Lolita is a novel by Vladimir Nabokov, first written in English and published in 1955 in Paris, later translated by the author into Russian and published in 1958 in New York. The book is internationally famous for its innovative style and infamous for its controversial subject: the protagonist and unreliable narrator, middle-aged Humbert Humbert, who becomes obsessed and sexually involved with a 12-year-old girl named Dolores Haze.
After its publication, Nabokov's Lolita attained a classic status, becoming one of the best-known and most controversial examples of 20th century literature. The name "Lolita" has entered pop culture to describe a sexually precocious girl. The novel was adapted to film by Stanley Kubrick in 1962, and again in 1997 by Adrian Lyne.
Lolita is included on TIME's 100 Best English-language Novels from 1923 to 2005. It is fourth on the Modern Library's 1998 list of the 100 Best Novels of the 20th century.
Plot summary
Lolita is divided into two parts and 36 short chapters. It is narrated by Humbert Humbert, a literary scholar born in 1910 to a Swiss father and an English mother in Paris, who is obsessed with what he refers to as "nymphets". Humbert suggests that this obsession results from the death of a childhood sweetheart, Annabel Leigh. In 1947, Humbert moves to Ramsdale, a small New England town, to write. He rents a room in the house of Charlotte Haze, a widow. While Charlotte tours him around the house, he meets her 12-year-old daughter, Dolores (also known as Dolly, Lolita, Lola, Lo, and L), with whom he falls in love at first sight. Humbert stays at the house only to remain with her. While he is infatuated with Lolita, a highly intelligent and articulate, albeit tempestuous teenage girl, he disdains of her preoccupation with contemporary American popular culture, such as teen movies and comic books.
While Lolita is away at summer camp, Charlotte, who has fallen in love with Humbert, tells him that he must either marry her or move out. Humbert reluctantly agrees in order to continue living near Lolita. Charlotte is oblivious of Humbert's distaste and pity for her, and his lust for Lolita, until she reads his diary. Upon learning of Humbert's true feelings and intentions, Charlotte is appalled. She makes plans to flee with Lolita, and threatens to expose Humbert's perversions. But as she runs across the street in a state of shock, she is struck and killed by a passing car.
Humbert picks Lolita up from camp, pretending that Charlotte is ill in a hospital. He does not return to Charlotte's home out of fear that the neighbors will be suspicious. Instead, he takes Lolita to a hotel, where he meets a strange man (later revealed to be Clare Quilty), who seems to know who he is. Humbert attempts to use sleeping pills on Lolita so that he may molest her without her knowledge, but they have little effect on her. Instead, she initiates sex. He discovers that he is not her first lover, as she had sex with a boy at summer camp. Humbert reveals to Lolita that Charlotte is actually dead; Lolita has no choice but to accept her stepfather into her life on his terms.
Lolita and Humbert drive around the country, moving from state to state and motel to motel. Humbert initially keeps the girl under control by threatening her with reform school; later he bribes her for sexual favors, though he knows that she does not reciprocate his love and shares none of his interests. The novel's first part ends after he rapes her. After a year touring North America, the two settle down in another New England town, where Lolita is enrolled in school. Humbert is very possessive and strict, forbidding Lolita to take part in after-school activities or to associate with boys; the townspeople, however, see this as the action of a loving and concerned, while old fashioned, parent.
Lolita begs to be allowed to take part in the school play; Humbert reluctantly grants his permission in exchange for more sexual favors. The play is written by Clare Quilty. He is said to have attended a rehearsal and been impressed by Lolita's acting. Just before opening night, Lolita and Humbert have a ferocious argument, which culminates in Lolita saying she wants to leave town and resume their travels.
As Lolita and Humbert drive westward again, Humbert gets the feeling that their car is being tailed and he becomes increasingly paranoid, suspecting that Lolita is conspiring with others in order to escape. She falls ill and must convalesce in a hospital; Humbert stays in a nearby motel, without Lolita for the first time in years. One night, Lolita disappears from the hospital; the staff tell Humbert that Lolita's "uncle" checked her out. Humbert embarks upon a frantic search to find Lolita and her abductor, but eventually he gives up.
One day in 1952, Humbert receives a letter from Lolita, now 17, who tells him that she is married, pregnant, and in desperate need of money. Humbert goes to see Lolita, giving her money in exchange for the name of the man who abducted her. She reveals the truth: Clare Quilty, an acquaintance of Charlotte's and the writer of the school play, checked her out of the hospital and attempted to make her star in one of his pornographic films; when she refused, he threw her out. She worked odd jobs before meeting and marrying her husband, who knows nothing about her past.
Humbert asks Lolita to leave her husband and return to him, but she refuses, and he breaks down in tears. He leaves Lolita, and kills Quilty at his mansion, shooting him to death in an act of revenge. He then is arrested for driving on the wrong side of the road and swerving. The narrative closes with Humbert's final words to Lolita in which he wishes her well, and reveals the novel in its metafiction to be the memoirs of his life, only to be published after he and Lolita have both died.
According to the novel's fictional "Foreword", Humbert dies of coronary thrombosis upon finishing his manuscript. Lolita dies giving birth to a stillborn girl on Christmas Day, 1952.
