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Eyes Wide Shut
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This article is about the film. For the song by JLS, see Eyes Wide Shut (song). For the song by American metalcore band Myka Relocate, see The Young Souls.
Eyes Wide Shut
Theatrical release poster
Directed by
Stanley Kubrick
Produced by
Stanley Kubrick
Screenplay by
Stanley Kubrick
Frederic Raphael
Based on
Traumnovelle
by Arthur Schnitzler
Starring
Tom Cruise
Nicole Kidman
Sydney Pollack
Marie Richardson
Music by
Jocelyn Pook
Cinematography
Larry Smith
Edited by
Nigel Galt
Production
company
Pole Star
Hobby Films
Distributed by
Warner Bros.
Release date
July 16, 1999 (1999-07-16) (United States)
September 10, 1999 (1999-09-10) (United Kingdom)
Running time
159 minutes[1]
Country
United Kingdom
United States[2]
Language
English
Budget
$65 million[3]
Box office
$162.1 million[3]
Eyes Wide Shut is a 1999 erotic drama film directed, produced, and co-written by Stanley Kubrick. Based on Arthur Schnitzler's 1926 novella Traumnovelle (Dream Story), the story is transferred from early 20th century Vienna to 1990s New York City. The film follows the sexually charged adventures of Dr. Bill Harford, who is shocked when his wife, Alice, reveals that she had contemplated having an affair a year earlier. He embarks on a night-long adventure, during which he infiltrates a massive masked orgy of an unnamed secret society.
Kubrick obtained the filming rights for Dream Story in the 1960s, considering it a perfect text for a film adaptation about sexual relations. The project was only revived in the 1990s, when the director hired writer Frederic Raphael to help him with the adaptation. The film, which was mostly shot in the United Kingdom, apart from some exterior establishing shots, includes a detailed recreation of exterior Greenwich Village street scenes made at Pinewood Studios. Production took a long time and, at 400 days, holds the Guinness World Records longest continuous film shoot.
Kubrick died six days after showing his final cut to Warner Bros.[4] To ensure a theatrical R rating in the United States, Warner Bros. digitally altered several sexually explicit scenes during post-production. This version was released on July 16, 1999 to moderately positive reactions from critics; worldwide takings at the box office amounted to $162 million. The uncut version has since been released in DVD, HD DVD, and Blu-ray Disc formats.
Contents
[hide]
1 Plot
2 Cast
3 Production
3.1 Development
3.2 Adaptation
3.3 Casting
3.4 Filming
4 Music
5 Themes and interpretation
5.1 Genre
5.2 Christmas setting
5.3 Use of Venetian masks
5.4 Film crossovers
6 Release
6.1 Marketing
6.2 Box office
6.3 Critical reception
6.4 Awards and honors
6.5 Home media
7 Controversies
7.1 Debate over the film's state of completion
7.2 Kubrick's opinion
7.3 Studio censorship and classification
8 References
9 External links
Plot[edit]
Dr. Bill Harford and Alice are a young married couple living in New York. They attend a Christmas party hosted by a wealthy patient, Victor Ziegler, where Bill is reunited with Nick Nightingale, a medical school drop-out who now plays piano professionally. While a Hungarian man named Sandor Szavost attempts to seduce Alice, two young models attempt to do so with Bill. He is interrupted by his host who had been having sex with Mandy, a young woman who has overdosed on a speedball. Mandy recovers with Bill's aid.
The following evening at home, while smoking marijuana, when Alice asks him if he had sex with the two girls, Bill reassures her that he had not. She inquires if he is jealous of men who are attracted to her. He thinks women are more faithful than men. She tells him of a recent fantasy she had about a naval officer they had met on vacation. Disturbed by Alice's revelation, Bill is called by the daughter of a patient who has just died. After visiting the home, he goes to a prostitute named Domino but Alice phones as Domino begins to kiss Bill. Meeting Nick at the jazz club Bill learns that Nick has an engagement where he must play piano blindfolded. Bill learns that to gain admittance, one needs a costume, a mask, and the password, which Nick had written down. Bill goes to a costume shop and offers the owner, Mr. Milich, a generous amount of money to rent a costume. In the shop, Milich catches his teenage daughter with two Japanese men and expresses outrage at their lack of a sense of decency.
Bill takes a taxi to the country mansion mentioned by Nick. He gives the password and discovers a sexual ritual is taking place. A woman warns him he is in terrible danger. A porter then takes him to the ritual room, where a disguised red-cloaked Master of ceremonies confronts Bill with a question about a second password. Bill says he has forgotten it. The masked woman who had tried to warn Bill intervenes and insists that she will redeem him. Bill is ushered from the mansion and warned not to tell anyone about what happened there.
Just before dawn, Bill arrives home guilty and confused. He finds Alice laughing loudly in her sleep and awakens her. While crying, she tells him of a troubling dream in which she was having sex with the naval officer and many other men, and laughing at the idea of Bill seeing her with them. The next morning, Bill goes to Nick's hotel, where the desk clerk tells Bill that a bruised and frightened Nick checked out a few hours earlier after returning with two large, dangerous-looking men. Bill goes to return the costume, but not the mask, which he has misplaced, and learns Milich has sold his daughter into prostitution.
Bill returns to the country mansion in his own car and is met at the gate by a man with a note warning him to cease and desist his inquiries. After reading a newspaper story about a beauty queen who died of a drug overdose, Bill views the body at the morgue and identifies it as Mandy. Bill is summoned to Ziegler's house, where he is confronted with the events of the past night and day. Ziegler was one of those involved with the ritual orgy, and identified Bill and his connection with Nick. Ziegler claims that he had Bill followed for his own protection, and that the warnings made against Bill by the society are only intended to scare him from speaking about the orgy. However, he implies the society is capable of acting on their threats. Bill asks about the death of Mandy, whom Ziegler has identified as the masked woman at the party who'd "sacrificed" herself to prevent Bill's punishment, and about the disappearance of Nick, the piano player. Ziegler insists that Nick is safely back at his home in Seattle. Ziegler also says the "punishment" was a charade by the secret society to further frighten Bill, and it had nothing to do with Mandy's death; she was a hooker and addict and had died from another accidental drug overdose. Bill does not know if Ziegler is telling him the truth about Nick's disappearance or Mandy's death, but he says nothing further. When he returns home, Bill finds the rented mask on his pillow next to his sleeping wife. He breaks down in tears and decides to tell Alice the whole truth of the past two days. The next morning, they go Christmas shopping with their daughter. Alice muses that they should be grateful that they have survived, that she loves him and there is something they must do as soon as possible. When Bill asks what it is, she replies, "Fuck".
Cast[edit]
Tom Cruise as Dr. William "Bill" Harford
Nicole Kidman as Alice Harford
Sydney Pollack as Victor Ziegler
Marie Richardson as Marion Nathanson
Todd Field as Nick Nightingale
Sky du Mont as Sandor Szavost
Rade Šerbedžija as Mr. Milich
Vinessa Shaw as Domino
Fay Masterson as Sally
Leelee Sobieski as Milich's daughter
Leon Vitali as Red Cloak
Production[edit]
Development[edit]
While Stanley Kubrick was interested in making a film about sexual relations as early as 1962, during production of Dr. Strangelove,[5] the project only took off after he read Arthur Schnitzler's Dream Story in 1968, when he was seeking a work to follow on 2001: A Space Odyssey. Kubrick got interested in adapting the story, and with the help of then-journalist Jay Cocks, bought the filming rights to the novel.[6] In the 1970s, Kubrick had thought of Woody Allen as the Jewish protagonist.[7] For the following decade, Kubrick even considered making his Dream Story adaptation a sex comedy "with a wild and somber streak running through it", starring Steve Martin in the main role.[8] The project was only revived in 1994, when Kubrick hired Frederic Raphael to work on the script, updating the setting from early 20th century Vienna to late 20th century New York City.[5] Kubrick invited Michael Herr, a personal friend who helped write Full Metal Jacket, for revisions, but Herr declined for fear that he would both be underpaid and would commit to an overlong production.[8]
Adaptation[edit]
Arthur Schnitzler's 1926 novella Dream Story is set around Vienna shortly after the turn of the century. The main characters are a couple named Fridolin and Albertina; their home is a typical suburban middle-class home, not the film's posh urban apartment. Schnitzler himself, like the protagonist of this novel, lived in Vienna, was Jewish, and a medical doctor, though Schnitzler eventually abandoned medicine for writing.
