Ojos bien cerrados

From the director behind influential masterpieces like The Killing, Paths of Glory, Spartacus, Lolita, Dr. Strangelove, 2001: A Space Odyssey, A Clockwork Orange, Barry Lyndon, The Shining & Full Metal Jacket, Eyes Wide Shut marks the final entry in the decades-spanning, unprecedented & extraordinary filmmaking career of Stanley Kubrick. And just like all of his reappraised works, is a classic that unveils more of its intricate layers on multiple viewings.

Set in New York City, Eyes Wide Shut tells the story of Dr. William "Bill" Harford whose life spirals out of control when his wife tells him about an erotic fantasy she had about another man which shatters his faith in her. Unable to get the image of his wife & the other man out of his head, he embarks on a night-long adventure during which he comes extremely close to cheating on his wife & also infiltrates a quasi-religious sexual ritual at a country mansion after learning about it from a friend.

Co-written, produced & directed by Stanley Kubrick, Eyes Wide Shut is a film about sexual desires that's jam-packed with symbolism & metaphorical elements. The entire film exhibits a sexually charged atmosphere and every single character inhabiting it has nothing but sex on his or her mind. Kubrick's direction makes efficient use of all his trademarks and just like before, he manages to push forward the existing boundaries of the medium while adding a few innovative tricks into the filmmaking manual in the process.

The screenplay smears the plot with multitudes of themes & insinuations, the story unfolds in a slow, methodical manner, the leading characters have an in-depth complexity which is wonderfully illustrated by the master storyteller, each sequence is meticulously detailed & technically refined, and it has a lot to say about sex, infidelity, physical relations, desires & fantasies. However, dialogue isn't one of its strengths for every time anyone says anything, the other character repeats the same as a question which becomes annoying after a while.

The technical aspects always score very high marks in Kubrick films and Eyes Wide Shut is no exception. The set pieces are gorgeously rendered, extensively detailed & beautifully lit. Cinematography encapsulates the entire picture with a bizarre, dream-like ambiance which goes on to further amplify the overall experience while also intensifying its erotic attributes. The use of colours is noteworthy while lighting here is a work of perfection. Its 159 minutes of runtime & deliberately slow pace may feel like a challenging ordeal but it never becomes an issue once the drama sets in.

The incorporation of classical songs to compliment the unfolding drama continues in Eyes Wide Shut and all the musical arrangements are wisely chosen & carefully infused into the storyline. Coming to the performances, the cast comprises of Tom Cruise, Nicole Kidman, Sydney Pollack, Marie Richardson & Todd Field. Even though both Cruise & Kidman put in commendable effort into their respective roles of Mr. & Mrs. Harford, it's actually their on- spot chemistry that makes them click so well, and while there are no definite stand-outs, the contribution by its entire cast only works in the film's favour.

On an overall scale, Stanley Kubrick's Eyes Wide Shut may not be as pathbreaking as most of his masterpieces but it's nonetheless a deeply fascinating meditation on sexual relations and despite its cynical tone, manages to be an erotic, enthralling & engaging thriller. While the plot is heavy & explicit in sexual content, approaching it as a sex-romp cinema won't do enough justice for Kubrick digs much deeper into the primordial aspects of human nature to put up an exquisite looking tale that's aesthetic, artistic & unlike anything before or since. It may not be Kubrick's greatest, but it's still a genre masterpiece. Thoroughly recommended. Multiple viewings advised.

With the exception of a late-occurring scene of deadening over-explanation wholly unnecessary to the film on every level (and rather unusual for Kubrick), Eyes Wide Shut is utterly sensational, and represents another gleaming jewel in the master filmmaker's already studded crown. Cruise and Kidman surpass all of their previous work, turning in spectacular performances infused with nuances only hinted at prior to this outing. Their real-life union appears to bring every bit of unique tension Kubrick intended, as the movie wholly depends on the verisimilitude of the central couple's relationship. Kubrick's tone fulfills all the promise of the title, consistently delivering an elevated texture of almost uncanny imagination perpetually hovering between fantasy and reality. The director additionally mines many of his familiar thematic concerns, including deceit, paranoia, and blinding frustration. Eyes Wide Shut is certain to be as closely scrutinized as many of Kubrick's other films (particularly because it is his final work), and its thoughtful and challenging treatment of such lightning-rod topics as marital honesty, sexual jealousy, and the perceived risks of disclosing one's fantasies (even to the single person you trust more than any other) is sure to draw some people in while pushing others away.

