De Olhos Bem Fechados

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.

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.

The thing a lot of folks haven't liked about Stanley Kubrick's films is the fact that he always seemed to think the audience needed some points driven home a little harder than others. Very little is left for debate; most everything is spelled out, pressed hard, and dwelled upon. His critics have compared the long waits between his films to the long periods of waiting that occur while watching his films.

Personally, I like the long, slow scenes in his films. When they're filled with something: music, movement, thought, memory of a previous scene, dread, or any other emotion, they can never really be said to be empty. I like them because, with Kubrick, I can be sure that they're absolutely essential to his ultimate vision. He could have put out a six-hour documentary on tissue manufacturing; at least I'll know that not one minute of screen time is wasted.

"Eyes Wide Shut" isn't as vacuous as, say, "Barry Lyndon" or "The Shining." Compared to those two, this one scoots along like a person trying to get to his car in the rain. It'll try a lot of folks' patience, I'm sure -- even his most loyal fans will be bothered by the incessant piano "bell tolls" in the soundtrack of some scenes, or the constant reminders (in imaginary flashbacks) that Cruise's character is bothered by his wife's near-infidelity. I know I was.

Despite that, it's an apt final film for the long, glorious career of a man who has done more for the cinema, with less movies, than can ever be catalogued. To try and cite influences for this particular work is futile. Though one might draw parallels to Lindsay Anderson's "O Lucky Man!" or Martin Scorsese's "After Hours," "Eyes Wide Shut" is no less than a complete work from the cold heart and brilliant mind of Stanley Kubrick alone. It's also a furiously ingenious piece of filmmaking, one that works less on the emotions than on the senses and on the mind. Unlike most of Kubrick's earlier work, however, it does have an emotional subtext, which is used to devastating effect.

Cruise, by the way, does an outstanding job, not as a trained, camera-conscious film actor, but as a mature, seasoned performer. Here he uses his "Top Gun"/"Jerry Maguire" suavity to malicious effect; like Ryan O'Neal's Barry Lyndon before him, he's an egotistical cad. Unlike Lyndon, he gains our sympathy -- that's key to keeping us from disowning his character and thus negating the entire film.

Kidman is given less screen time, but it matters little. She's mostly seen in the beginning, and she has brief (but crucial) scenes throughout, and a masterful one at the end. It is safe to say that this is her best performance to date, and those of us who have been ignoring her treasured abilities up until now (the Academy, critics, myself) will be astounded to see how far she's come since "Dead Calm." Her high points: the argument with her husband that ends by setting the film's plot in motion perfectly captures the way women lure men into arguments when the cause for one is nonexistent (and on Cruise's part, how men can't think fast enough to do anything about it), and her dream confession scene, in which she wakes laughing but becomes tearful during recollection.

On a technical level, "Eyes Wide Shut" displays Kubrick's trademark perfectionism. Recreating Vietnam in rural England for "Full Metal Jacket" must have been nearly impossible, but the unrelenting accuracy in recreating uptown and downtown New York City is absolutely stunning. Right down to the diners and the newspaper stands; I shake my head in awe when I remind myself that Kubrick (a native Brooklynite) hasn't been to NYC in decades. The lighting and photography is impeccable, also, as it is in every one of his films.

This is the sort of film one sees more than once. Once is good to cleanse the palate, to clear out all the residual toxins left from other recent films. See it again, perhaps a third time, and get to appreciate the graceful, nearly unblemished finale of a man who took the art of cinema seriously. It's a sobering experience.

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