While Fridolin and Albertina, the protagonist couple of Dream Story, are sometimes implied to be Jewish, there is nothing in the novella which justifies this assumption, and neither Fridolin nor Albertina are typical Jewish names; whereas Nachtigall (Nightingale) is overtly identified as Jewish. Kubrick (himself of Jewish descent) frequently removed references to the Jewishness of characters in the novels he adapted.[9] In the case of Eyes Wide Shut, Frederic Raphael (who is also Jewish) wanted to keep the Jewish background of the protagonists, but Kubrick insisted that they should be "vanilla" Americans, without any details that would arouse any presumptions. The director added that Bill should be a "Harrison Ford-ish goy" (though Ford's mother was Jewish), and created the surname of Harford as an allusion to the actor.[10] This is reflected in the way the film's Bill Harford is taunted by college students when going home in the morning. In the film, Bill is taunted with homophobic slurs. In the novella, these boys are recognized to be members of an anti-Semitic college fraternity.[9][11] Kubrick's co-screenwriter, Frederic Raphael, in an introduction to a Penguin Classics edition of Dream Story, writes "Fridolin is not declared to be a Jew, but his feelings of cowardice, for failing to challenge his aggressor, echo the uneasiness of Austrian Jews in the face of Gentile provocation."[12]
The novella is set during the Carnival, when people often wear masks to parties. The party that both husband and wife attend at the opening of the story is a Carnival Masquerade ball, whereas the film's story begins at Christmas time.
Critic Randy Rasmussen suggests that the character of Bill is fundamentally more naïve, strait-laced, less disclosing and more unconscious of his vindictive motives than his counterpart, Fridolin.[13] For Rasmussen and others, the film's Bill Harford is essentially sleep-walking through life with no deeper awareness of his surroundings. In the novella, when his wife discloses a private sexual fantasy, he in turn admits one of his own (of a girl in her mid to late teens), while in the film he is simply shocked. The film's argument over whether he has fantasies over female patients and whether women have sexual fantasies is simply absent from the novella, where both husband and wife assume the other has fantasies. In the film, Bill's estrangement from Alice revolves around her confessing a recent fantasy to him; in the novella, both exchange fantasies, after which she declares that in her youth she could have easily married someone else, which is what precipitates their sense of estrangement.
In the novella, the husband long suspected that his patient (Marion) was infatuated with him, while in the film it is a complete surprise and he seems shocked. He is also more overwhelmed by the orgy in the film than in the novella. Fridolin is socially bolder but less sexual with the prostitute (Mizzi in the novella, Domino in the film). Fridolin is also conscious of looking old in the novella, though he hardly does in the film.
In the novella, the party (which is sparsely attended) uses "Denmark" as the password for entrance; that is significant in that Albertina had her infatuation with her soldier in Denmark. The film's password is "Fidelio", from the Latin word for "faithful", and which is the title of Beethoven's only opera (Fidelio, or Married Love). In early drafts of the screenplay, the password was "Fidelio Rainbow". Jonathan Rosenbaum noted that both passwords echo elements of one member of the couple's behaviour, though in opposite ways.[14] The party in the novella consists mostly of nude ballroom dancing.
In the novella, the woman who "redeems" Fridolin at the party, saving him from punishment, is costumed as a nun, and most of the characters at the party are dressed as nuns or monks; Fridolin himself used a monk costume. This aspect was retained in the film's original screenplay,[15] but was deleted in the filmed version.
In the novella, when the husband returns home, the wife's dream is an elaborate drama that concludes with him getting crucified in a village square after Fridolin refuses to separate from Albertina and become the paramour of the village princess, even though Albertina is now occupied with copulating with other men, and watches him "without pity". By being faithful, Fridolin thus fails to save himself from execution in Albertina's dream, although he was apparently spared by the woman's "sacrifice" at the masked sex party. In both the novella and film, the wife states that the laugh in her sleep just before she woke was a laugh of scornful contempt for her husband; although awake, she states this matter-of-factly. The novella makes it clear that Fridolin at this point hates Albertina more than ever, thinking they are now lying together "like mortal enemies". It has been argued that the dramatic climax of the novella is actually Albertina's dream, and the film has shifted the focus to Bill's visit to the secret society's orgy, whose content is more shocking in the film.[16]
The adaptation created a character with no counterpart in the novella: Ziegler, who represents both the high wealth and prestige to which Bill Harford aspires, and a connection between Bill's two worlds (his regular life, and the secret society organizing the ball).[17] Critic Randy Rasmussen interprets Ziegler as representing Bill's worst self, much as in other Kubrick films; the title character in Dr. Strangelove represents the worst of the American national security establishment, Charles Grady represents the worst of Jack Torrance in The Shining, and Clare Quilty represents the worst of Humbert Humbert in Lolita.[18]
Ziegler's presence allows Kubrick to change the mechanics of the story in a few ways. In the film, Bill first meets his piano-playing friend at Ziegler's party, and then while wandering around town, seeks him out at the Sonata Café. In the novella, the café encounter with Nightingale is a delightful coincidence. Similarly, the dead woman whom Bill suspects of being the woman at the party who saved him is a baroness that he was acquainted with earlier, not a hooker at Ziegler's party.
More significantly, in the film, Ziegler gives a commentary on the whole story to Bill, including an explanation that the party incident, where Bill is apprehended, threatened, and ultimately redeemed by the woman's sacrifice, was staged. Whether this is to be believed or not, it is an exposition of Ziegler's view of the ways of the world as a member of the power elite.[19]
The novella explains why the husband's mask is on the pillow next to his sleeping wife, she having discovered it when it slipped out of his suitcase, and placing it there as a statement of understanding. This is left unexplained in the film and left to the viewer's interpretation.