One film which I have watched on multiple occasions is Eyes Wide Shut. This was Stanley Kubrick's final film. It is one of the most challenging, underrated, misunderstood and complex cinematic works I have ever seen. Ever since it's release it's been given variegated reviews. The flawless visuals, deep themes, slow pace and eerie almost dreamlike atmosphere all captivate the viewer.

The premise itself is the story of a doctor named Bill Harford played by Tom Cruise and his wife Alice played by Nicole Kidman. A wealthy and privileged couple who reside in New York with their young daughter Helena. After Alice unveils a mysterious sexual fantasy she had with another man Bill becomes distressed. A thoughtful Bill embarks on a late night sexual odyssey where he counters temptation, lust and infidelity. Before attending an outlandish orgy held by the rich and powerful of an underground cult. There he witnesses the darker side of sex and how dehumanizing and frigid it can be. After being exposed as an outsider Bill's livelihood and family become endangered causing Bill to resolve the aftermath even though he was given terse instructions not to by the cult. Rousing more thought-provocation, confusion and mystery to flow.

In the end the film remains ambiguous and puzzling yet nevertheless fascinating. There are many themes to study such as jealousy, intrigue, fear, sexuality, fantasy, reality and dreams amongst a host of others such as psychology, sociology, human nature, society and so on. It's also an fascinating message on how sex has transformed into a technology e.g. the obsession with money. Many stress it to be an artistic film as well. Personally I don't think it's Kubrick's best film however it's still in there with his best. A symbolic, important and serious work. The title of the film is metaphorically relevant to the context of the film in that our eyes are literally wide shut to the truth. As the ending is quite ambiguous interpretations are left open in that the viewer can decide whether or not it has either an optimistic or pessimistic outcome. I would maturely recommend it

Stanley Kubrick's final film is perhaps the first of its kind: it is the only film I have watched that exists within the state of death itself. It's no surprise; Stanley Kubrick died 4 days after submitting the final print into Warner Bros., Sydney Pollock died in 2008 and my grandparents, who saw this film at a screening in 1999, are dead. However, these aren't merely the reasons this film evokes a death-like state, this film evokes a death-like state throughout Bill Harford's sexual odyssey. During the Masonic orgy, which is arguably the film's center-piece, women are used and discarded as corpses who are only valued for their material gain. This film is shroud in ultra-violet blue, especially at the end of the film where it accentuates the characters' trembling flesh and vulnerable humanity, and the powerful red which contrasts against this blue reflects one of Kubrick's favorite themes: dominance. Perhaps it's inexplicable that Eyes Wide Shut evokes a man's dying thoughts. Ironically, this film feels more fresh and timeless than many of its contemporaries, only reaffirming the inestimable value of Kubrick's contributions to cinema and a decade of a cinematic drought aptly followed his death. It was fashionable to deride Stanley Kubrick's final film during its theatrical run, regardless of the fact that he considered it his personal favorite. It seems that the audience expected Kubrick to inundate them with gratuitous eroticism as opposed to ideas. Yet, Eyes Wide Shut has outsmarted time and the film industry itself. It was almost incongruously released a week before American Pie and the abysmal Will Smith star vehicle Wild Wild West. It continues to hold a mere 7.2/10 on IMDb in contrast to escapist science-fiction film The Matrix which holds an 8.7/10 rating and is listed in the top 30 films of all time, above Kubrick's more cerebral science-fiction classic 2001: A Space Odyssey. All of this may be due to the fact that Kubrick argued that 'Observancy is a dying art' and Eyes Wide Shut requires an attention to detail and an attention span that transcends the average summer blockbuster; it's easy to get lost in the terrifying labyrinth of Kubrick's musings. Though, unlike other films, Kubrick's Eyes Wide Shut refutes the transcendent imagery and magic that is featured in the majority of Kubrick's films, even in Eyes Wide Shut itself, and strips humanity down to its fragile human core, figuratively speaking; Kubrick comes to the conclusion that when man is confronted with the cold and harsh reality, he favors comforting self-delusion and blissful ignorance.