Style and interpretation
The novel is a tragicomedy narrated by Humbert, who riddles the narrative with word play and his wry observations of American culture. His humor provides an effective counterpoint to the pathos of the tragic plot. The novel's flamboyant style is characterized by word play, double entendres, multilingual puns, anagrams, and coinages such as nymphet, a word that has since had a life of its own and can be found in most dictionaries, and the lesser used "faunlet." One of the novel's characters, "Vivian Darkbloom," is an anagram for author Vladimir Nabokov.
Several times, Humbert begs the reader to understand that he is not proud of his union with Lolita, but is filled with remorse. At one point, he is listening to the sounds of children playing outdoors, and is stricken with guilt at the realization that he robbed Lolita of her childhood.
Some critics have accepted Humbert's version of events at face value. In 1959, novelist Robertson Davies excused the narrator entirely, writing that the theme of Lolita is "not the corruption of an innocent child by a cunning adult, but the exploitation of a weak adult by a corrupt child. This is no pretty theme, but it is one with which social workers, magistrates and psychiatrists are familiar."
Most writers, however, have given less credit to Humbert and more to Nabokov's powers as an ironist. For Richard Rorty, in his famous interpretation of Lolita in Contingency, Irony, and Solidarity, Humbert is a "monster of incuriosity." Nabokov himself described Humbert as "a vain and cruel wretch" and "a hateful person" (quoted in Levine, 1967).
Martin Amis, in his essay on Stalinism, Koba the Dread, proposes that Lolita is an elaborate metaphor for the totalitarianism that destroyed the Russia of Nabokov's childhood (though Nabokov states in his Afterword that he "[detests] symbols and allegories"). Amis interprets it as a story of tyranny told from the point of view of the tyrant. "Nabokov, in all his fiction, writes with incomparable penetration about delusion and coercion, about cruelty and lies", he says. "Even Lolita, especially Lolita, is a study in tyranny."
In 2003, Iranian expatriate Azar Nafisi published the memoir Reading Lolita in Tehran about a covert women's reading group. For Nafisi, the essence of the novel is Humbert's solipsism and his erasure of Lolita's independent identity. She writes: "Lolita was given to us as Humbert's creature [...] To reinvent her, Humbert must take from Lolita her own real history and replace it with his own [...] Yet she does have a past. Despite Humbert's attempts to orphan Lolita by robbing her of her history, that past is still given to us in glimpses."
One of the novel's early champions, Lionel Trilling, warned in 1958 of the moral difficulty in interpreting a book with so eloquent and so self-deceived a narrator: "we find ourselves the more shocked when we realize that, in the course of reading the novel, we have come virtually to condone the violation it presents [...] we have been seduced into conniving in the violation, because we have permitted our fantasies to accept what we know to be revolting."[citation needed]
Publication and reception
Due to its subject matter, Nabokov was unable to find an American publisher for Lolita after finishing it in 1953. After four refusals, he finally resorted to Olympia Press in Paris, September 1955. Although the first printing of 5,000 copies sold out, there were no substantial reviews. Eventually, at the end of 1955, Graham Greene, in an interview with the (London) Times, called it one of the best novels of 1955. This statement provoked a response from the (London) Sunday Express, whose editor called it "the filthiest book I have ever read" and "sheer unrestrained pornography." British Customs officers were then instructed by a panicked Home Office to seize all copies entering the United Kingdom. In December 1956, the French followed suit and the Minister of the Interior banned Lolita (the ban lasted for two years). Its eventual British publication by Weidenfeld & Nicolson caused a scandal that contributed to the end of the political career of one of the publishers, Nigel Nicolson.
By complete contrast, American officials were initially nervous, but the first American edition was issued without problems by G.P. Putnam's Sons in 1958, and was a bestseller, the first book since Gone with the Wind to sell 100,000 copies in the first three weeks of publication. The first official translation of the book was the Danish edition, which was published in 1957.
Today, it is considered by many to be one of the finest novels written in the 20th century. In 1998, it was named the fourth greatest English language novel of the 20th century by the Modern Library. Nabokov rated the book highly himself. In an interview for BBC Television in 1962 he said,
Lolita is a special favourite of mine. It was my most difficult book—the book that treated of a theme which was so distant, so remote, from my own emotional life that it gave me a special pleasure to use my combinational talent to make it real.
Two years later, in 1964's interview for Playboy, he said,
I shall never regret Lolita. She was like the composition of a beautiful puzzle—its composition and its solution at the same time, since one is a mirror view of the other, depending on the way you look. Of course she completely eclipsed my other works—at least those I wrote in English: The Real Life of Sebastian Knight, Bend Sinister, my short stories, my book of recollections; but I cannot grudge her this. There is a queer, tender charm about that mythical nymphet.
At the same year, in the interview for Life, Nabokov was asked, "Which of your writings has pleased you most?" He answered,
I would say that of all my books Lolita has left me with the most pleasurable afterglow—perhaps because it is the purest of all, the most abstract and carefully contrived. I am probably responsible for the odd fact that people don't seem to name their daughters Lolita any more. I have heard of young female poodles being given that name since 1956, but of no human beings.