Casting[edit]
When Warner Bros. president Terry Semel approved production, he asked Kubrick to cast a movie star, as "you haven't done that since Jack Nicholson [in The Shining]."[6] Cruise was in England because his wife Nicole Kidman was there shooting The Portrait of a Lady, and eventually Cruise decided to visit Kubrick's estate with Kidman. After that meeting, the director awarded them the roles.[20] Jennifer Jason Leigh and Harvey Keitel each were cast and filmed by Kubrick. Due to scheduling conflicts, both had to drop out[5] – first Keitel with Finding Graceland,[21] then Leigh with eXistenZ[22] – and they were replaced by Marie Richardson and Sydney Pollack in the final cut.[6]
Filming[edit]
Mentmore Towers, one of the settings used by the film
Principal photography began in November 1996. Kubrick's perfectionism led to script pages being rewritten on the set, and most scenes requiring numerous takes. The shoot went much longer than expected, with Vinessa Shaw—playing the HIV-positive prostitute—being initially contracted for two weeks, but ending up working for two months.[5] The crew got exhausted.[23] Filming finally wrapped in June 1998.[5] The Guinness World Records recognized Eyes Wide Shut as the longest constant movie shoot, "for over 15 months, a period that included an unbroken shoot of 46 weeks".[24]
Given Kubrick's fear of flying, the entire film was shot in England. Sound-stage works were done at London's Pinewood Studios, which included a detailed recreation of Greenwich Village. Kubrick's perfectionism went as far as sending workmen to Manhattan to measure street widths and note newspaper vending machine locations. Real New York footage was also shot to be rear projected behind Cruise. Production was followed by a strong campaign of secrecy, helped by Kubrick always working with a short team on set.[5] Outdoor locations included Hatton Garden for a Greenwich Village street,[25] Hamleys for the toy store from the film's ending,[26] and Mentmore Towers and Elveden Hall in Elveden, Suffolk, England for the mansion.[27] Larry Smith, who had first served as a gaffer on both Barry Lyndon and The Shining, was chosen by Kubrick to be the film's cinematographer. Kubrick refused to use studio lighting, forcing Smith to use the available light sources visible in the shot, such as lamps and Christmas tree lights. When this was not adequate, Smith used Chinese paper ball lamps to softly brighten the scene. The color was enhanced by push processing the film reels, which helped bring out the intensity of color.[28]
Kubrick's perfectionism led him to oversee every visual element that would appear in a given frame, from props and furniture to the color of walls and other objects.[28] One such element were the masks used in the orgy, which were inspired by the masked Carnival balls visited by the protagonists of the novel. Costume designer Marit Allen explained that Kubrick felt they fit in that scene for being part of the imaginary world, and ended up "creat[ing] the impression of menace, but without exaggeration". Many masks as used in the Venetian carnival were sent to London, and Kubrick separated who would wear each piece.[29] The paintings of Kubrick's wife Christiane are featured on decoration.[30]
After shooting completed, Kubrick entered a prolonged post-production process. On March 1, 1999, Kubrick showed a cut to Cruise, Kidman, and the Warner Bros. executives. The director died six days later.[4]
Music[edit]
Jocelyn Pook wrote the original music for Eyes Wide Shut, but like other Kubrick movies, the film was noted for its usage of classical music.[31] The opening title music is Shostakovich's Waltz No. 2 from "Suite for Variety Stage Orchestra", misidentified as "Waltz 2 from Jazz Suite". One recurring piece is the second movement of György Ligeti's piano cycle "Musica ricercata".[32] Kubrick originally intended to feature "Im Treibhaus" from Wagner's Wesendonck Lieder, but the director eventually replaced it with Ligeti's tune feeling Wagner's song was "too beautiful".[33] In the morgue scene, Franz Liszt's late solo piano piece, "Nuages Gris" ("Grey Clouds") (1881), is heard.[34] "Rex tremendae" from Mozart's Requiem plays as Bill walks into the cafe and reads of Mandy's death.[35]
Pook was hired after choreographer Yolande Snaith rehearsed the masked ball orgy scene using Pook's composition "Backwards Priests" – which features a Romanian Orthodox Divine Liturgy recorded in a church in Baia Mare, played backwards – as a reference track. Kubrick then called the composer and asked if she had anything else "weird" like that song, which was reworked for the final cut of the scene, with the title "Masked Ball". Pook ended up composing and recording four pieces of music, many times based on her previous work, totaling 24 minutes. The composer's work ended up having mostly string instruments – including a viola played by Pook herself – with no brass or woodwinds as Pook "just couldn't justify these other textures", particularly as she wanted the tracks played on dialogue-heavy scenes to be "subliminal" and felt such instruments would be intrusive.[36][37]
Another track in the orgy, "Migrations", features a Tamil song sung by Manickam Yogeswaran, a Carnatic singer. The original cut had a scriptural recitation of the Bhagavad Gita, which Pook took from a previous Yogeswaran recording.[37][38] As a result of Hindus protesting against their most sacred scripture being used in such a context,[39] Warner Bros. issued a public apology,[40] and hired the singer to record a similar track to replace the chant.[41]
The party at Ziegler's house features rearrangements of love songs such as "When I Fall in Love" and "It Had to Be You", used in increasingly ironic ways considering how Alice and Bill flirt with other people in the scene.[42] As Kidman was nervous about doing nude scenes, Kubrick stated she could bring music to liven up. When Kidman brought a Chris Isaak CD, Kubrick approved it, and incorporated Isaak's song "Baby Did a Bad, Bad Thing" to both an early romantic embrace of Bill and Alice and the film's trailer.[43]
Themes and interpretation[edit]
Genre[edit]
The film was described by some reviewers, and partially marketed, as an erotic thriller, a categorization disputed by others. It is classified as such in the book The Erotic Thriller in Contemporary Cinema, by Linda Ruth Williams,[44] and was described as such in news articles about Cruise and Kidman's lawsuit over assertions they saw a sex therapist during filming.[45] The positive review in Combustible Celluloid describes it as an erotic thriller upon first viewing, but actually a "complex story about marriage and sexuality".[46] High-Def Digest also called it an erotic thriller.[47]
However, reviewing the film at AboutFilm.com, Carlo Cavagna regards this as a misleading classification,[48] as does Leo Goldsmith, writing at notcoming.com,[49] and the review on Blu-ray.com.[50] Writing in TV Guide, Maitland McDonagh writes "No one familiar with the cold precision of Kubrick's work will be surprised that this isn't the steamy erotic thriller a synopsis (or the ads) might suggest."[51] Writing in general about the genre of 'erotic thriller' for CineAction in 2001, Douglas Keesey states that "whatever [Eyes Wide Shut's] actual type, [it] was at least marketed as an erotic thriller".[52] Michael Koresky, writing in the 2006 issue of film journal Reverse Shot, writes "this director, who defies expectations at every turn and brings genre to his feet, was ... setting out to make neither the 'erotic thriller' that the press maintained nor an easily identifiable 'Kubrick film'".[53] DVD Talk similarly dissociates the film from this genre.[54]
Christmas setting[edit]
In addition to relocating the story from Vienna in the 1900s to New York City in the 1990s, Kubrick changed the time-frame of Schnitzler's story from Mardi Gras to Christmas. One critic believed Kubrick did this because of the rejuvenating symbolism of Christmas.[55] Others have noted that Christmas lights allow Kubrick to employ some of his distinct methods of shooting including using source location lighting, as he did in Barry Lyndon.[56] The New York Times noted that the film "gives an otherworldly radiance and personality to Christmas lights",[57] and critic Randy Rasmussen noted that "colorful Christmas lights ... illuminate almost every location in the film."[58] Harper's film critic, Lee Siegel, believes the film's recurring motif is the Christmas tree, because it symbolizes the way that "Compared with the everyday reality of sex and emotion, our fantasies of gratification are, yes, pompous and solemn in the extreme ... For desire is like Christmas: it always promises more than it delivers."[59] Author Tim Kreider noted that the "Satanic" mansion-party at Somerton is the only set in the film without a Christmas tree, stating "Almost every set is suffused with the dreamlike, hazy glow of colored lights and tinsel ... Eyes Wide Shut, though it was released in summer, was the Christmas movie of 1999."[60] Noting that Kubrick has shown viewers the dark side of Christmas consumerism, Louise Kaplan stated that the film illustrates ways that the "material reality of money" is shown replacing the spiritual values of Christmas, charity and compassion. While virtually every scene has a Christmas tree, there is "no Christmas music or cheery Christmas spirit."[61] Critic Alonso Duralde, in his book Have Yourself a Movie Little Christmas, categorized the film as a "Christmas movie for grownups" (as he also did with Bergman's Fanny and Alexander and The Lion in Winter), arguing that "Christmas weaves its way through the film from start to finish".[62]
Use of Venetian masks[edit]
A central conflict is between
Dr. Harford's adventures in the sexual underworld of New York and his family life. Here, Dr. Harford finds his wife asleep beside the Venetian mask that he had worn at the masked ball with bizarre sex rituals the previous evening.
