarring.

Not that there aren't points to recommend in the film. Oddly enough, a very young Paul Mazursky turns in a wonderful performance as a soldier who cracks under the stress of it all, and Kubrick stages what's basically a rape scene under the constraints of 50s censorship, while infusing it with so much eroticism that it's rather uncomfortable. (Side note to Adam Sandler: if you ever chose to go into drama, study Mazursky's role in this film -- it's everything you could be if you give up the "dumb but pure" roles of "Wedding Singer" and "The Water Boy.")

Pluses in the film are that it deals with the subject of war without ever identifying sides -- there's a vague Prussian-ness about the villains, but if you look closely, none of the soldiers are identified by country. Kubrick also pulls off some interesting double casting in which the leads play the "villains," but are not obviously the same people. On the down side, the film opens and closes with possibly the most pretentious voice over narration ever committed to celluloid. There's a BIG IDEA working here, but given that Kubrick was only 24 when he made the film, it's understandable that the Ooh-Aah idea wasn't really as big as he thought it was. (Then, again, making an anti-war movie during the Korean war was probably about as egregious as one could get. I wouldn't know, I wasn't alive in 1953.)

All of this said -- for film students and Kubrick fans, this film is a must-see if you can track it down -- and good luck trying, since Mr. Kubrick wisely killed all availability of the movie. In a lot of ways, it's actually a very encouraging experience to see a genius like Mr. Kubrick churn out absolute crap -- brilliant moments that add up to nothing. Given his career since this film, it just shows that everyone has to start somewhere, and even the (arguably) greatest director in the history of cinema was once just a young schmuck with a camera, film and some actors.

'Fear and Desire' (1953) is noted amongst film enthusiasts as being the first feature length film of legendary director and screenwriter Stanley Kubrick. Adding to this initial infamy is the fact that Kubrick frowned upon the film in his later years, calling it "amateurish" (which in his eyes and when compared to his other masterpieces, it most likely was) as well as refusing to re-release the film. Essentially, Kubrick did everything within his power to keep 'Fear and Desire' from public consumption. In a particular city (the name of which I cannot recall) the film was scheduled to be screened long after its initial release, but prior to the screening the theater management received a call from Kubrick and his associates asking the theater not to show the film. From such evidence one may draw the conclusion that the film is quite dismal and forgettable, but such is not the case. 'Fear and Desire' is a film far ahead of its time, by a director far ahead of his time – one which we all may never even catch up to. Even as early as 1951/53 can Stanley Kubrick's genius be seen emerging – and brightly at that.

'Fear and Desire' takes the viewer to the forests of a distant land, which is currently warring against (presumably) the United States in a fictitious conflict. In the dense forest the viewer finds four men stranded behind enemy lines as a result of a plane crash. These four military personnel are Sgt. Mac (Frank Silvera), Lt. Corby (Kenneth Harp), Pvt. Sidney (the debut of the wonderful Paul Mazursky), and Pvt. Fletcher (Stephen Coit). The men quickly decide that to return to their camp they must travel by night down a river which runs through enemy territory and down into their own territory. As the men begin to formulate their plans to return to safety, they become aware of enemy forces within the area and the stress, instability, and perhaps futility of war begin to set in around them physically, as well as within their minds.

Over the years, 'Fear and Desire' has strangely enjoyed harsh criticism by even those individuals lucky enough to view it. The picture essentially takes an above average stab at a subject matter which would resurface throughout Kubrick's history. Most notably, the subject matter is revisited more thoroughly in the excellent 'Full Metal Jacket' (1987). The film's main underlying message and social as well as political commentary focuses on the futility, horror, and dehumanizing effects of war and that which it embodies. In 1951 when 'Fear and Desire' was filmed the world was still recovering from WWII, the effects of the cold war were already being seen, and in U.S. affairs, the Korean War was underway. It was at this time many insightful thinkers such as George Orwell (author of 1984) and evidently Stanley Kubrick were recognizing and speaking out against the grim and ever-increasingly violent world in which we were becoming. Kubrick did this through the profound art of film-making. If this alone, during the conforming time period of 1951, does not earn this film and Kubrick a great deal of praise, then perhaps nothing does. Despite this, there are a few minor problems with this production, but none which hold much weight. In the beginning narration, the film is quite prophetic and at times quite philosophical. This works most of the time, but at times it says things blatantly that would perhaps better be left unsaid and left to the viewers' imagination. Essentially, it sometimes overstresses the somewhat obvious. All of the technic al aspects within the film are exquisite and Kubrick's skill is already shining brightly. The photography and the cinematography within the film are brilliant. The scene in which Sgt. Mac's silhouette is seen rafting down the river is breathtaking, as well as the vast shots of the great wilderness of nature's battlefield. Also, Kubrick's trademark facial shot of "insanity" is seen on the face of the soldiers (namely on Pvt. Sidney). Not only is the film daring for its time in the field of social commentary, but also it is quite vulgar by 1950s standards. Kubrick even directs a rape scene, as well as death sequences which are vividly depicted around the sensors of the era. With fitting performances by all of the actors (although Mazursky's over-the-top acting is at times regarded as ridiculous, I find it to be the acting highpoint of the whole film) and a shocking ending quite reminiscent of 'The Twilight Zone', the film proves itself to be an extremely dark, moody, intelligent, and insightful experience.

Why 'Fear and Desire' enjoys such harsh criticism could very well be Kubrick's actions in its destruction, the influence of other critics, or perhaps a subconscious comparison to Kubrick's other works. Regardless, upon my viewing I found it to be an extremely wonderful piece of cinema. One thing I am convinced of which does in fact bog down public opinion of 'Fear and Desire' is the various bootlegged releases of the film on DVD and VHS. Truly to experience the film as it was meant to be experienced one must watch the 35mm cut of the film, it really does add to experience. Although rare, there are a few prints left in existence and those presented with the opportunity to view one would be wise to accept. Given the circumstances and the status which Kubrick enjoys, it is sadly inevitable that this will be compared to Kubrick's other classics and, as many feel, will pale in comparison. Is it truly a poor film in any sense of the word? Most certainly not; the film is atmospheric, insightful, visually breathtaking, bizarre, and vastly ahead of its time. Had 'Fear and Desire' perhaps been directed by another director, well-distributed, and honored today it is quite possible that the film would live on as, if not a classic, a cult classic and highpoint of 1950s cinema.

Fear and Desire (1953)

** (out of 4)

Stanley Kubrick's first feature film isn't nearly as bad as some reviews have said and I'm really not sure why he doesn't want the public to see this one. Four soldiers are shot down behind enemy lines and must face their fears in order to survive. The film has an extremely low budget, which hurts matters but it's interesting enough to see Kubrick working on his technique. The camera-work by Kubrick is certainly the highlight and there's some nice editing along the way.

As of today the Kubrick estate hasn't released any of his shorts but you can find the online at various places.