Sources and links
Links in Nabokov's work
In 1939, Nabokov wrote a novella Volshebnik (Волшебник) that was published only posthumously in 1986 in English translation as The Enchanter. It can be seen as an early version of Lolita but with significant differences: it takes place in Central Europe, and the protagonist is unable to consummate his passion with his stepdaughter, leading to his suicide. The theme of ephebophilia was already touched on by Nabokov in his short story A Nursery Tale, written in 1926. Also, in the 1932 Laughter in the Dark, Margot Peters is sixteen and already had an affair when middle-aged Albinus is attracted to her.
In chapter three of the novel The Gift (written in Russian in 1935–1937) the similar gist of Lolita's first chapter is outlined to the protagonist Fyodor Cherdyntsev by his obnoxious landlord Shchyogolev as an idea of a novel he would write "if I only had the time": a man marries a widow only to gain access to her young daughter, who however resists all his passes. Shchyogolev says it happened "in reality" to a friend of his; it is made clear to the reader that it concerns himself and his stepdaughter Zina (fifteen at the time of marriage) who becomes the love of Fyodor's life and his child bride.
In April 1947 Nabokov wrote to Edmund Wilson: "I am writing ... a short novel about a man who liked little girls–and it's going to be called The Kingdom by the Sea...." The work expanded into Lolita during the next eight years. Nabokov used the title A Kingdom by the Sea in his 1974 pseudo-autobiographic novel Look at the Harlequins! for a Lolita-like book written by the narrator who, in addition, travels with his teenage daughter Bel from motel to motel after the death of her mother; later, his fourth wife is Bel's look-alike and shares her birthday.
In the unfinished novel The Original of Laura, published posthumously, a character Hubert H. Hubert appears, an older man preying upon then-child protagonist, Flora. Unlike in Lolita, his advances are unsuccessful.
Allusions/references to other works
* In the Foreword, there is a reference to "the monumental decision rendered December 6, 1933 by Hon. John M. Woolsey in regard to another, considerably more outspoken book"—that is, the decision in the case United States v. One Book Called Ulysses, in which Woolsey ruled that James Joyce's novel was not obscene and could be sold in the United States.
* Humbert Humbert's first love, Annabel Leigh, is named after the "maiden" in the poem "Annabel Lee" by Edgar Allan Poe, and their young love is described in phrases borrowed from Poe's poem. Nabokov originally intended Lolita to be called The Kingdom by the Sea, drawing on the rhyme with Annabel Lee that was used in the first verse of Poe's work. A passage at the end of Chapter 1 — "Ladies and gentlemen of the jury, exhibit number one is what the seraphs, the misinformed, simple, noble-winged seraphs, envied. Look at this tangle of thorns" — is also a reference to the poem. ("With a love that the winged seraphs in heaven / Coveted her and me.")
* Humbert Humbert's double name recalls Poe's "William Wilson", a tale in which the main character is haunted by his doppelgänger, paralleling to the presence of Humbert's own doppelgänger, Clare Quilty. Humbert is not, however, his real name, but a chosen pseudonym.
* Humbert Humbert's field of expertise is French literature (one of his jobs is writing a series of educational works that compare French writers to English writers), and as such there are several references to French literature, including the authors Gustave Flaubert, Marcel Proust, François Rabelais, Charles Baudelaire, Prosper Mérimée, Remy Belleau, Honoré de Balzac, and Pierre de Ronsard.
* In chapter 17 of Part I, Humbert quotes "to hold thee lightly on a gentle knee and print on thy soft cheek a parent's kiss" from Lord Byron's Childe Harold's Pilgrimage.
* In chapter 35 of Part II, Humbert's "death sentence" on Quilty parodies the rhythm and use of anaphora in T. S. Eliot's poem Ash Wednesday.
* The line "I cannot get out, said the starling" from Humbert's poem is taken from a passage in Laurence Sterne's A Sentimental Journey Through France and Italy, "The Passport, the Hotel De Paris."
Possible real-life prototypes
According to Alexander Dolinin, the prototype of Lolita was 11-year-old Florence Horner, kidnapped in 1948 by a 50-year-old mechanic Frank La Salle, who had caught her stealing a five-cent notebook. La Salle traveled with her over various states for 21 months and is believed to have raped her. He claimed that he was an FBI agent and threatened to “turn her in” for the theft and to send her to "a place for girls like you." The Horner case was not widely reported, but Dolinin adduces various similarities in events and descriptions.
The problem with this suggestion is that Nabokov had already used the same basic idea — that of a child molester and his victim booking into an hotel as man and daughter — in his then-unpublished 1939 work Volshebnik (Волшебник). This is not to say, however, that Nabokov could not have drawn on some details of the case in writing Lolita, and the La Salle case is mentioned explicitly in Chapter 33 of Part II:
Had I done to Dolly, perhaps, what Frank Lasalle, a fifty-year-old mechanic, had done to eleven-year-old Sally Horner in 1948?