Historians, travel guide authors, novelists, and merchants of Venetian masks have noted that these have a long history of being worn during promiscuous activities.[63][64][65][66] Authors Tim Kreider and Thomas Nelson have linked the film's usage of these to Venice's reputation as a center of both eroticism and mercantilism. Nelson notes that the sex ritual combines elements of Venetian Carnival and Catholic rites. (In particular, the character of "Red Cloak" simultaneously serves as Grand Inquisitor and King of Carnival.) As such, Nelson argues the sex ritual is a symbolic mirror of the darker truth behind the façade of Victor Ziegler's earlier Christmas party.[67] Writing in her 2007 book Symbols in Stanley Kubrick's Movie 'Eyes Wide Shut', Carolin Ruwe argues that the mask is the prime symbol of the film, the masks at Somerton mansion reflecting the masks that all wear in society,[68] a point reinforced by Tim Kreider, who noted the many masks in the prostitute's apartment and her having been renamed "Domino" in the film, which is a style of Venetian mask.[60]
Film crossovers[edit]
The statements of Todd Field's character, Nick Nightingale, that he had dropped out of medical school ten years earlier and now plays the piano, are a reference to the film Gross Anatomy in which Field's character David Schreiner portrays a medical student who quits his education to pursue playing the piano. Gross Anatomy was released ten years before Eyes Wide Shut and featured Matthew Modine who had played "Joker" in Stanley Kubrick's 1987 film Full Metal Jacket.[69]
Release[edit]
Marketing[edit]
Warner Bros. heavily promoted Eyes Wide Shut, while following Kubrick's secrecy campaign – to the point the film's press kits contained no production notes – and also the director's suggestions to Semel regarding the marketing campaign, given one week prior to Kubrick's death. The first footage was shown to theater owners attending the 1999 ShoWest convention in Las Vegas. TV spots featured both Isaak and Ligeti's songs from the soundtrack, while revealing little about the movie's plot. The film also appeared on the cover of Time magazine, and on show business programs such as Entertainment Tonight and Access Hollywood.[70]
Box office[edit]
Eyes Wide Shut opened on July 16, 1999, in the United States. The film topped the weekend box office, with $21.7 million from 2,411 screens.[71] These numbers surpassed the studio's expectations of $20 million, and became both Cruise's sixth consecutive chart topper and Kubrick's highest opening weekend. Audiences attendance dropped from Friday to Saturday, which analysts attributed to the news coverage of John F. Kennedy, Jr.'s disappearance.[72][73] Eyes Wide Shut ended up grossing a total of $55,691,208 in the US. The numbers put it as Kubrick's second most successful film in the country, behind 2001: A Space Odyssey,[74] but were considered a box office disappointment.[75]
Shortly after its screening at the Venice Film Festival, Eyes Wide Shut had a British premiere on September 3, 1999, at the Warner Village cinema in Leicester Square.[76] The film's wide opening occurred the following weekend, and topped the UK charts with £1,189,672.[77] It remained atop the charts the following weekend,[78] and finished its box office run with £5,065,520.[79]
The international performances for Eyes Wide Shut were more positive, with Kubrick's long-time assistant and brother-in-law Jan Harlan stating that "It was badly received in the Anglo-Saxon world, but it was very well received in the Latin world and Japan. In Italy, it was a huge hit."[75] Overseas earnings of over $105 million led to a $162,091,208 box office run worldwide, turning it into the highest-grossing Kubrick film.[80]
Critical reception[edit]
Eyes Wide Shut received positive reviews from critics, and currently has a "Certified Fresh" score of 74% on Rotten Tomatoes, based on 147 reviews with an average rating of 7.5 out of 10. The critical consensus states "Kubrick's intense study of the human psyche yields an impressive cinematic work."[81] The film also has a score of 68 out of 100 on Metacritic, based on 33 critics, indicating "Generally favorable reviews".[82] Over 50 critics listed the film among the best of 1999.[83]
In the Chicago Tribune, Michael Wilmington declared the film a masterpiece, lauding it as "provocatively conceived, gorgeously shot and masterfully executed [...] Kubrick's brilliantly choreographed one-take scenes create a near-hypnotic atmosphere of commingled desire and dread."[84] Nathan Rabin of The A.V. Club was also highly positive, arguing that "the film's primal, almost religious intensity and power is primarily derived from its multifaceted realization that disobeying the dictates of society and your conscience can be both terrifying and exhilarating. [...] The film's depiction of sexual depravity and amorality could easily venture into the realm of camp in the hands of a lesser filmmaker, but Kubrick depicts primal evil in a way that somehow makes it seem both new and deeply terrifying."[85]
Critic Roger Ebert gave the film a positive 3.5/4 stars, writing, "Kubrick's great achievement in the film is to find and hold an odd, unsettling, sometimes erotic tone for the doctor's strange encounters." He praised the individual dream-like atmosphere of the separate scenes, and called the choice of Christmas-themed lighting, "garish, like an urban sideshow."[86]
Reviewer James Berardinelli stated that it was arguably one of Kubrick's best films. Along with considering Kidman "consistently excellent", he wrote that Kubrick "has something to say about the causes and effects of depersonalized sex", and praised the work as "thought-provoking and unsettling."[87] Writing for The New York Times, reviewer Janet Maslin commented, "This is a dead-serious film about sexual yearnings, one that flirts with ridicule yet sustains its fundamental eeriness and gravity throughout. The dreamlike intensity of previous Kubrick visions is in full force here."[88] Writing about erotic mystery thrillers, writer Leigh Lundin comments that watching the dissolving marriage was painful and the backdrop of Christmas against the dark topic was disturbing, but "the oblique, well-told plot rewards an attentive viewer".[89][unreliable source?]
Some reviewers were unfavorable. One complaint was that the movie's pacing was too slow; while this may have been intended to convey a dream state, critics objected that it made actions and decisions seem labored.[citation needed] Another complaint was that since Kubrick shot the scenes set in New York City on a sound stage, the result was that they felt inauthentic.[citation needed] In The Washington Post, Stephen Hunter wrote, "Kubrick is annoyingly offhand while at the same time grindingly pedantic; plot points are made over and over again, things are explained till the dawn threatens to break in the east, and the movie stumbles along at a glacial pace."[90] David Edelstein of Slate dismissed it as "estranged from any period I recognize. Who are these people played by Cruise and Kidman, who act as if no one has ever made a pass at them and are so deeply traumatized by their newfound knowledge of sexual fantasies--the kind that mainstream culture absorbed at least half a century ago? [...] Who are these aristocrats whose limos take them to secret masked orgies in Long Island mansions? Even dream plays need some grounding in the real world."[91] J. Hoberman wrote that the film "feels like a rough draft at best."[92]
Lee Siegel from Harper's felt that most critics responded mainly to the marketing campaign and did not address the film on its own terms.[93] Others felt that American censorship took an esoteric film and made it even harder to understand.[94]
On the television show Roger Ebert & the Movies, director Martin Scorsese named Eyes Wide Shut his fourth-favorite film of the 1990s.[95] For the introduction to Michel Ciment's Kubrick: The Definitive Edition, Scorsese wrote: "When Eyes Wide Shut came out a few months after Stanley Kubrick's death in 1999, it was severely misunderstood, which came as no surprise. If you go back and look at the contemporary reactions to any Kubrick picture (except the earliest ones), you'll see that all his films were initially misunderstood. Then, after five or ten years came the realization that 2001 or Barry Lyndon or The Shining was like nothing else before or since."[96] Mystery writer and commentator Jon Breen agreed.[89] In 2012, Slant Magazine ranked the film as the second greatest of the 1990s.[97] The BBC listed it number 61 in its list of the 100 greatest American films of all time.[98]
Awards and honors[edit]
Golden Globes[99]
Golden Globes Award for Best Original Score – Motion Picture – Jocelyn Pook (nominated)
Venice Film Festival
Filmcritica "Bastone Bianco" Award – Stanley Kubrick (Won)
French Syndicate of Cinema Critics[100]
Best Foreign Film – Stanley Kubrick (Won)
Chicago Film Critics Association[83]
Best Director – Stanley Kubrick (nominated)
Best Cinematography – Stanley Kubrick and Larry Smith (nominated)
Best Original score – Jocelyn Pook (nominated)
Costume Designers Guild[101]
Excellence in Costume Design for Film – Contemporary – Marit Allen (nominated)
Satellite Award[102]
Best Performance by an Actress in a Motion Picture, Drama – Nicole Kidman (nominated)
Best Cinematography – Larry Smith (nominated)
Best Sound – Paul Conway and Edward Tise (nominated)
César Award[103]
Best Foreign Film (Meilleur film étranger) – Stanley Kubrick (nominated)
Online Film Critics Society[104]
Best Director – Stanley Kubrick (nominated)
Best Cinematography – Larry Smith (nominated)
Best Original score – Jocelyn Pook (nominated)
Home media[edit]
Eyes Wide Shut was first released in VHS and DVD on March 7, 2000.[83] The original DVD release corrects technical gaffes, including a reflected crew member, and altering a piece of Alice Harford's dialogue. Most home videos remove the verse that was claimed to be cited from the sacred Hindu scripture Bhagavad Gita (although it was Pook's reworking of "Backwards Priests" as stated above.)
