Emilio D'Alessandro. (2016). Stanley Kubrick and Me: Thirty Years at His Side. Arcade.

Emilio D'Alessandro. 2016. Stanley Kubrick and Me: Thirty Years At His Side. Arcade.

Emilio D'Alessandro, Stanley Kubrick and Me: Thirty Years At His Side. Arcade, 2016.

Emilio D'Alessandro. Stanley Kubrick and Me: Thirty Years At His Side. Arcade, 2016.

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2. • role: Author
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2016-05-17T00:00:00-04:00

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title

Stanley Kubrick and Me

fullDescription

This intimate portrait by his former personal assistant and confidante reveals the man behind the legendary filmmaker—for the first time.
Stanley Kubrick, the director of a string of timeless movies from Lolita and Dr. Strangelove to A Clockwork Orange, 2001: A Space Odyssey, Full Metal Jacket, and others, has always been depicted by the media as the Howard Hughes of filmmakers, a weird artist obsessed with his work and privacy to the point of madness. But who was he really? Emilio D'Alessandro lets us see. A former Formula Ford driver who was a minicab chauffeur in London during the Swinging Sixties, he took a job driving a giant phallus through the city that became his introduction to the director. Honest, reliable, and ready to take on any task, Emilio found his way into Kubrick's neurotic, obsessive heart. He became his personal assistant, his right-hand man and confidant, working for him from A Clockwork Orange until Kubrick's death in 1999.
Emilio was the silent guy in the room when the script for The Shining was discussed. He still has the coat Jack Nicholson used in the movie. He was an extra on the set of Eyes Wide Shut, Kubrick's last movie. He knew all the actors and producers Kubrick worked with; he observed firsthand Kubrick's working methods down to the smallest detail. Making no claim of expertise in cinematography but with plenty of anecdotes, he offers a completely fresh perspective on the artist and a warm, affecting portrait of a generous, kind, caring man who was a perfectionist in work and life.

reviews

1. • premium: False
   • source: The New York Times Book Review
   • content:

     "A weird, revealing delight . . . The accretion of details about this seemingly salt–of-the-earth working stiff and the eccentric artistic genius who paid him creates an irresistible picture of friendship, loyalty, and artistic temperament. . . . I enjoyed every word."