Heinz von Lichberg's "Lolita"
German academic Michael Maar's book The Two Lolitas describes his recent discovery of a 1916 German short story titled "Lolita" about a middle-aged man travelling abroad who takes a room as a lodger and instantly becomes obsessed with the preteen girl (also named Lolita) who lives in the same house. Maar has speculated that Nabokov may have had cryptomnesia (a "hidden memory" of the story that Nabokov was unaware of) while he was composing Lolita during the 1950s. Maar says that until 1937 Nabokov lived in the same section of Berlin as the author, Heinz von Eschwege (pen name: Heinz von Lichberg), and was most likely familiar with his work, which was widely available in Germany during Nabokov's time there. The Philadelphia Inquirer, in the article "Lolita at 50: Did Nabokov take literary liberties?" says that, according to Maar, accusations of plagiarism should not apply and quotes him as saying: "Literature has always been a huge crucible in which familiar themes are continually recast... Nothing of what we admire in Lolita is already to be found in the tale; the former is in no way deducible from the latter." See also Jonathan Lethem in Harper's Magazine on this story.
Nabokov's afterword
In 1956, Nabokov penned an afterword to Lolita ("On a Book Entitled Lolita") that was included in every subsequent edition of the book.
One of the first things Nabokov makes a point of saying is, despite John Ray Jr.'s claim in the Foreword, there is no moral to the story.
In the afterword, Nabokov wrote that "the initial shiver of inspiration" for Lolita "was somehow prompted by a newspaper story about an ape in the Jardin des Plantes who, after months of coaxing by a scientist, produced the first drawing ever charcoaled by an animal: this sketch showed the bars of the poor creature's cage". Neither the article nor the drawing has been recovered.
In response to an American critic who characterized Lolita as the record of Nabokov's "love affair with the romantic novel", Nabokov wrote that "the substitution of 'English language' for 'romantic novel' would make this elegant formula more correct".
Nabokov concluded the afterword with a reference to his beloved first language, which he abandoned as a writer once he moved to the United States in 1940: "My private tragedy, which cannot, and indeed should not, be anybody's concern, is that I had to abandon my natural idiom, my untrammeled, rich, and infinitely docile Russian language for a second-rate brand of English".
Russian translation
Nabokov translated Lolita into Russian; the translation was published by Phaedra in New York in 1967.
The translation includes a "Postscriptum" in which Nabokov reconsiders his relationship with his native language. Referring to the afterword to the English edition, Nabokov states that only "the scientific scrupulousness led me to preserve the last paragraph of the American afterword in the Russian text..." He further explains that the "story of this translation is the story of a disappointment. Alas, that 'wonderful Russian language' which, I imagined, still awaits me somewhere, which blooms like a faithful spring behind the locked gate to which I, after so many years, still possess the key, turned out to be non-existent, and there is nothing beyond that gate, except for some burned out stumps and hopeless autumnal emptiness, and the key in my hand looks rather like a lock pick."
Film, TV or theatrical adaptations
The 1962 adaptation's movie poster art.
The 1997 movie poster art.
* Lolita has been filmed twice: the first adaptation was made in 1962 by Stanley Kubrick, and starred James Mason, Shelley Winters, Peter Sellers and Sue Lyon as Lolita; and a second adaptation in 1997 by Adrian Lyne, starring Jeremy Irons, Dominique Swain, and Melanie Griffith. Nabokov was nominated for an Academy Award for his work on the earlier film's adapted screenplay, although little of this work reached the screen. The more recent version was given mixed reviews by critics. It was delayed for over a year because of its controversial subject matter, and was not released in Australia until 1999.
* Nabokov's own version of the screenplay (dated Summer 1960 and revised December 1973) for Kubrick's film was published by McGraw-Hill in 1974.
* The book was adapted into a musical in 1971 by librettist/lyricist Alan Jay Lerner and composer John Barry under the title Lolita, My Love. Critics were surprised at how sensitively the story was translated to the stage, but the show nonetheless closed on the road before it opened in New York.
* In 1982, Edward Albee adapted the book into a non-musical play. It was savaged by critics, Frank Rich notably attributing the temporary death of Albee's career to it.
* In 2003, Russian director Victor Sobchak wrote a second non-musical stage adaptation, which played in England at the Lion and Unicorn Fringe Theater in London. It drops the character of Quilty and updates the story to modern England.
* Rodion Shchedrin adapted Lolita into a Russian language opera, which premiered in Moscow in 2006 and was published that same year. It had a much earlier performance in Sweden in 1992. It was nominated for Russia's Golden Mask award.
* The Boston-based composer John Harbison began an opera of Lolita, which he abandoned in the wake of the clergy child-abuse scandal that rocked Boston. Fragments of what he had done were woven into seven-minute piece "Darkbloom: Overture for an Imagined Opera". Vivian Darkbloom, an anagram of Vladimir Nabokov, is a character in Lolita.
References in other media
* The novel Lo's Diary by Pia Pera retells the story from Lolita's point of view, making major plot changes on the premise that Humbert's version is incorrect on many points. Lolita is characterized as being quite sadistic and manipulative.
* The collection Poems for Men who Dream of Lolita by Kim Morrissey takes the form of a series of poems written by Lolita herself reflecting on the events in the story, a sort of diary in poetry form. In strong contrast to Pera's novel, Morrissey portrays Lolita as an innocent, wounded soul. Morrissey had earlier done a stage adaptation of Sigmund Freud's famous Dora case.