On October 23, 2007, Warner Home Video released Eyes Wide Shut in a special edition DVD, plus the HD DVD and Blu-ray Disc formats.[105] This is the first home video release that presents the film in anamorphic 1.78:1 (16:9) format (note that the film was shown theatrically as soft matted 1.66:1 in Europe and 1.85:1 in the USA and Japan). The previous DVD release used a 1.33:1 (4:3) aspect ratio. It is also the first American home video release to feature the uncut version. Although the earliest American DVD of the uncut version states on the cover that it includes both the R-rated and unrated editions, in actuality only the unrated edition is on the DVD.
Controversies[edit]
Debate over the film's state of completion[edit]
Though Warner Bros. insisted that Kubrick had turned in his final cut before his death, the film was still in the final stages of post-production, which was therefore completed by the studio in collaboration with Kubrick's estate. Some have argued that the work which remained was minor and exclusively technical in nature, allowing the estate to faithfully complete the film based on the director's notes. However, decisions regarding sound mixing, scoring and color-correction would have necessarily been made without Kubrick's input. Furthermore, Kubrick had a history of continuing to edit his films up until the last minute, and in some cases even after initial public screenings, as had been the case with 2001: A Space Odyssey and The Shining.[106]
Writing for Vanity Fair, Kubrick collaborator Michael Herr recalled a phone call from the director regarding the cut that would be screened for the Warner Bros. executives four days before his death:
...there was looping to be done and the music wasn’t finished, lots of small technical fixes on color and sound; would I show work that wasn’t finished? He had to show it to Tom and Nicole because they had to sign nudity releases, and to Terry Semel and Bob Daly of Warner Bros., but he hated it that he had to, and I could hear it in his voice that he did.[107]
Garrett Brown, inventor of the Steadicam, has expressed that he considers Eyes Wide Shut to be an unfinished film:
I think Eyes Wide Shut was snatched up by the studio when Stanley died and they just grabbed the highest number Avid edit and ran off as if that was the movie. But it was three months before the movie was due to be released. I don't think there's a chance that was the movie he had in mind, or the music track and a lot of other things. It's a great shame because you know it's out there, but it doesn't feel to me as it's really his film.[108]
Kubrick's opinion[edit]
Jan Harlan, Kubrick's brother-in-law and executive producer, reported that Kubrick was "very happy" with the film and considered it to be his "greatest contribution to the art of cinema".[109][110]
R. Lee Ermey, an actor in Kubrick's film Full Metal Jacket, claimed that Kubrick phoned him two weeks before his death to express his despondency over Eyes Wide Shut. "He told me it was a piece of shit", Ermey said in Radar magazine, "and that he was disgusted with it and that the critics were going to 'have him for lunch'. He said Cruise and Kidman had their way with him – exactly the words he used."[111]
According to Todd Field, Kubrick's friend and an actor in Eyes Wide Shut, Ermey's claims do not accurately reflect Kubrick's essential attitude. Field's response appeared in an October 26, 2006 interview with Slashfilm.com:[112]
The polite thing would be to say 'No comment'. But the truth is that ... let's put it this way, you've never seen two actors more completely subservient and prostrate themselves at the feet of a director. Stanley was absolutely thrilled with the film. He was still working on the film when he died. And he probably died because he finally relaxed. It was one of the happiest weekends of his life, right before he died, after he had shown the first cut to Terry, Tom and Nicole. He would have kept working on it, like he did on all of his films. But I know that from people around him personally, my partner who was his assistant for thirty years. And I thought about R. Lee Ermey for In the Bedroom. And I talked to Stanley a lot about that film, and all I can say is Stanley was adamant that I shouldn't work with him for all kinds of reasons that I won't get into because there is no reason to do that to anyone, even if they are saying slanderous things that I know are completely untrue.
In a reddit "Ask Me Anything" session, Stanley Kubrick's daughter, Katharina Kubrick, claimed that her father was very proud of the film.[113] She also discredited Ermey's claims, saying to a user who asked about Kubrick's alleged comments, "[not to] believe that for a second."[114]
Studio censorship and classification[edit]
Citing contractual obligations to deliver an R rating, Warner Bros. digitally altered the orgy for the American release, blocking out graphic sexuality by inserting additional figures to obscure the view, avoiding an adults-only NC-17 rating that limited distribution, as some large American theaters and video store operators disallow films with that rating. This alteration antagonized film critics and cinephiles,[115] as they argued that Kubrick had never been shy about ratings (A Clockwork Orange was originally given an X-rating). The unrated version of Eyes Wide Shut was released in the United States on October 23, 2007, in DVD, HD DVD, and Blu-ray Disc formats.
The version in South America, Europe and Australia featured the orgy scene intact (theatrical and DVD release) with ratings mostly for people of 18+. In New Zealand and in Europe, the uncensored version has been shown on television with some controversy. In Australia, it was broadcast on Network Ten with the alterations in the American version for an MA rating, blurring and cutting explicit sexuality.
Roger Ebert objected to the technique of using digital images to mask the action. He said it "should not have been done at all" and it is "symbolic of the moral hypocrisy of the rating system that it would force a great director to compromise his vision, while by the same process making his adult film more accessible to young viewers."[116] Although Ebert has been frequently cited as calling the standard North American R-rated version the "Austin Powers" version of Eyes Wide Shut – referencing two scenes in Austin Powers: International Man of Mystery in which, through camera angles and coincidences, sexual body parts are blocked from view in a comical way[117] – his review stated that this joke referred to an early rough draft of the altered scene, never publicly released.[116]
References[edit]
Notes
Jump up ^ "EYES WIDE SHUT". British Board of Film Classification. Retrieved September 29, 2013.
Jump up ^ "Eyes Wide Shut (1999)". British Film Institute. Retrieved December 2, 2014.
^ Jump up to: a b "Eyes Wide Shut (1999)". Box Office Mojo. Retrieved December 24, 2014.
^ Jump up to: a b Jan Harlan, Stanley Kubrick: A Life in Pictures
^ Jump up to: a b c d e f Svetkey, Benjamin (July 23, 1999). "Behind the scenes of Eyes Wide Shut". Entertainment Weekly. Retrieved 2012-10-24.
^ Jump up to: a b c Schickel, Richard (August 9, 1999). "All Eyes On Them". Time. Retrieved 2012-10-24.
Jump up ^ Rasmussen 2005, p. 222.
^ Jump up to: a b Herr, Michael. CLASSIC HOLLYWOOD: Kubrick, Vanity Fair (August 1999)
^ Jump up to: a b Cocks 2004, p. 29
Jump up ^ Raphael 2000, p. 59.
Jump up ^ Lowenberg, Peter. "Freud, Schnitzler, and Eyes Wide Shut," in Depth of field: Stanley Kubrick, film, and the uses of history (2006), pp. 255–279.
Jump up ^ Schnitzler, Arthur; Fredric Raphael (1999). Dream Story. Penguin. p. xiii. ISBN 0-14-118224-5.
Jump up ^ Rasmussen 2005, p. 331
Jump up ^ Rosenbaum, Jonathan. "In Dreams Begin Responsibilities"; in Depth of field: Stanley Kubrick, film, and the uses of history (2006), pp. 245–254
Jump up ^ "Eyes Wide Shut original screenplay". Godamongdirectors.com. Retrieved 2014-08-22.
Jump up ^ "Rainer J. Kaus, Notes on Eyes Wide Shut". Clas.ufl.edu. Retrieved 2014-08-22.
Jump up ^ Chion, 2002 & p.21.
Jump up ^ Rasmussen 2005, p. 332
Jump up ^ Cocks 2004, p. 146.
Jump up ^ Interview: Tom Cruise on Stanley Kubrick. Eyes Wide Shut Blu-Ray (2007): Warner Bros Home Entertainment. 1999.
Jump up ^ Keitel's Heartbreak Hotel. Books.google.com. 1997-04-21. Retrieved 2014-08-22.
Jump up ^ Dretzka, Gary (April 27, 1999). "Hyper 'Existenz'". Chicago Tribune.
Jump up ^ Karger, Dave (Oct 17, 1997). "Closing Their 'Eyes Wide Shut'". Entertainment Weekly. Retrieved 2012-10-27.
Jump up ^ Guinness World Records 2001. 2000. p. 93. ISBN 0-85112-102-0.
Jump up ^ Adams 2000, p. 24.
