In the summer of 1994, Kubrick sent Raphael, then living in France, a novel to read and judge suitable for screen adaptation. It was Traumnovelle, or "Dream Novella," a turn-of-the-century erotic fiction by Arthur Schnitzler. [Note: Best-known for La Ronde]
But in a mark of Kubrick's weird and secretive nature, he refused to tell Raphael the identity of the work's author (Raphael guessed). The novella by Schnitzler, who also wrote the play on which the Nicole Kidman stage vehicle The Blue Room was based, concerns the kinky, extramarital adventures of a Viennese Jew and his wife.
Kubrick wanted to shift the narrative to modern-day New York. Raphael ... visited Kubrick at his English country estate. Upon returning to France, Raphael noted the director's "strangely passive curiosity," and told his wife that one visit with the inscrutable Kubrick could give a (male) screenwriter a good impression of what it was like to be a woman: "You don't know exactly what he wants, but you know he doesn't know what he wants, and hopes you can supply it. He has virtually no ideas at all."
Kubrick's bizarre relationship to his own ethnicity deeply troubled Raphael, a fellow Jew. While demanding an almost slavish fidelity to the Schnitzler novella, described by Raphael as being "impregnated with Jewishness," Kubrick nevertheless instructed Raphael to expunge all Jewishness from his adaptation.
Raphael speculates that understanding Kubrick the Jew is fundamental to understanding the man. He speculates that Kubrick's penchant for secrecy and paranoia came from an outsider's fear of being found out and hounded by "those people," i.e., Gentiles. For Raphael, Kubrick is "the sedentary wandering Jew, rootlessly rooted within his own defenses."
rerevisionist wrote:BILLY WILDER another Jewish liar. Good overview here on the history of the way the 'Holocaust' propaganda developed with events.
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