* Steve Martin wrote the short story "Lolita at Fifty" (included in his collection Pure Drivel), which is a gently humorous look at how Dolores Haze's life might have turned out.
* In The Police song "Don't Stand So Close to Me" about a schoolgirl's crush on her teacher, the teacher "starts to shake and cough just like the old man in that book by Nabokov." The singer mispronounces Nabokov's name.
* The lyrics of the song "Posters", a song by the rock band Dada about a girl who leads the (male) narrator to her room, includes the line "She asked me if I ever read Lolita."
* In the 1999 film American Beauty, the lead character's name, Lester Burnham, is an anagram of "Humbert learns".
* The 2001 Album Gourmandises by the French singer-songwriter Alizee featured her most successful single Moi... Lolita which reached number one in several countries in Europe and East Asia
* The 2007 Marilyn Manson song and music video for "Heart-Shaped Glasses (When the Heart Guides the Hand)" draws strong influence from Lolita, largely inspired by the comparable age difference between Manson and girlfriend Evan Rachel Wood.
* In Katy Perry's song 'One of the Boys', she mentions Lolita. "I studied Lolita religiously"
* The 2010 song "Lolita" by Mexican singer Belinda was inspired by the story.
* On their 2010 album, the band Glass Wave dedicates a song to Lolita. The lyrics are sung in her own voice.
* In the Red Dwarf episode Marooned, David Lister is forced to burn books to keep warm after crashing on an Ice Planet. When asking if he can burn Lolita, Arnold Rimmer advises him to "save page sixty eight". Lister reads it, calls it "disgusting" then slips it into his jacket and burns the rest.
* In the novel Pretty Little Liars, Hanna makes a silent reference when she catches a 40 year old man staring at her and Mona. She looks at him and thinks "A regular Humbert Humbert", but doesn't speak aloud because Mona wouldn't understand the literary reference and she had only read it in the first place because "Lolita looked deliciously dirty."
Further reading
* Appel, Alfred Jr. (1991). The Annotated Lolita (revised ed.). New York: Vintage Books. ISBN 0-679-72729-9. One of the best guides to the complexities of Lolita. First published by McGraw-Hill in 1970. (Nabokov was able to comment on Appel's earliest annotations, creating a situation that Appel described as being like John Shade revising Charles Kinbote's comments on Shade's poem Pale Fire. Oddly enough, this is exactly the situation Nabokov scholar Brian Boyd proposed to resolve the literary complexities of Nabokov's Pale Fire.)
* Levine, Peter (1967). "Lolita and Aristotle's Ethics" in Philosophy and Literature Volume 19, Number 1, April 1995, pp. 32–47.
* Nabokov, Vladimir (1955). Lolita. New York: Vintage International. ISBN 0-679-72316-1. The original novel.
完整的演職員表：
導演阿德裏安·萊恩
演員梅勒尼·格利菲恩 charlotte haze
傑瑞米·艾恩斯 humbert humbert
多米尼剋·斯溫 dolores 'lolita' haze
弗蘭剋·朗格拉 clare quilty
繆斯·沃森 (uncredited)
annabelle apsion mrs. leigh
lenore banks nurse at hospital
donnie boswell sr. taxi driver
don brady frank mccoo
michael culkin mr. leigh
paula davis motel clerk
erin j. dean mona
dorothy deavers receptionist
michael dolan dick
judy duggan solo singer/piano player
john franklyn-robbins (uncredited)
tim gallin hospital orderly
joan glover miss labone
michael goodwin mr. beale
ed grady dr. melinik
emma griffiths malin anabelle leigh
jim grimshaw policeman
trip hamilton mr. blue
margaret hammonds nurse
mert hatfield policeman (accident)
scott brian higgs policeman (accident)
hallee hirsh little girl in bunny suit
chris jarman policeman
brett kinard gas station attendant (scenes _delete_d)
hudson lee long elderly clerk
angela paton mrs. holmes
pat pierre perkins louise
kathryn peterson private school guide (uncredited)
ronald pickup young humbert's father
keith reddin reverend rigger
suzanne shepherd miss pratt
ben silverstone young humbert humbert
brent wade smith valet (uncredited)
編劇vladimir nabokov (novel)
stephen schiff (screenplay)
製片人mario kassar producer
joel b. michaels producer
原創音樂ennio morricone
改編音樂bob hilliard (song "civilization - bongo, bongo, bongo")
攝像師howard atherton
stephen smith (france)
電影剪輯david brenner
julie monroe
協調劇組人員ellen chenoweth
造型設計jon hutman
藝術指導chris shriver
布景師steve parenti
debra schutt
philippe turlure (france)
服裝設計judianna makovsky
化妝師alain bernard hair stylist: french unit
roy bryson assistant hair stylist
richard dean key makeup artist
kelley raye gore assistant makeup artist
marie lastennet makeup artist: french unit
pamela priest hair stylist
lyndell quiyou key hair stylist
donna spahn hair stylist
cecilia verardi makeup artist
susan todd hair stylist
roy c. bryon hair stylist
製片主管jean-pierre avice production manager
michael s. glick unit production manager
donald heitzer unit production manager
françois ivernel executive in charge of production: pathé
助理導演laurent brégéat first assistant director: france
joan cunningham second assistant director
dominique delany second assistant director: france
jamie marshall second second assistant director
ann c. salzer additional second second assistant director
albert m. shapiro first assistant director
美術fontaine beauchamp hebb buyer
william alford lead man
dean allison labor foreman: new orleans and texas
sallie jones arata art department coordinator
charles ashworth painter
françois barre chief carpenter: french unit
robert beck assistant property master
kevin berve set dresser (uncredited)
jack blanchard set dresser
e.w. bradford construction coordinator
patrick bretonniere carpenter: france
john bromell set dresser
bret caldwell carpenter
jesus carrera set dresser
lance cheatham set dresser
paul cheponis buyer