Jump up ^ Adams 2000, p. 16.
Jump up ^ Reeves, Tony (2001). The Worldwide Guide to Movie Locations. Chicago Review Press. p. 70. ISBN 1-55652-432-3.
^ Jump up to: a b Pizzella, Stephen (28 October 1999). "A Sword in the Bed". American Cinematographer (33).
Jump up ^ Ciment, 2003 & p. 177.
Jump up ^ Eyes Wide Shut, Senses of Cinema
Jump up ^ Ruhlmann, William. "Eyes Wide Shut". AllMusic. Retrieved 2012-10-22.
Jump up ^ Powrie, Phil; Stilwell, Robynn Jeananne (2006). Changing Tunes: The Use of Pre-Existing Music in Film. Ashgate Publishing, Ltd. p. 7. ISBN 0-7546-5137-1.
Jump up ^ Wierzbicki, James (2012). Music, Sound and Filmmakers: Sonic Style in Cinema. Routledge. pp. 147–148. ISBN 0-415-89894-3.
Jump up ^ Arnold, Ben. The Liszt Companion Greenwood Publishing Group, 2002. Pg. 169
Jump up ^ "Stanley Kubrick's swan song: Eyes wide shut". PEP Web. Retrieved 2012-07-02.
Jump up ^ Zwerin, Mike (1999-10-27). "Kubrick's Approval Sets Seal on Classical Crossover Success : Pook's Unique Musical Mix". International Herald Tribune. Retrieved 2012-11-12.
^ Jump up to: a b Koppl, Rudy (1999). "Jocelyn Pook on EYES WIDE SHUT". Soundtrack Magazine. 18 (71).
Jump up ^ "Ears wide open". The Music Magazine. Retrieved 2012-07-02.
Jump up ^ "AHAD Gives Voice to Hindu Sentiments Against Eyes Wide Shut". American Hindus Against Defamation. Retrieved 2012-11-12.
Jump up ^ Press Trust of India (1999-08-09). "Warner Bros apologises to Hindus". The Times of India. Archived from the original on 2012-03-22. Retrieved 2012-11-12.
Jump up ^ Castle, Robert (April 2002). "The Dharma Blues". Journal of Religion and Film. 6 (1). Archived from the original on 2016-03-03.
Jump up ^ Powrie, Stillwell (2006) p.17
Jump up ^ "'Bad Bad Thing' Is Good Indeed for Isaak". The Los Angeles Times. 1999-07-26. Retrieved 2012-10-22.
Jump up ^ p. 397 Book published by Indiana University Press, 2005
Jump up ^ The film business newspaper Variety [1] and the UK The Guardian [2]
Jump up ^ Anderson, Jeffrey M. (1999-07-16). "Combustible Celluloid Review – Eyes Wide Shut (1999)". Combustiblecelluloid.com. Retrieved 2015-05-24.
Jump up ^ "Blu-ray Review: Eyes Wide Shut | High-Def Digest". Bluray.highdefdigest.com. Retrieved 2012-07-02.
Jump up ^ "Eyes Wide Shut (1999)". AboutFilm.Com. Retrieved 2012-07-02.
Jump up ^ "Eyes Wide Shut". notcoming.com. 2010-03-14. Retrieved 2012-07-02.
Jump up ^ "Eyes Wide Shut Blu-ray". Blu-ray.com. Retrieved 2012-07-02.
Jump up ^ "Eyes Wide Shut Review". Movies.tvguide.com. Retrieved 2012-07-02.
Jump up ^ Keesey, Douglas (2001-06-22). "They Kill for Love – CineAction". HighBeam.com. Retrieved 2015-05-26.
Jump up ^ Koresky, Michael (2006-05-11). "Eyes Wide Shut". Reverse Shot. Retrieved 2015-05-26.
Jump up ^ "Eyes Wide Shut (Blu-ray) : DVD Talk Review of the Blu-ray". Dvdtalk.com. Retrieved 2012-07-02.
Jump up ^ Michael Koresky (Spring 2006). "Wake Up Call". Reverse Shot. Retrieved 15 December 2011.
Jump up ^ Falsetto, Mario (2001). Stanley Kubrick: a narrative and stylistic analysis. Greenwood Publishing Group. p. 137. ISBN 9780275969745. See also the section on "Disappearing Film Grain" at "Archived copy". Archived from the original on 2012-01-26. Retrieved 2011-12-15.
Jump up ^ Janet Maslin (1999). "Film Review; Bedroom Odyssey". New York Times. Retrieved 4 March 2015.
Jump up ^ Rasmussen, Randy (2005). Stanley Kubrick: Seven Films Analyzed. McFarland. p. 333. ISBN 9780786421527.
Jump up ^ Lee Siegel. "What the critics failed to see in Kubrick's last film". Harper's. Retrieved 15 December 2011.
^ Jump up to: a b Krieder, Tim. "Introducing Sociology"; in Depth of Field: Stanley Kubrick, Film, and the Uses of History (2006, pp. 280–297)
Jump up ^ Kaplan, Louise (2006). Cultures of fetishism. MacMillan. p. 61. ISBN 9781403969682.
Jump up ^ Duralde, Alonso (2010). Have Yourself a Movie Little Christmas. Limelight Editions. p. 33. ISBN 9780275969745.
Jump up ^ Sketches from Venetian history, Volume 2 by Edward Smedley 1837
Jump up ^ Porter, Darwin; Prince, Danforth. Frommer's Portable Venice.
Jump up ^ Novel The Venetian Mask by Rosalind Laker. Books.google.com. 2008-03-25. Retrieved 2014-08-22.
Jump up ^ "Magic of Venezia Mask Story". Magicofvenezia.com. Archived from the original on 2012-06-21. Retrieved 2012-07-02.
Jump up ^ Nelson 2000, pp. 288–9.
Jump up ^ Symbols in Stanley Kubrick's Movie 'Eyes Wide Shut' – Carolin Ruwe – Google Boeken. Books.google.com. 2000-07-30. Retrieved 2012-07-02.
Jump up ^ "Eyes Wide Shut (Trivia)". us.imdb.com. Retrieved 2017-03-13.
Jump up ^ Welkos, Robert W. (July 5, 1999). "The Way Kubrick Would Have Wanted". The Los Angeles Times. Retrieved 2012-10-27.
Jump up ^ "Weekend Box Office: July 16–18, 1999 Weekend". Box Office Mojo. Retrieved 2012-10-22.
Jump up ^ Natale, Richard (July 19, 1999). "'Eyes' Sees Its Way to Top Spot". The Los Angeles Times. Retrieved 2012-10-22.
Jump up ^ "Eyes Wide Shut opens on top". BBC. July 19, 1999. Retrieved 2012-10-28.
Jump up ^ "Stanley Kubrick – Box Office History". The Numbers. Retrieved 2012-11-09.
^ Jump up to: a b King, Susan (June 12, 2001). "Remembering a Difficult Genius". The Los Angeles Times. Retrieved 2012-11-09.
Jump up ^ "Stars flock to Kubrick premiere". BBC. 3 September 1999.
Jump up ^ "FILM: BOX OFFICE". The Independent. London. 1999-09-19.
Jump up ^ "September 17, 1999 Rank". British Film Institute. the25thframe. Retrieved 29 August 2011.
Jump up ^ "Eyes Wide Shut (1999)". British Film Institute. the25thframe. Retrieved 29 August 2011.
Jump up ^ Woods, Mark (1999-12-08). "'Matrix' puts WB Int'l over $1 bil for the year". Variety. Retrieved 2012-11-09.
Jump up ^ http://www.rottentomatoes.com/m/eyes_wide_shut/
Jump up ^ "Eyes Wide Shut Reviews". Metacritic. Retrieved November 24, 2011.
^ Jump up to: a b c ""Kubrick's Definitive Film & Haunting Final Masterpiece" and 1999's Most Talked About Film Debuts on VHS and DVD" (Press release). Warner Bros. Home Entertainment. February 24, 2000. Retrieved 2012-11-09.
Jump up ^ Wilmington, Michael (July 16, 1999). "The Sexy, Scary, Stylish `Eyes Wide Shut' Is Stanley Kubrick's Final Masterpiece". Chicago Tribune. Retrieved April 7, 2017.