Sydney Pollock's Ziegler argues, during his amazing final monologue, that the Masonic orgies are practiced by society's elite which excludes Bill. Bill spends the duration of the film's first half attempting to engage in infidelity after his wife reveals that she was willing to choose one night with a naval officer over their future. Naturally, this enrages Bill and he spends the night attempting to fulfill his personal need to subjugate his feelings of impotence, sexual and otherwise. Even in the very beginning, when Bill walks with two models, his short stature implicitly denotes his lack of power. Bill is convinced that he has been subjected to a life of domesticity and his wife is responsible; he vows to reaffirm his masculinity. Kubrick paints long shots of New York at midnight which is designed to inspire the viewer with dread. Almost every single beautiful shot capturing the very essence of soft, warm colors in the beginning soon descends into the dark and strong colors that reflect the very dream-state many describe when they watch this film. Yet, to me, it evokes a foreboding death-like state which suggests impending doom.

Bill's quest for reaffirmation of his masculinity only renders him emasculated when he enters a Masonic orgy and is rendered socially powerless by a group of the masked elite. Bill's journey neither leads him towards enlightenment nor satisfaction but humiliation and understanding that he has been domesticated by the higher classes. Ironically, his quest for sexual empowerment only led him to the understanding of social domesticity; Bill is not as influential or elite as he had initially anticipated. Not unlike the elite's perception of women; they use the high-class prostitutes as objects valued for their material value which reflects their perception of the masses that are responsible for their success. As in the beginning, when Ziegler needs Bill to revive a dying woman who almost overdoses on a combination of cocaine and heroin, Ziegler values Bill for his medical expertise which prevented trouble with the law rather than his personality. Kubrick's film argues that we live in ignorance of others perceptions of us and this is the ultimate existential fear of Harford; the elite have seen Harford unmasked, vulnerable and exposed. Pollock says 'If you knew who was there, you wouldn't sleep so well.' Kubrick has finally exposed man for who he really is; vulnerable and ignorant of the mysterious forces which govern him. The final and most playfully complex of cinema's closing lines concludes that Bill and Alice Harford have learned to stop worrying and love the bomb. They refuse to acknowledge their social impotence and would prefer for their eyes to remain wide shut, ignorant to the mysterious forces that govern them. On a more optimistic note, however, perhaps Bill's odyssey only made him aware of his vulnerability, and Kubrick evokes this through the dark imagery that recreates the sense of subjective paranoia that Bill is experiencing. Bill realizes what ultimately matters: love and family, as opposed to the power which he initially craved but only realized he was at the mercy of others' application of such social power. I'm open to many interpretations of this film, because Kubrick wanted the audience's eyes to remain wide open soon after they finished experiencing this masterpiece.

I remember when Kubrick passed away. I read it in the morning newspaper, and was struck with deep sadness I couldn't explain. Mind you, I was not even 12 years old at the time and had barely seen any of his films.

So I went to see "Eyes Wide Shut" (1999) at the cinema. I credit it, along with Terrence Malick's "The Thin Red Line" (1998), as an experience that ignited my interest in film, since they were both films like I had never seen before. Sure, there's that one reason why a young lad might be interested in this, but I was so struck by its atmosphere and narrative flow that I had to read Schnitzler's "Traumnovelle". And how disappointed I was in how unalike they were. The film was in a world of its own that had a sense of time that was its own, a sense of colour that was its own, a sense of light that was its own. Every movement was languid, every word deliberate.

I never really thought about the connection between this and Malick's film until now, but really, they both move in the realm of dreams and memories and projected, subjective realities – between something that did happen (to someone) and something that might have happened. There's ellipsis, ambiguity, metaphor. Both work their magic in visual terms. I'm soaked in that light from the ball even by recalling the images in my mind as I'm writing this.

Fidelio – enter.