randall s. coe labor foreman: new orleans
ronald collins carpenter
olivier crespin prop man: france
kelly curley lead man: new orleans
john diaz carpenter
jean-michel ducourty first assistant art director: france
peter durand scenic artist
stephanie emery set dresser
mark fabert labor foreman
patrick fuhrman set dresser
patrick fulton scenic artist
hal gardner set dresser
beth giles property assistant
w. steven graham supervising art director
sandy hamilton property master
todd hatfield camera scenic artist
christopher haynes set dresser
jerry g. henery general foreman
jean-michel hugon art director: france
mark hutman set dresser
michael a. johnson set dresser
tegan jones assistant art department coordinator
randy kenan carpenter
ray kluga art director: central texas
michael kocurek set dresser
gary ledyard lead man: central texas
philippe margottin prop: france
michael martin set dresser
frank matchett carpenter
jeffrey d. mcdonald art director: new orleans
patrick mcguire set dresser
malcolm miller jr. carpenter
swift moseley key greens (uncredited)
scott p. murphy assistant art director
karen naser manufacturing foreman
william h. neff sign writer
paul olinde carpenter
james f. onate scenic foreman
darren patnode set dresser
john patterson carpenter
marthe pineau buyer
jacques quinternet prop buyer: france
michel rollant prop buyer: france
sherri rosen assistant art department coordinator
coco rost set dresser
roger scruggs lead carpenter: north carolina and texas
michael shapiro set dresser
larry c. shepard scenic artist
chris shriver art director: west texas
george 'chuck' stringer iii carpenter
brian stultz head scenic artist
drew sywanyk set dresser
jean-louis weber chief painter: france
stephanie wertlake supervising art department coordinator
bobbie young construction utility
david phillip greensman (uncredited)
tom mcdaniel foreman: texas and north carolina
david bacon scenic artist
serena baker set dresser
jose barba construction utility
bradley barnes construction utility
john blanchard foreman
marc collin swing gang: france
marcelo gomez carpenter
david ott carpenter
jorge valdez construction utility
chris wise construction utility
thomas d. adams set dresser
serge barberousse swing gang: france
peter barraco sr. painter
jenny barrett art production assistant
daniel cipriani scenic artist
chris crowder lead carpenter: north carolina and texas
'skootch' kontz scenic artist
leo lauricella carpenter
edmundo medrano construction utility
jacques moissignac swing gang: france
kirk newren carpenter
joel pachelo labor foreman: north carolina
alessandro palladini carpenter
marvin perry carpenter
elliot pittman carpenter
pascal potier construction labor: france
séverine roger assistant draper: france
luciano sanchez construction utility
bernard schlegel draper: france
john weeks carpenter
noah bradley carpenter
michael camejo construction utility
michael r. daigle carpenter
elie guarguir painter: france
jim gunnels carpenter
russell holt carpenter
howard leger construction utility
david nemi carpenter
nigel walsh construction utility
音效dan sharp sound re-recordist
bill abbott music editor
willy allen dialogue editor
george h. anderson dialogue editor
tony araki sound re-recordist
brydon baker iii boom operator
john banuelos dubbing engineer
bill burns first assistant sound editor
mark desimone dvd recording engineer (uncredited)
thom 'coach' ehle sound consultant: dolby
alison fisher dialogue editor
rick freeman dialogue editor
david giammarco adr editor
james a. gore foley assistant
walter j. grabowski foley recordist
laura graham adr editor
wayne griffin adr supervisor
michael haight dialogue editor
scott a. jennings sound effects editor
andy koyama location foley mixer
goro koyama foley assistant
diane linn adr recordist
nancy macleod sound effects editor
andy malcolm foley artist supervisor
ron malligers foley assistant
linda martin adr assistant
karen minahan adr assistant
vanick moradian dialogue editor
andrea morricone assistant: music recording
kevin o'connell sound re-recording mixer
michael o'farrell supervising sound editor
denise okimoto assistant music editor
franco patrignani sound engineer
donna powell foley artist
charleen richards adr mixer
greg p. russell sound re-recording mixer
todd russell sound utility
greg steele adr mixer
tami treadwell adr recordist
tony van den akker foley mixer
fabio venturi sound engineer
charles m. wilborn sound mixer
beau baker boom operator
特技師dave gerlach special effects technician
werner hahnlein special effects technician
joseph p. mercurio special effects coordinator
gary pilkinton special effects foreman
視覺特效師jeffrey a. okun visual effects
marc scott digital compositor (uncredited)
m. zachary sherman digital effects artist (uncredited)
特技演員danny aiello iii stunt coordinator
bill anagnos stunts
kurt bryant stunts
chris cenatiempo stunts
john cenatiempo stunts
carl ciarfalio stunts
john cooper stunts
john copeman stunts
monty cox stunts
roy farfel stunts
frank ferrara stunts
elizabeth fulcher stunts
tim gallin stunts
nicholas j. giangiulio stunts
jery hewitt stunts
melissa kloiber stunts
pierre lagness stunts
製作公司
pathé
guild
發行公司
pathé
samuel goldwyn company [us]
tobis filmkunst [de]
filmes lusomundo [pt]
vidmark entertainment [us]
showtime networks inc. [us]
argentina video home (avh) [ar]
playarte filmes [br]
lions gate films inc. [ca]
amlf [fr]
特技公司
digiscope
其他公司
pacific title [us]
dennis davidson associates
illusion arts inc. [us]
forum studios [it]
kona cutting [us]
spacecam systems inc. [us]
sony pictures studios [us]
aon/albert g. ruben insurance services inc. [us]
eagle eye [us]
in motion catering [us]
精彩對白：
humbert: i missed you. i missed you a lot.