Jump up ^ Rabin, Nathan (July 16, 1999). "Eyes Wide Shut". The A.V. Club. Onion, Inc. Retrieved April 7, 2017.
Jump up ^ "Review: Eyes Wide Shut". rogerebert.com. Retrieved June 23, 2017.
Jump up ^ "Review: Eyes Wide Shut". Reelviews.net. 1999-03-07. Retrieved 2016-09-01.
Jump up ^ "'Eyes Wide Shut': Danger and Desire in a Haunting Bedroom Odyssey". The New York Times.
^ Jump up to: a b Lundin, Leigh (25 July 2010). "Erotic Mystery Thrillers". sex-n-violence. Criminal Brief.
Jump up ^ Hunter, Stephen (July 16, 1999). "Kubrick's Sleepy 'Eyes Wide Shut'". The Washington Post. Retrieved April 7, 2017.
Jump up ^ Edelstein, David (July 16, 1999). "The Naked and the Dead". Slate. Retrieved April 7, 2017.
Jump up ^ Hoberman, J. (July 20, 1999). "I Wake Up Dreaming". The Village Voice. Retrieved April 7, 2017.
Jump up ^ "EYES WIDE SHUT What the critics failed to see in Kubrick's last film". Indelibleinc.com. Retrieved 2012-07-02.
Jump up ^ "For Movie Folks Who Considered Burning Down The Ratings Board When The Adjustment Was Enuf". Movie City News. 26 January 2006. Archived from the original on 24 December 2007. Retrieved 15 April 2008.
Jump up ^ Ebert and Roeper
Jump up ^ Ciment, 2003 & p. viii.
Jump up ^ "The 100 Best Films of the 1990s". Slantmagazine.com. Retrieved 2014-08-22.
Jump up ^ http://www.bbc.com/culture/story/20150720-the-100-greatest-american-films
Jump up ^ "Eyes Wide Shut". Hollywood Foreign Press Association. Archived from the original on 2013-06-06. Retrieved 2009-10-14.
Jump up ^ Meaux Saint Marc, Francoise (8 February 2000). "Eyes Wide Shut is French critics' best foreign pic". Screen Daily. Retrieved 2012-11-17.
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Jump up ^ "2000 Golden Satellite Award Nominees". International Press Academy. Archived from the original on 2000-06-11. Retrieved 2012-09-11.
Jump up ^ "2000 César" (in French). Académie des arts et techniques du cinéma. Retrieved 2012-09-11.
Jump up ^ 1999 Awards (3rd Annual) Comments: No Comments (2014-01-21). "1999 Awards". Ofcs.org. Retrieved 2014-08-22.
Jump up ^ McCutcheon, David (2007-08-03). "Kubrick Overload!". IGN. Retrieved 2014-08-22.
Jump up ^ "Discussion: Was Eyes Wide Shut Completed?". The Kubrick Corner. Archived from the original on 2015-04-27. Retrieved 2015-04-27.
Jump up ^ Herr, Michael (August 1999). "Kubrick". Vanity Fair. Archived from the original on June 2, 2012. Retrieved 2012-06-02.
Jump up ^ "Movie Geeks United! - The Kubrick Series". Movie Geeks United!. Retrieved 2017-01-06.
Jump up ^ DVDTalk.com – news, reviews, bargains, and discussion forum. "On Kubrick – A Talk With Kubrick Documentarian Jan Harlan". Dvdtalk.com. Retrieved 2014-08-22. CS1 maint: Multiple names: authors list (link)
Jump up ^ "Jan Harlan Keeps His Eyes Wide Open On New Ideas | Times Square New York City". Timessquare.com. 2007-11-07. Archived from the original on 2012-02-26. Retrieved 2012-07-02.
Jump up ^ "Kubrick says Cruise and Kidman ruined EWS".
Jump up ^ Interview: Todd Field Part 2 – /FILM[dead link]
Jump up ^ "littleroom comments on Stanley Kubrick's daughter Katharina Kubrick, and grandson Joe. AMA". Reddit.com. 2012-11-13. Retrieved 2014-08-22.
Jump up ^ "seluropnek comments on Stanley Kubrick's daughter Katharina Kubrick, and grandson Joe. AMA". Reddit.com. 2012-11-13. Retrieved 2014-08-22.
Jump up ^ "Critics Assail Ratings Board Over 'Eyes Wide Shut'". The New York Times.
^ Jump up to: a b Roger Ebert's review of Eyes Wide Shut
Jump up ^ See Reel Views Eyes Wide Shut, MetroActive Eyes Wide Shut and FilmBlather, Eyes Wide Shut
Bibliography
Adams, Mark (2004). Location London. Interlink. ISBN 1-84330-478-3.
Chion, Michel (2002). Eyes wide shut. BFI Publishing. ISBN 978-0-85170-932-1.
Ciment, Michel (2003). Kubrick: The Definitive Edition. Faber and Faber. ISBN 978-0-571-21108-1.
Cocks, Geoffrey (2004). The Wolf at the Door: Stanley Kubrick, History, & the Holocaust. Peter Lang. ISBN 0-8204-7115-1.
Cocks, Geoffrey; Diedrick, James; Perusek, Glen (eds.) (2006). Depth of field: Stanley Kubrick, film, and the uses of history. University of Wisconsin Press. ISBN 0-299-21614-4. CS1 maint: Multiple names: authors list (link) CS1 maint: Extra text: authors list (link)
Nelson, Thomas Allen (2000). Kubrick: Inside a Film Artist's Maze. New and Expanded Edition. Indiana University Press. ISBN 0-253-21390-8.
Raphael, Frederic (2000). Eyes Wide Open. A Memoir of Stanley Kubrick and Eyes Wide Shut. Orion Publishing. ISBN 0-7538-0955-9.
Rasmussen, Randy (2005). Stanley Kubrick: Seven Films Analyzed. McFarland & Company. ISBN 0-7864-2152-5.
External links[edit]
Wikimedia Commons has media related to Eyes Wide Shut.
Wikiquote has quotations related to: Eyes Wide Shut
Eyes Wide Shut on IMDb
Eyes Wide Shut at the TCM Movie Database
Eyes Wide Shut at Box Office Mojo
Eyes Wide Shut at Rotten Tomatoes
Eyes Wide Shut at Metacritic
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List of Yu Yu Hakusho films
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There are two feature films based on the manga and anime series Yu Yu Hakusho by Yoshihiro Togashi. The films were produced by Studio Pierrot and released in Japan theatrically, the first Yu Yu Hakusho: The Movie in 1993 and the second Yu Yu Hakusho: Chapter of Underworld's Carnage - Bonds of Fire in 1994. Before Funimation Entertainment acquired the rights to the anime in 2001, the films were dubbed and released in North America by two other companies.[1] The first by Anime Works and the second by US Manga Corps, both released in 1998. However, the first film and the OVAs (Eizou Hakusho I and II) have since been acquired by Funimation and they produced a new English dub of the film using their original cast from the anime.[2] These were released together as Yu Yu Hakusho: The Movie & Eizou Hakusho on December 13, 2011.[3]
Contents
[hide]
1 Yu Yu Hakusho: The Movie
1.1 Plot
1.2 Reception
2 Yu Yu Hakusho the Movie: Poltergeist Report
2.1 Plot
2.2 Reception
3 References
4 External links
Yu Yu Hakusho: The Movie[edit]
Yu Yu Hakusho: The Movie
Cover of the original North American DVD release by Anime Works.
