On Location: The houses in Stanley Kubrick’s… | Little White Lies

On Location

On Loca­tion: The hous­es in Stan­ley Kubrick’s Lolita

26 Sep 2020

Words by Adam Scovell

Monochrome Tudor mansion, suburban street with cars, half-timbered cottage, cloudy sunset over houses.
Monochrome Tudor mansion, suburban street with cars, half-timbered cottage, cloudy sunset over houses.
As with many of his Amer­i­can” fea­tures, the direc­tor utilised var­i­ous set­tings around London.

Even by the dar­ing stan­dards of ear­ly 1960s Amer­i­can cin­e­ma, it must still have seemed a gam­ble to adapt Vladimir Nabokov’s con­tro­ver­sial 1955 nov­el, Loli­ta. The book was banned from cross­ing the bor­der into Britain after ini­tial praise from Gra­ham Greene as well as in more lib­er­al France too. Its pub­li­ca­tion in Amer­i­ca had been equal­ly tricky, the book reject­ed by most major pub­lish­ers but sell­ing incred­i­bly well once avail­able in spite of its con­tro­ver­sial content.

It was Stan­ley Kubrick who took up the chal­lenge, assist­ed by Nabokov him­self as screen­writer, in what must have been an incred­i­bly dif­fi­cult project. In spite of copies being seized when first import­ed into Britain, Kubrick unusu­al­ly chose to base his pro­duc­tion in Lon­don. The real­i­ty it results in is bizarre. Some of the film’s most strik­ing moments of Amer­i­cana are actu­al­ly in the most unlike­ly of loca­tions: the Home Counties.

Though apply­ing some changes in empha­sis to the nar­ra­tive, Nabokov’s screen­play stayed most­ly true to his orig­i­nal nov­el. Suf­fice to say, it fol­lows the com­plex­i­ties sur­round­ing the trou­bling infat­u­a­tion of an old­er British aca­d­e­m­ic, Hum­bert (James Mason), with four­teen year old Loli­ta (Sue Lyon). Look­ing for a room to lodge in Rams­dale, New Hamp­shire while in prepa­ra­tion for his pro­fes­sor­ship at Beard­s­ley Col­lege, Hum­bert becomes the lodger of Char­lotte Haze (Shel­ley Win­ters), a mid­dle-class widow.

When slow­ly falling for her daugh­ter, he opts to mar­ry Char­lotte in order to stay. Hum­bert keeps his desires locked with­in the con­fines of an illic­it diary but, with the pres­sure of poten­tial rivals, includ­ing the creepy play­wright Clare Quilty (Peter Sell­ers), his lust soon sets off a chain of events that will even­tu­al­ly lead to sui­cide and murder.

In spite of being filled with mid­dle-class Amer­i­cana, it’s sur­pris­ing to find just how uncon­scious­ly British Loli­ta feels at times. Aside from the two lead­ing men being British (with Sell­ers using his skill in mim­ic­ry to play an Amer­i­can), there are a wealth of strange­ly Anglo-Sax­on tones. Hum­bert and Lolita’s first spark of shared attrac­tion occurs dur­ing the dri­ve-in view­ing of Ter­ence Fisher’s The Curse of Franken­stein; their embraced hands dis­cov­ered when Char­lotte also looks for a com­fort­ing hand in fear of Christo­pher Lee’s mon­ster. But ulti­mate­ly it is down to the loca­tions that pro­vide an uncon­scious hint of British­ness, the pro­duc­tion being locat­ed at Elstree Stu­dios in Hert­ford­shire, with spates of actu­al Amer­i­can film­ing in between.

The first exam­ple of this comes in the build­ing we see in the open­ing scene. Clare Quilty’s house – a cas­tle, in fact – is locat­ed not far from the stu­dio and it’s like­ly that some of the dri­ve we see open­ing the film was shot in the area around the Bore­ham­wood stu­dios as well. Hil­field Cas­tle dou­bles as Quilty’s Pavor Manor where the first and last seg­ments take place though is most­ly absent from the rest of the film. The film’s oth­er hous­es were also filmed in Britain, even when their impor­tance to the nar­ra­tive is at its height and the illu­sion of Amer­i­can sub­ur­bia is most essential.

Large old-fashioned house with dormers, gables, and half-timbered facade set amid green trees and foliage.

Charlotte’s house is piv­otal to the film. This isn’t just because it’s where so much of the dra­ma hap­pens – the film’s most famous imagery comes large­ly from its gar­den where Hum­bert first sees Loli­ta – but because it rep­re­sents the world of the film in a nut­shell. With its white fences and dis­tinct­ly mid­dle-class pre­ten­sions, it’s arguably as much a char­ac­ter as Char­lotte her­self, with Hum­bert tak­ing advan­tage of both.

In his nov­el, Nabokov describes the build­ing as a white-framed hor­ror… look­ing dingy and old, more grey than white – the kind of place you know will have a rub­ber tube affix­able to the tub faucet in lieu of a show­er.” For this loca­tion, Kubrick jour­neyed to Ger­rards Cross in Buck­ing­hamshire and found the house he need­ed not far from the town. The beau­ti­ful house still stands today, though the road is much busier and the typ­i­cal­ly Amer­i­can white fence has been replaced by a neat hedgerow.

Much lat­er on after a great deal of dra­ma, Hum­bert is reunit­ed with Loli­ta who is now liv­ing in her own ram­shackle place with her fiancé Dick (Gary Cock­rell). Hum­bert pleads one last time for her to run away but she rejects him, now con­tent with the sim­plic­i­ty of her life. To mark this shift, Kubrick returns to his home ter­ri­to­ry of New York with a vari­ety of shots show­ing Humbert’s dri­ve to vis­it Loli­ta one last time. Nabokov describes this house as a clap­board shack, with two or three sim­i­lar ones far­ther away from the road and a waste of with­ered weeds all around.”

Pastel-coloured cloudy sky; silhouetted buildings and trees; parked cars on a street.

All of this makes its actu­al loca­tion in Wat­ford even more sur­pris­ing and per­haps the strongest illu­sion in the film. The house is on Grover Road, not far from Bushey Over­ground Sta­tion. It is again vir­tu­al­ly unchanged; only ren­dered mod­ern by the exces­sive amount of cars that fill the street.

Though many films cre­ate illu­sions of else­where through what is avail­able on the stu­dio doorstep, few do so with quite the same lev­el of believ­abil­i­ty as Loli­ta, nor with the same brava­do in choos­ing loca­tions that are vir­tu­al­ly oppo­site to the actu­al set­ting. Vis­it­ing these loca­tions, it came as a sur­prise more than usu­al to meet echoes of such deeply Amer­i­can images resid­ing in and around sleepy out­er Lon­don and beyond. Yet, for a film in which things are nev­er quite as they appear, it seems more than just a lit­tle appropriate.

Access to the Ger­rards Cross loca­tion was kind­ly agreed with the per­mis­sion of the cur­rent own­ers. This loca­tion should not be sought out or vis­it­ed with­out their pri­or consent.

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