lolita: well i haven't missed you. in fact, i've been revoltingly unfaithful to you. but it doesn't matter, because you don't care about me anymore anyway.
humbert: what makes you think i don't care about you?
lolita: well you haven't kissed me yet, have you?
lolita: murder me! murder me like you murdered my mother!
humbert: what i heard then was the melody of children at play. nothing but that. and i knew that the hopelessly poignant thing was not lolita's absence from my side, but the absence of her voice from that chorus.
humbert: she was lo, plain lo, in the morning, standing four feet ten in one sock. she was lola in slacks. she was dolly at school. she was dolores on the dotted line. but in my arms she was always lolita. light of my life, fire of my loins. my sin, my soul. lo... lee... ta.
humbert: we had been everywhere. we had really seen nothing.
clare quilty: he can smell if you're sweet. he likes sweet young people. people like you.
humbert: lo, plain lo in the morning, standing four-feet-ten in one sock. she was lola in slacks... dolly at school... dolores on the dotted line. in my arms, she was always lolita. light of my life. fire of my loins. my sin. my soul. lo-lee-ta.
humbert: a normal man, given a group photograph of school girls and asked to point out the loveliest one, will not necessarily choose the nymphet among them.
charlotte haze: i asked you to make your bed. didn't i?
lolita: no. you asked me if i'd made my bed.
lolita: i feel like we're grown-ups.
humbert: me, too.
lolita: we get to do whatever we want, right?
humbert: whatever we want.
miss pratt: i kn
有關LOLITA 的歌麯中，最能反映小說原著味道的歌麯，就是卓亞君的《洛麗塔》作麯：小柯 ，作詞：王箏
歌麯搜索：
http://mp3.baidu.com/m?f=ms&tn=baidump3&ct=134217728&lf=&rn=&word=%C2%E5%C0%F6%CB%FE&lm=-1
歌詞
和我跳舞吧 Lolita
白色的海邊的沙
愛情還是要繼續吧
十七歲 漫長 夏
喜歡一個人 Lolita
衹喜歡一天好嗎
或許從沒有愛上他
衹是愛了童話
那個野菊花開滿的窗臺
窗簾捲起我的發
我把紅舞鞋輕輕的丟下
不在乎了 Lolita
田野金黃了 Lolita
舞臺就快搭好了
我們一樣嗎 Lolita
對孤單習慣了
如果我不做自己的觀衆
還以為在愛着他
我坐着飛機到海邊找他
多瘋狂啊 Lolita
喜歡一個人 Lolita
衹喜歡一天好嗎
愛情還是要繼續吧
十七歲 漫長 夏
那個野菊花開滿的窗臺
窗簾捲起我的發
我把紅舞鞋輕輕的丟下
不在乎了 Lolita
如果我不做自己的觀衆
還以為在愛着他
我坐着飛機到海邊找他
多瘋狂啊 Lolita
都會忘記嗎 Lolita
來不及帶走的花
努力開放了一個夏
十七歲 海邊 他
愛情還是要繼續吧
十七歲 漫長 夏
還有金海心的一首Lolita，出自獨立日專輯：
歌詞
你的白紙我來信手塗鴉
沒有什麽比青春偉大
今天王子明天變成青蛙
衹要有說法不用章法
結了果的大樹何必開花
誰在樹下追憶似水年華
你一個人害怕
我就把你帶回傢
你說這個世界聲色犬馬
我說不如演亞當夏娃
你的習慣我的緑豆芝麻
躺在太陽下一起發芽
不管是個修女還是喇嘛
誰都難免會種豆得瓜
你跳你的恰恰
我唱我的啦啦啦
lolita 隨時隨地出發
天大地大不坐旋轉木馬
lolita why pourquoi
你有點怕愛上她她的情話
你的夢話 hah...
