Film Junk Premium Podcast #69: Stanley Kubrick


“Heeeeeeere’s Johnny!” Just in time for the holiday season, we’ve prepared a premium podcast that many of you have been demanding for a long time: a Stanley Kubrick retrospective. On this episode we cover five of his most iconic films including Dr. Strangelove, 2001: A Space Odyssey, A Clockwork Orange, The Shining, and of course the perennial Christmas classic, Eyes Wide Shut. Discussion topics include his often imitated style and special effect innovations, the unforgettable use of classical music, the many controversies and the lasting cultural impact of his work. Why are there so many wild interpretations of The Shining and what is Frank’s newfound “monarchy theory”? Did 2001: A Space Odyssey truly represent a cinematic paradigm shift and how much did Jay pay for the 4K release? Is Stanley Kubrick indisputably one of the greatest filmmakers of all time? Come and get one in the yarbles and download this month’s premium podcast below.

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This series of premium podcasts was created to help support the regular weekly Film Junk Podcast. Head on over to Bandcamp and download full episodes for a minimum donation of just $1. As always, let us know if you experience any technical difficulties or if you have any other suggestions for future specials. Thanks for your support!

  • Dirk Gently

    I thought this holiday season was going to be a total bust. Thanks for proving me wrong!

  • B MP Rooney

    Greatest day of 2018.

  • stanscorse

    How was Oasis, Frank?

  • pcch7

    Very low volume on this one?

  • devolutionary

    You guys may have forgotten, but I’m certain Dax has brought up Frank’s “mini-bar” actions before on the podcast. What a smooth operator! ????

  • Oso Jugo
  • Colin

    Yea I definitely remember hearing Dax talk about Franks shameful secret… “mini-bar’s open!”

  • The Shining was the first Kubrick I saw. I watched it with my older brother when I was 10 or 11, and I can tell you that for a kid that age it was scary as hell. I wasn’t sleeping in my own bed for some time afterwards ????

    Great premium as always!

  • Corey Pierce


  • Bizzaro Nate

    Paradigm shit ???????? Frank wins the world!

  • Mrespony

    I just caught the 4K release of 2001. I have no idea how it was restored or if any effects were cleaned up. It looked brilliant, still a masterpiece at the highest resolution where mistakes can be laid bare. I haven’t found any.

  • stevens1

    I saw the ‘Nolan’ restored version of 2001 at the cinema earlier in the year – I couldn’t see any problem with it. Then again, I’m not too hung up on the tech side of things.

  • Sam

    After watching/rewatching pretty much all Kubrick movies recently, I probably have less popular ranking of all his than most:

    2001: A Space Odyssey
    Dr. Strangelove
    The Killing
    A Clockwork Orange
    Paths of Glory
    Eyes Wide Shut
    The Shining
    Barry Lyndon
    Full Metal Jacket
    Killer’s Kiss

    Though to be fair, I’d give all of these, except Killer’s Kiss, at least a 4/5, so mostly just varying degrees of greatness.

    Would definitely love to hear Frank talk about The Killing or Paths of Glory some time in the future.

  • devolutionary

    You have Barry Lyndon alot further down your list than expected although I find a majority of praise comes from the technical aspects. Can’t argue with Killer’s Kiss as even Kubrick himself stated dissatisfation. I imagine you would put Fear and Desire near the bottom as well. I think it’s still available on YouTube.

  • Sam

    Don’t get me wrong, I did love Barry Lyndon too, Letterboxd it at 4.5/5, but after just first viewing, I would have it ranked about 8th, though I could definitely see it climb after a rewatch or two in the future.

  • Tommy

    Frank’s Shining monarchy theory has got to be one of his top five FJ moments.

  • yonato

    Great episode. Really hope to hear you discuss his other movies some time in the future.

    On the whole “is Kubrick one of the greatest directors of all time?” debate, I don’t think either Nolan or Tarantino comes anywhere close to atching Kubrick’s output or artistic vision. Tarantino is slightly closer though.

