EYES WIDE SHUT
US/UK, 1999, 159 minutes, Colour.
Tom Cruise, Nicole Kidman, Sidney Pollack, Marie Richardson, Rade Sherbedgia, Todd Field, Vinessa Shaw, Alan Cumming, Fay Masterson, Leelee Sobieski, Thomas Gibson.
Directed by Stanley Kubrick.
Stanley Kubrick's last film, the end of a distinguished career and some extraodinary films inclluding Paths of Glory, Dr Strangelove, 2001 and Barry Lyndon.
This film was written by Frederic Raphael (Darling, Two for the Road).
It is something of a postscript about the New York of the 90s, Tom Cruise, a straightforward doctor, is so disturbed by listening to his wife's (Nicole Kidman) sexual fantasy that he wanders, with his eyes wide shut, a sexual Inferno that is bewildering and dangerous. He is lucky that he has an honest wife who can be a positive catalyst for his dealing with his shadow and building a deeper love with his wife. I don't think they're going to put that description on the poster - but then those who go would know a little of what they might see and those who are apprehensive about going might see that the film, a small-scale psychodrama has something to say.
1. The impact of the film? The work of Stanley Kubrick? His meticulous filmcraft? His last film?
2. The film as a psychodrama, acting out emotions, intellectual understanding? The modest story, the length of the film, the detailed and lengthy treatment?
3. Tom Cruise and Nicole Kidman, their relationship at the time, the history of their marriage? Audience knowing this? The tension in watching a real-life couple on-screen? (And the aftermath of their separation and the perceptions of their performance in the light of subsequent history?)
4. Kubrick recreating New York City in the United Kingdom, the city itself, the city blocks, the apartments, the subway?
5. Kubrick, his eclectic taste for music, the importance of musical background for the psychodrama? The range of songs, ‘Bad Thing’…? The music as the background for sexuality and violence?
6. The title, its ambiguity, play on words and phrases, its irony?
7. The work of Arthur Schnitzler and his stories of sexuality, his friendship with Freud? His stories like La Ronde? The European perception at the beginning of the 20th century on relationships, the merry-go-round of love and lust? The work of Frederick Raffaele(?), his screenplays, the adaptation of Schnitzler, the application to the United States, for Kubrick’s American perspective from England? The universal meaning of the film?
8. The cinematic style, the use of colour, close-ups, hotels and corridors, the black mask orgy? A film of the 90s?
9. The introduction to William and Alice, getting ready to go out, the sexual relationship, nudity, the role of the woman at home? Their marriage, child, their professional lives? Affluent? The nature and quality of their relationship? The audience’s identifying with them?
10. The party, the presence of the couple, the party’s set-piece style, camera and roaming around, décor, costumes, the range of people, the atmosphere? Bill and the girls and his flirting? Alice and the dancer, the seductive experience? The musician – and his career? Enjoyment, permitting freedom, the possibilities of relationships? The reaction of each afterwards?
11. Victor Ziegler and the girl, the violence, the drugs, his dressing, the treatment of the girl, Bill, the secrecy, wealth able to do anything?
12. The aftermath, the couple tired at home, the tensions, Alice and her telling the story, the visual flashbacks, her imagination, sharing? Bill’s reaction? The comment on the love of each for the other, the quality of their commitment, the different reactions? Her honesty and love? His shock?
13. The visualising of Alice’s sexual imagination and its effect, recurring, a motif for the film?
14. The phone call, Bill and his going out, his feelings about Alice and her story? The visit, dying man, the daughter and the come-on, his reaction in the context of his response to Alice and her story? The arrival of the fiance? The beginning of Bill’s night journey?
15. His wandering New York City, the streets, the effect? The nature of the journey? The approach by the callgirl, his acceptance, going into the room, his motivation, his own sexual adequacy or inadequacy? Reaction against Alice? The money, his going with her, the talk? The sketch of her character, his reactions?
16. The role of the phone, the mobile phone, communication and connection, lies?
17. Seeing the musician, the discussion, their talk about the party, the phone call and his getting another job, the address, Bill tempted to go?
18. The visit to the costume shop owner, the tensions, the young girl, the sexual advance, her father exploiting her, the double standards? The other world, the police? His later returning the costume and the mask missing?
19. Getting the taxi, going into the grounds of the mansion, masked, the password? The visual presentation of the party, the orgiastic style, the costumes, black, set-piece and style?
20. The house, security, the anonymous people, the religious rituals, the sacrifice, the girl as victim, her warning? Bill and the confrontation, the danger, his being unmasked? The shadow orgy, his being ousted?
21. His return, the effect of his experience, with Alice, talking with her?
22. Going to Victor, the explanation, Victor explaining the dangers, reading the situation rightly or wrongly? The warning?
23. The return to ordinariness, shopping? A return to normality after the psychological and emotional implications of what was a psychodrama, especially for Bill? His own inadequacy and seeming lack of connection with Alice, their future?
24. Exploring relationships, sexual themes, honesty and commitment, temptation, shadow? The dramatising and the psychodramatic aspects?