你的白紙我來信手塗鴉
沒有什麽比青春偉大
今天王子明天變成青蛙
衹要有說法不用章法
結了果的大樹何必開花
誰在樹下追憶似水年華
你一個人害怕
我就把你帶回傢
lolita 隨時隨地出發
天大地大不坐旋轉木馬
lolita why pourquoi
你有點怕愛上她她的情話
你的夢話 hah...
lolita 隨時隨地出發
天大地大不坐旋轉木馬
lolita why pourquoi
你有點怕愛上她她的情話
你的夢話 hah...
你說這個世界聲色犬馬
我說不如演亞當夏娃
你的習慣我的緑豆芝麻
躺在太陽下一起發芽
不管是個修女還是喇嘛
誰都難免會種豆得瓜
你跳你的恰恰
我唱我的啦啦啦
關於LOLITA的歌還有一首，是來自法國小天後Alizee的電影原配麯：[moiLolita]
下載地址是http://pik.3322.org/Alizee/Moi_Lolita.wmv
ps：關於Alizee的所有資料http://www.imagegarden.net/bbs/showthread_498429.html
歌詞如下：
Moi je m'appelle Lolita
我叫洛麗塔 Lo ou bien Lola
洛或者羅拉
Du pareil au même
都一樣
Moi je m'appelle Lolita
我叫洛麗塔 Quand je rêve aux loups
當我夢到狼時
C'est Lola qui saigne
羅拉正流着血
Quand fourche ma langue
當我把一個字錯說成另一個字時
J'ai là un fou rire
我在那笑個不休
Aussi fou qu'un phénomène
就如同一個古怪的人一般
Je m'appelle Lolita
我叫洛麗塔 Lo de vie, lo aux amours diluviennes
生命之洛， 無盡的愛的洛
{Refrain:}
重複
C'est pas ma faute
這不是我的錯
Et quand je donne ma langue au chat
當我自認猜不出來時
Je vois les autres
我看到了其他人
Tout prêts à se jeter sur moi
隨時準備嚮我撲過來
C'est pas ma faute à moi
這不是我的錯
Si j'entends tout autour de moi
假如我明白了周圍的一切
Hello, helli, t'es A (L.O.L.I.T.A.)
hello，helli，你是A
Moi Lolita
我就是洛麗塔 Moi je m'appelle Lolita
我叫洛麗塔 Collégienne aux bas
正念初一的學生
Bleus de méthylène
穿着藍色牛仔褲
Moi je m'appelle Lolita
我叫洛麗塔 Coléreuse et pas
脾氣時好時壞
Mi-coton, mi-laine
穿着棉毛混織的衣服
Motus et bouche qui n'dit pas
噓，別說話
A maman que je
對媽媽來說
Suis un phénomène
我是一個頭痛的人
Je m'appelle Lolita
我叫洛麗塔 Lo de vie, lo aux amours diluviennes
生命之洛， 無盡的愛的洛
C'est pas ma faute
這不是我的錯
Et quand je donne ma langue au chat
當我自認猜不出來時
Je vois les autres
我看到了其他人
Tout prêts à se jeter sur moi
隨時準備嚮我撲過來
C'est pas ma faute à moi
這不是我的錯
Si j'entends tout autour de moi
假如我明白了周圍的一切
Hello, helli, t'es A (L.O.L.I.T.A.)
hello，helli，你是A
Moi Lolita
我就是洛麗塔 C'est pas ma faute
這不是我的錯
Et quand je donne ma langue au chat
當我自認猜不出來時
Je vois les autres
我看到了其他人
Tout prêts à se jeter sur moi
隨時準備嚮我撲過來
C'est pas ma faute à moi
這不是我的錯
Si j'entends tout autour de moi
假如我明白了周圍的一切
Hello, helli, t'es A (L.O.L.I.T.A.)
hello，helli，你是A
Moi Lolita
我就是洛麗塔 LO-LI-TA
洛－麗－塔
LO-LI-TA
洛－麗－塔
LO-LI-TA
洛－麗－塔
LO-LI-TA
洛－麗－塔
LO-LI-TA
洛－麗－塔
LO-LI-TA
洛－麗－塔
LO-LI-TA
洛－麗－塔
LO-LI-TA
洛－麗－塔
C'est pas ma faute
Et quand je donne ma langue au chat
Je vois les autres
Tout prêts à se jeter sur moi
C'est pas ma faute à moi
Si j'entends tout autour de moi
Hello, helli, t'es A (L.O.L.I.T.A.)
Moi Lolita
C'est pas ma faute
Et quand je donne ma langue au chat
Je vois les autres
Tout prêts à se jeter sur moi
C'est pas ma faute à moi
Si j'entends tout autour de moi
Hello, helli, t'es A (L.O.L.I.T.A.)
Moi Lolita
C'est pas ma faute
Et quand je donne ma langue au chat
Je vois les autres
Tout prêts à se jeter sur moi
C'est pas ma faute à moi
Si j'entends tout autour de moi
Hello, helli, t'es A (L.O.L.I.T.A.)
Moi Lolita
C'est pas ma faute
Et quand je donne ma langue au chat
Je vois les autres
Tout prêts à se jeter sur moi
C'est pas ma faute à moi
Si j'entends tout autour de moi
Hello, helli, t'es A (L.O.L.I.T.A.)
Moi Lolita