the career in England, where he had complete creative

the bathroom operates as a weapon storage rooms, in addition to
where Johnny Clay (Sterling Hayden) keeps the hostages. Despite the entire film
revolving around crime, the actual demonstrations of such acts take place in
and around the bathroom. Kubrick’s obsession with using bathrooms as key
locations is seen to have begun with Spartacus
(1960). This was the film that led to Kubrick disregarding Hollywood for
good, and moving to and continuing his career in England, where he had complete
creative control over all his films. Spartacus
was the first film to contain multiple bathroom scenes, and regarding the
plotline, it is within a bathroom where the men’s treacherous nature is brought
out into the open. In the primary bathroom scene of the film, the Roman general
is shown to have the same animalistic urges as the soldiers he commands.

This is much further exploited in Lolita (1962), not only does the tour of the house end in the
bathroom, as also seen in The Shining (1980),
but it is in the bathroom that Humbert Humbert’s (James Mason) feelings towards
Delores ‘Lolita’ Haze (Sue Lyon), and his distaste of his wife, Charlotte Haze
(Shelly Winters) are emphasised. As ‘along with the privacy usually linked with
bathrooms comes associations of hiddenness and filth’. (White in Kolker, 2006),
the bathroom in Lolita is the setting
for the private obscenities of male desire. Humbert hides away in the bathroom
to write in his diary about his forbidden love, and by the end of this scene,
Charlotte has not only found out the truth about Humbert and Lolita’s
relationship, but is also suddenly killed in a car accident. Humbert is next
seen lounging in the bathtub, before friends arrive to comfort him over the
death of his wife. However, despite having experienced this tragedy, Humbert is
pictured as being very calm about the situation, whereas in comparison, his
friends are much more emotional about Charlottes passing. Additionally, the
shower curtain is placed between Humbert and the other characters all the while
he is lying about his true emotional state, which acts as a physical
representation of a veil for his emotions. This allows for the conclusion to be
made that bathrooms are settings in which the negative traits of humanity can
flourish, shown on the screen as Humbert in a dominant position, completely
exposed in the bath, whilst friends and strangers come and go. One such
stranger reminds him of his step-daughter, Lolita, which sparks Humbert’s plan
to go on a road trip with her and pursue a relationship with her. The scene in
which Humbert tells Lolita of her mother’s death takes place with Humbert
placed in front of an open bathroom door, suggesting that the effects of the
bathroom’s negative space are infiltrating this new room. The shot has been
framed in such a way to place both Lolita and Humbert into the bathroom without
them being in the room itself, allowing for Humbert’s dominant and
overwhelmingly negative traits to encompass Lolita. Lastly, the bathroom is the
place in which Humbert begins to lose all control. He witnesses Lolita talking
to a stranger in the gas station whilst he is in the bathroom, which
consequently kickstarts his obsessive and paranoid downward spiral, ending with
him not only losing Lolita, but murdering Quilty (Peter Sellers). Humbert’s
journey to this desperate ending is escalated with each bathroom scene, as each
new bathroom further brings forth his animalistic nature.

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Additionally, the two main bathroom scenes within Dr. Strangelove (1964) are used to
cement the future of the world. During the first one, near the beginning of the
film, General Turgidson (George Scott) is interrupted whilst he is in the
bathroom by his secretary, who informs him he is needed. As he is not on
screen, the tone of his voice implies that his personal time has been
interrupted with by work, something he deems less important in that moment.
Later, General Ripper is the only person who knows the code which can end the
strike and prevent nuclear war, however, he enters his bathroom and commits
suicide by shooting himself. This enables the understanding that the world was
destroyed because one man went to into the bathroom. Also insinuating that even
military men with the power over life and death retreat into the safety of the
bathroom to get away from their troubles. This is not the first time that
Kubrick uses a bathroom to suggest a breakdown in communication. Such a theme
can also be found in 2001: A Space
Odyssey. In 2001, when Dr. Floyd