2. • premium: False
   • source: Kirkus
   • content: "As good an insider's view of middle- to late-period Kubrick as there is. . . . The book is funny and casual throughout. Of special interest are D'Alessandro's set notes, revealing, for example, that the cat lady room in A Clockwork Orange figured two decades later in Eyes Wide Shut."
3. • premium: False
   • source: Publishers Weekly
   • content: “Utterly charming . . . [A] sweet and sentimental record of service to a creative genius . . . the book's invitingly conversational tone and descriptions paint an all-too-human portrait of a cloistered artist and ardent workaholic who expected everything and more from his employees and returned their devotion in kind."
4. • premium: False
   • source: Vice
   • content: "Through detailed anecdotes and tender accounts of life both on location and off, D'Alessandro sheds light behind the scenes of Kubrick's famously controlled sets and offers a unique portrait of the man himself."
5. • premium: False
   • source: La Stampa
   • content: "No great man is great for his butler, they say, . . . as if the private life of someone extraordinary should always contradict his public image. That is not the case with the beautiful portrait that Emilio D'Alessandro and Filippo Ulivieri paint in Stanley Kubrick and Me. [...] D'Alessandro tells about a generous man, caring, perfectionist in his work, demanding in every aspect of the daily life. [...] It is a delightful book, indeed: gentle and delicate as the summer that slowly says goodbye and vanishes."
6. • premium: False
   • source: Il Sole 24 Ore
   • content: "This memoir is exquisite, not to be missed."
7. • premium: False
   • source: L'Unità
   • content: "There are so many details about Kubrick's daily life (and I mean 'daily,' not 'private': there is no gossip here) in this outstanding book--352 pages you read in a snap. [...] Stanley Kubrick and Me is perhaps the most important book ever written about Kubrick. It offers a portrait full of warmth, a touching memoir about the filmmaker, and at the same time it clears away all the stupid and crazy stuff about him that has plagued his image for years."
8. • premium: False
   • source: Radio Capital
   • content: "This is a story of genius and sweetness. It is an exciting book because it gives tons of detail about how Kubrick's films were made, but it is also, and surprisingly, a sort of sentimental novel, beautifully written . . . a story of warm feelings--an oblique tale of two souls in which genius and humility are knit together and sometimes exchange places."
9. • premium: False
   • source: Il Venerdì di Repubblica
   • content: "Here is a perfect match, here are two men who greatly admired each other and are happy to show it. [...] Stanley Kubrick and Emilio D'Alessandro, the visionary genius and the man who drove him anywhere, the imaginative director and his factotum, the art of thinking and the craft of doing, the mind and the body. They're like two happy kids at a birthday party."
10. • premium: False
    • source: Il Venerdì di Repubblica
    • content: "His portrayal of Kubrick is heartfelt, yet detached. There is a controlled admiration running through the pages, a need to understand who Kubrick really was beyond the legend, and above all without the usual tales that depict him as someone who was furiously, obsessively, and crazily cut off from the world. [...] Emilio was the ideal character in a unique story, told with devotion, respect, and freedom. Here, there are no unnecessary frills and no implausible details that often damage many accounts of extraordinary encounters."
11. • premium: False
    • source: Globalist
    • content: "At last, a new book that for the first time seems to succeed in capturing the real Kubrick, the everyday man--who is indivisible from the artist, because thanks to the book you see how Kubrick was always “on." always working, focused on his job. . . It is a very humorous book, and a touching one, even moving: something that is indeed a paradox for an artist who kept tears constantly away in his films. [...] The book offers relaxing reading for any Kubrick fan who has tried for years to distinguish the truth from the Internet bullshit. After reading the book, I think I love Emilio,...
12. • premium: True
    • source:
    • content:

      March 21, 2016
      Stanley Kubrick, the renowned director of 2001: A Space Odyssey and many other films, is typically depicted as a cold, temperamental, and intensely private man. First-time author D’Alessandro complicates that portrayal with this informal and utterly charming account of what it was like to be employed by Kubrick for 30 years. D’Alessandro, a cabbie and aspiring race-car driver, was hired as Kubrick’s chauffeur during the making of A Clockwork Orange. Soon afterward, he became the director’s right-hand man. At first he was assigned to menial tasks such as shopping, cleaning, and feeding Kubrick’s many cats, but soon the unassuming Italian family man found himself transporting props to the set of Barry Lyndon, attending the shooting of The Shining, and even acting in the director’s last film, Eyes Wide Shut. The book includes a selection of D’Alessandro’s personal photos, including those of the numerous props he owns from Kubrick’s movies. This sweet and sentimental record of service to a creative genius may lack profundity, but the book’s invitingly conversational tone and descriptions paint an all-too-human portrait of a cloistered artist and ardent workaholic who expected everything and more from his employees and returned their devotion in kind.

13. • premium: True
    • source:
    • content:

      April 1, 2016
      A fly-on-the-wall view of the movie business as conducted by a highly eccentric director. Stanley Kubrick (1928-1999) was not much interested in understanding the details of modern life; he didn't do his own shopping, sent others on errands, had artisans make him storage boxes and shirts, and knew nothing about how to fix such things as a printer without toner or a crashing computer. "It's true," writes D'Alessandro, Kubrick's former personal assistant. "Stanley knew absolutely nothing about these frustrations, but it wasn't a question of class. It's because all he had to do was call Emilio." An Italian expatriate in England at the turn of the 1970s, the author opens with the story of him turning down a job offer from John Wayne only to go to work for a rather helpless Kubrick in the uncertain business of moviemaking. His duties grew proportionally, and soon, by D'Alessandro's account, he was part of the director's daily routine. Indeed, the author is not shy of taking credit where Kubrick did not specifically give it to him for such things as suggesting the incidental music ("an orchestral piece featuring a French horn, an instrument that I had always liked a lot") for The Shining and chasing down camera equipment that figured in Kubrick's still and film photography. D'Alessandro is matter-of-fact and not boastful about these contributions. Just as much of his work involves negotiating a diplomatically delicate middle path between Kubrick and his wife, Christiane, in endless arguments over what to acquire and what to throw out, a case in point being "thousands of beeswax candles" specially made for Barry Lyndon. The book is funny and casual throughout. Of special interest are D'Alessandro's set notes, revealing, for example, that the cat lady room in Clockwork Orange figured two decades later in Eyes Wide Shut. As good an insider's view of middle- to late-period Kubrick as there is.

