After viewing this, it’s pretty hard to argue with the notion that one-point perspective was an obsession for Kubrick:

I found this via a commenter’s link in the Facebook Film Noir group, in a discussion of a still photo from Kubrick’s second feature, Killer’s Kiss. In most (all?) of the scenes captured in the above video, the one-point perspective takes place on a two-dimensional plane: the camera is aimed at the horizon, and the vanishing point is correspondingly horizontal from the viewer. Killer’s Kiss includes lots of other examples of that convention: alleys, warehouses, and so on. In this shot, though, he’s added a third dimension — you’re looking down, as well as across — making the moment even more vertiginously (and subconsciously) tense. Especially with the checkered tile, railings, and wall mouldings, it’s like looking into a shark’s mouth:

 

I love seeing this sort of thing.