Eyes Wide Shut (1999)

reviewed by
Homer Yen


`Eyes Wide Shut' -- Kubrick's Carnal Tunnel Vision 
by Homer Yen
(c) 1999

Stanley Kubrick has done something very impressive with `Eyes Wide Shut'. I can't quite put my finger on it. Maybe it's the confidence in which he carried out this project, seemingly unafraid of what stodgy studio executives might think or the fact that this film might garner the dreaded NC-17 rating (which it originally did). Maybe it's the way in which he directs Tom Cruise, stripping him of the surefire charisma that has been the trademark of all his films. Maybe it's the way in which he presents the movie, not as a conventional story with characters and plots, but rather as an exploration that doesn't (and shouldn't) reach it's destination. For all these reasons and more, `Eyes Wide Shut' is an intriguing exercise in moviemaking.

But what is Kubrick's intention here? Is it merely a film about sex? After all, it's hard to tell from the enigmatic movie trailer, especially when passionate kisses are exchanged to the seductive tune of Chris Isaak's `Baby Did a Bad Bad Thing'. But don't think for a moment that this is some creative attempt at soft-porn. Rather, this film is about missed opportunities and the chances that we take as it pertains to one of our most basic of needs. To that effect, this film is more atmospheric and more like foreplay rather than the act itself.

The film introduces us to William and Alice Harford (Tom Cruise and Nicole Kidman), who are wealthy Manhattan socialites. They attend a posh party. Alice is approached and propositioned by a suave foreign guest. Meanwhile, William has garnered the attention of two very beautiful models that want to take him to the ‘end of the rainbow.' This set of encounters leads to a frank conversation between the two later on that evening. While stoned on pot, Alice confesses her deep attraction for a sailor that she met while vacationing. She openly laments how much she wanted him for the night and how ready she was willing to give up everything just for that encounter. William is obviously a person who needs to be in control (one of his strange ‘power mannerisms' is to flip open his wallet to reveal his medical license like an FBI agent whenever he meets someone). This confession has obviously rattled him. He leaves his house, inflamed with images of his wife making love to this stranger. As he wanders the streets of New York, strange sexual situations present themselves. Each situation represents a facet of carnality, but interestingly, each situation has no obvious resolution. We are to fill in the blanks. Once again, it is an exercise in exploration, and we are to draw our own conclusions. His odyssey through the night eventually leads him to an incredible orgy where participants where masks, while ritualistic verses are chanted (this is where you'll find the most graphic scenes). This 20-minute sequence is nothing short of hypnotic. Through it all, William seems to adopt the ‘look-but-don't-touch' principle. He is an observer, appalled yet fascinated while his fear is overshadowed by his curiosity.

This is the kind of film that critics love to watch. They will marvel at his use of muted colors to symbolize the hush-hush nature of sex. Indeed, even a common kitchen looks uncommonly alive and his decision to set this during Christmas allows for even more wondrous lighting effects. Critics can also applaud Kubrick for not making any compromises while creating this film. This movie is decidedly meant to be viewed by mature viewers only. I found this piece of moviemaking bold and provocative. Notice that I am not commenting on the story itself. I don't think that was Kubrick's focus. The film sets out to provide an atmosphere of mystery, and it does it very well.

Grade: B+ 


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