      COPYRIGHT(2016) Kirkus Reviews, ALL RIGHTS RESERVED.

14. • premium: True
    • source:
    • content:

      May 1, 2016
      

      Originally published in 2012 in Italian, D'Alessandro's memoir of his decades as director Stanley Kubrick's driver and assistant is not the flashy showbiz tell-all that Hollywood enthusiasts might enjoy, but it does illuminate the unglamorous but necessary work filmmaking requires behind the scenes. A Formula Ford racing driver in late 1960s England, D'Alessandro was desperate and unemployed when he began driving minicabs around London. This led to a job as a courier for Kubrick's production company just as 1971's A Clockwork Orange was released. The author's role soon morphed into an all-purpose laborer and office attendant available around the clock to the obsessive yet kind Kubrick. The director's subsequent productions of Barry Lyndon, The Shining, Full Metal Jacket, and Eyes Wide Shut kept D'Alessandro close to the action and seemingly nonstop busy, to the detriment of his own family. Failing at several attempts to quit his position, D'Alessandro remained Kubrick's loyal if borderline-codependent factotum until the director's sudden death in 1999. VERDICT Hard-core Kubrick devotees won't learn much, but this easygoing and likable memoir humanizes an eccentric titan of cinema.--Chad Comello, Morton Grove P.L., IL

      Copyright 2016 Library Journal, LLC Used with permission.

15. • premium: True
    • source:
    • content:

      May 15, 2016
      Prior to being hired by Kubrick as his driver, D'Allesandro had already proven himself by couriering an enormous, white phallus during the filming of A Clockwork Orange. Over the next 30 years, D'Allesandro became much more than a driver, serving as plumber, electrician, handyman, gardener, pet wrangler, and stand-in, becoming Kubrick's personal assistant, ambassador, and, ultimately, a much-loved member of the Kubrick household. D'Alessandro managed the Kubrick residences of Abbots Mead and later Childwickbury, which were not only home to the family but centers of production for the director's films. D'Alessandro's position allowed him unique access to Kubrick, and he, along with coauthor Ulivieri, portrays him as an eccentric, uncompromising genius, gentle, generous, and demanding, a father figure, but certainly not the ogre others have described. Kubrick spent years on realizing each of his pictures, and D'Allesandro's moving, intimate portrait of the artist takes us through Barry Lyndon, The Shining, Full Metal Jacket and Eyes Wide Shut and includes entertaining cameos by Ryan O'Neal, Jack Nicholson, Brian Aldiss, Michael Herr, and Tom Cruise.(Reprinted with permission of Booklist, copyright 2016, American Library Association.)

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This intimate portrait by his former personal assistant and confidante reveals the man behind the legendary filmmaker—for the first time.
Stanley Kubrick, the director of a string of timeless movies from Lolita and Dr. Strangelove to A Clockwork Orange, 2001: A Space Odyssey, Full Metal Jacket, and others, has always been depicted by the media as the Howard Hughes of filmmakers, a weird artist obsessed with his work and privacy to the point of madness. But who was he really? Emilio D'Alessandro lets us see. A former Formula Ford driver who was a minicab chauffeur in London during the Swinging Sixties, he took a job driving a giant phallus through the city that became his introduction to the director. Honest, reliable, and ready to take on any task, Emilio found his way into Kubrick's neurotic, obsessive heart. He became his personal assistant, his right-hand man and confidant, working for him from A Clockwork Orange until Kubrick's death...

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Stanley Kubrick and Me Thirty Years at His Side

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Thirty Years at His Side

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