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Lolita

Lolita

Drama · Comedy · Romance · 1962

Humbert Humbert is a middle-aged British novelist who is both appalled by and attracted to the vulgarity of American culture. When he comes to stay at the boarding house run by Charlotte Haze, he soon becomes obsessed with Lolita, the woman's teenaged daughter.

Movie details

Lolita

“How did they ever make a movie of Lolita?”

1962 Drama · Comedy · Romance 2h 34m

Critical arithmetic

One number, for now.

TMDB

7.3 / 10

Community rating

Humbert Humbert is a middle-aged British novelist who is both appalled by and attracted to the vulgarity of American culture. When he comes to stay at the boarding house run by Charlotte Haze, he soon becomes obsessed with Lolita, the woman's teenaged daughter.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Lolita?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Lolita

Lolita

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Humbert Humbert is a middle-aged British novelist who is both appalled by and attracted to the vulgarity of American culture. When he comes to stay at the boarding house run by Charlotte Haze, he soon becomes obsessed with Lolita, the woman's teenaged daughter.

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Names above the title

The people responsible.

Directed by

Stanley Kubrick

Written by

Vladimir Nabokov

James Mason

James Mason

Prof. Humbert Humbert

Shelley Winters

Shelley Winters

Charlotte Haze

Sue Lyon

Sue Lyon

Dolores "Lolita" Haze

Gary Cockrell

Gary Cockrell

Richard T. "Dick" Siller

Jerry Stovin

Jerry Stovin

John Farlow

Diana Decker

Diana Decker

Jean Farlow

Lois Maxwell

Lois Maxwell

Nurse Mary Lore

Court is in session

Put Lolita on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.