    I think Kubrick, Hitchcock, Kurosawa and maybe Tarkovsky and Bergman are the real contenders in terms of “greatest of all time”,

  • Samb

    “Dropped flaccid” — I got you, Jay.

  • Lior

    I think this breaks the record for the highest number of “amazing” uttered throughout a single episode. A real paradigm shift.

    Kubrick is unique among the great directors in that most of his movies are a self-contained genius creation, and with the notable exception of 2001 and perhaps to a lesser extent The Killing, their influence is not readily apparent. When you look at someone like Hitchcock, his influence on cinema is widespread and he has spawned many imitators, some more talented than others. But nobody’s really “doing Kubrick” today. Perhaps the only one that comes close is Paul Thomas Anderson in some of his latest pics. That’s because unlike Hitchcock who used a bunch of tricks and tropes to change the way suspense is presented on screen, Kubrick’s style is extremely technical and specific to him and cannot really be copied. As a result, while most of his own films remain towering achievements, they are not really influential in the classic sense.

    Seeing how you guys love these movies so much, it’s really a shame his whole filmography (which is not that long) is not covered. Yeah, The Shining is great, but it’s been discussed so much all over the internet already. So I hope someday there will be a part 2 and even a part 3 if necessary.

    Thanks for a great show on one of my favorite filmmakers!

  • Kenneth Serenyi

    Love me some “2010: The Year We Make Contact”, but it could use a few tweaks. The establishing shots with 1980’s computers need to be replaced and the computer graphics the characters see can easily be improved.

  • tyler mikol

    Yes totally. Especially our Seany boy, he’s quiet all the time and probably needs to have his mic tweaked higher than the rest but overall it was a great episode, just had a slight volume issue.

  • disqus_giSIyPBkpD 5+

  • disqus_Mct5jbyddH what

  • Oso Jugo

    I figured it out Seany boy. Charles Grady is a reference to Charles Manson. During the interview in the Shining, interviewer says Charles chopped up his family in 1970. The Manson murders took place in 1969 and Manson was convicted of first degree murder in 1971. From cnn: “Eliot writes that Nicholson was friends
    with Sharon Tate, who was among the multiple victims of the Manson
    Family. And when Charles Manson went on trial for the murders in 1970,
    Nicholson attended the proceedings virtually every day.

    “He was fascinated by Manson’s persona and the crazy way he looked”
    during the trial, Eliot writes. “Jack … couldn’t get enough of it.” That’s way he refers to Charles the first time instead of Delbert.

  • Oso Jugo

    You might want to sit down for this one Sean. I was thinking to myself, Sean needs more proof. If Scooby Doo has taught him anything, it’s not to believe a mystery is solved without sufficient proof. So I sit down and I put this movie The Shining on again scouring the frame for any nugget I can latch onto to get Sean over onto my side in this whole matter. So I’m watching and before long, what comes my way? Stuart UllMAN and Bill WatSON. The last letters of their names spell Manson. The two are in the novel however so I don’t know what to think of that. I would hate to have to give credit to Stephen King for much of anything. Of course, there appears to be no real reason why Kubrick kept Bill Watson in the movie, since he has tops two unimportant lines and is quickly moved out of the film permanently. He is there to have the name Bill Watson and possibly another theory I’m cooking up, which is–besides the oft mentioned idea that Ullman looks like Kennedy–Ullman and Watson look suspiciously like a bizzarro world version of the popular folk duo Simon and Garfunkel, who recorded their final album in 1970. Manson also styled himself a folk singer and was desperately trying to get into the business during the 60s. He finally was able to release an album in the winter of 1970 while in prison. And lest, Sean, you think the notion of the two actors being chosen to resemble a famous folk duo is ludicrous, I direct you this article, which also happens to latently support my idea that Kubrick was trying to make Jack Nicholson the actor a character in the film:

    Anyway, I’ve downloaded Adobe premier and I’m gonna see if I can put together a rough video essay to outline my ideas. Gotta stop bothering Sean with this stuff.