Something pedophilic in the film in some places feels certain, but the director on a thin edge balanced virtuoso, and it turned out a cinematic masterpiece. Few literary works are filmed so brilliantly.
In the film, a lot of expressive tastefully filmed details, perfectly creating the effect of presence in provincial America of the late 40s, impresses the characteristic level of well-being and improvement of those years. It seems that it could well have been America through the eyes of the writer Nabokov, also a specialist (after Cambridge) in French literature and subsequently a Nobel nominee many times, a lot of sorts of stirred around America with a net like an entomologist on butterflies in those years of hatching the idea of “Lolita” – without bothering, probably, with the vicissitudes of ripening then of the “cold war” and with his, perhaps at that time, gray beard. Judging by the English language and “Americanness” of the literary basis of the film, Nabokov was remarkably able to naturalize in the United States, thus ceasing to be only our outstanding compatriot – that is what it means to speak foreign languages from childhood.
Melanie Griffith succeeded in the role of an American provincial in a cottage. In the list of main characters begs for her family car is also a bright image.