Japanese
幽☆遊☆白書
Hepburn
Yū Yū Hakusho
Directed by
Noriyuki Abe
Produced by
Ken Hagino
Written by
Yukiyoshi Ohashi
Starring
Nozomu Sasaki
Megumi Ogata
Nobuyuki Hiyama
Sanae Miyuki
Shigeru Chiba
Music by
Yusuke Honma
Production
company
Studio Pierrot
Distributed by
Toei
Release date
July 10, 1993 (1993-07-10)
Running time
30 minutes
Country
Japan
Language
Japanese
Yu Yu Hakusho: The Movie, also known as The Golden Seal, is a 30-minute film that was released theatrically in Japan on July 10, 1993 at the seasonal Toei Anime Fair.[4][5] The movie was directed by Noriyuki Abe. The movie was English dubbed by Anime Works and Animaze and released on VHS on June 9, 1998 and on a single DVD with Ninku: The Movie on January 30, 2001.[6][7] Funimation Entertainment later released the film to DVD, along with the Eizou Hakusho OVAs, on December 13, 2011 as Yu Yu Hakusho: The Movie & Eizou Hakusho, featuring a new English dub with their original voice cast from the anime.[2]
Like the television series, it features the songs "Smile Bomb" and "Sayonara Bye Bye" by Matsuko Mawatari (Sarah White and Stephanie Nadolny in the FUNimation English version) for its opening and closing credits respectively.
Plot[edit]
While vacationing, Koenma is kidnapped by a pair of demons known as Koashura and Garuga, who demand the possession of Lord Enma's coveted "Golden Seal". Botan finds Yusuke Urameshi and Kazuma Kuwabara on their summer vacation as well, and asks for their assistance in Koenma's rescue.
Reception[edit]
According to Martin Ouelette of Protoculture Addicts, the movie did little to satisfy fans of the YuYu Hakusho series during its original release due to its short running time.[8] Reviewing the Funimation release, Carl Kimlinger of Anime News Network gave the subtitled version a "B+," the English dub a straight "B," and called the story disposable stating the film is more focused on "having fun with its theatrical budget."[9]
Yu Yu Hakusho the Movie: Poltergeist Report[edit]
Yu Yu Hakusho the Movie: Poltergeist Report
Cover of the North American DVD release by US Manga Corps.
Japanese
幽☆遊☆白書 冥界死闘篇 炎の絆
Hepburn
Yū Yū Hakusho: Meikai Shitō Hen – Honō no Kizuna
Directed by
Masakatsu Iijima
Produced by
Haruo Sai
Ken Hagino
Naoharu Honokidani
Written by
Hiroshi Hashimoto
Sukehiro Tomita
Yukiyoshi Ohashi
Starring
Nozomu Sasaki
Megumi Ogata
Nobuyuki Hiyama
Sanae Miyuki
Shigeru Chiba
Music by
Yusuke Honma
Production
company
Studio Pierrot
Movic
Distributed by
Toho
Release date
April 9, 1994 (1994-04-09)
Running time
95 minutes
Country
Japan
Language
Japanese
Yu Yu Hakusho the Movie: Poltergeist Report, known in Japan as Yū Yū Hakusho: Meikai Shitō Hen - Honō no Kizuna (幽★遊★白書: 冥界死闘篇・炎の絆, lit. Yū Yū Hakusho: Chapter of Underworld's Carnage - Bonds of Fire), is the second of the films based on the series. The 95 minutes long film was released in theaters in Japan on April 9, 1994.[5][10] The film was later dubbed into English by Central Park Media and Skypilot Entertainment and was released on VHS on March 3, 1998 and DVD on October 8, 2002.[11][12] A DVD reprint was later issued by Central Park Media on January 31, 2006.[13]
The film features the ending theme "Sayonara wa Iwanai" composed by JILL and sung by Personz.
Plot[edit]
The story begins in the Spirit World, where the River Styx is overflowing, due to a tsunami. As Koenma looks out his window he can tell this is no ordinary storm. The floodwaters continue to rise, and just before they become too much for Koenma he gives a mysterious item to Botan, and tells her to give it to Yusuke Urameshi, but Botan gets hurt badly and barely makes it to Yusuke. Botan is too weak to give Yusuke the item. Throughout most of the movie she’s unconscious and is unable to do anything, while a great evil is surfacing. The storm was apparently caused by the forces of the Netherworld, which was banished into cold space ages ago. To restore balance in the now flooded Spirit world, Yusuke and the others must track down five spots on Earth that contain a large amount of spiritual energy. However, their simple plans get turned upside down when the ruler of the Netherworld, Yakumo, and his three henchmen decide to use the same energy for evil. So, the race begins to save the Spirit World, and now the Human World as well.
Reception[edit]
Reviewing the 2002 DVD release, Allen Divers of Anime News Network gave the subtitled version a "B" and the dubbed version a "C." He noted that the film has all the action, drama and comedy that makes the TV series great, but with higher animation and artwork due to a theatrical budget. Divers stated that the dub was well-done and close to the original Japanese, but said it was disappointing that a different English voice cast from the TV series was used.[14] The VHS version was the 31st-best selling video during its release week in North America.[15] It fell to number 37 the following week and rose to number 34 the third week.[16][17]
References[edit]
Jump up ^ "New Anime Series Acquired". Anime News Network. January 11, 2001. Retrieved 2008-11-16.
^ Jump up to: a b "Yu Yu Hakusho: The Movie & Eizou Hakusho". Anime News Network. Retrieved January 15, 2012.
Jump up ^ "Yu Yu Hakusho: Eizou Hakusho OVA". Amazon.com. Retrieved September 10, 2011.
Jump up ^ Camp, Brian; Davis, Julie (2007). Anime Classics Zettai!: 100 Must-See Japanese Animation Masterpieces. Stone Bridge Press. p. 403. ISBN 978-1-933330-22-8.
^ Jump up to: a b "studioぴえろ 作品年表(劇場作品)" [Studio Pierrot Works Chronology (Theater Works)] (in Japanese). Studio Pierrot. Archived from the original on December 13, 2009. Retrieved January 3, 2010.
Jump up ^ "Animexpress: Yû Yû Hakusho". Animerica. Viz Media. 6 (2): 19. February 1998.
Jump up ^ "Amazon.com: Ninku/ Yu Yu Hakusho (2002)". Amazon.com. Retrieved 2008-11-16.
Jump up ^ Ouellette, Martin (April 1998). "Spotlight: Yu Yu Hakusho". Protoculture Addicts. No. 49. Protoculture Inc. p. 34.
Jump up ^ Kimlinger, Carl (January 9, 2012). "Yu Yu Hakusho: The Movie & Eizou Hakusho". Anime News Network. Retrieved 2014-04-06.
Jump up ^ Galbraith, Stuart (2008). The Toho Studios Story: A History and Complete Filmography. Scarecrow Press. p. 386. ISBN 978-0-8108-6004-9.
Jump up ^ "NEW ON VIDEO". Dayton Daily News. Dayton, Ohio. February 26, 1998. p. 20. Retrieved December 30, 2009.
Jump up ^ "Yu Yu Hakusho - The Movie - Poltergeist Report (2002)". Amazon.com. Retrieved November 16, 2008.
Jump up ^ ""YU YU HAKUSHO: THE MOVIE – THE POLTERGEIST REPORT" TO BE PRICED AT ONLY $9.95 SRP" (Press release). New York, NY: Central Park Media. November 22, 2005. Archived from the original on 2012-03-16. Retrieved 2010-12-18.
Jump up ^ Divers, Allen (October 23, 2003). "Yu Yu Hakusho: The Movie DVD - Review - Anime News Network". Anime News Network. Retrieved 2008-11-28.
Jump up ^ "Top Video Sales". Billboard. e5 Global Media. March 28, 1998. p. 52.
Jump up ^ "Top Video Sales". Billboard. e5 Global Media. April 4, 1998. p. 63.
Jump up ^ "Top Video Sales". Billboard. e5 Global Media. April 11, 1998. p. 82.
External links[edit]
YuYu Hakusho: The Movie (film) at Anime News Network's encyclopedia
YuYu Hakusho the Movie: Poltergeist Report (film) at Anime News Network's encyclopedia
YuYu Hakusho: The Movie on IMDb
YuYu Hakusho the Movie: Poltergeist Report on IMDb
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Marude Dameo (1991–1992)
Cho Tsushin Boy Mao (1992–1993)
Yu Yu Hakusho (1992–1994)
Shima Shima Tora no Shimajirō (1993–2008)
Chō Kuse ni Narisō (1994–1995)
Tottemo! Luckyman (1994–1995)
Eight Factor (1994–1995)
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Hyper Police (1997)
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Cho Omo Hatsumei Idol (1999–2000)
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OH! Super Milk Chan (2000)
Gensomaden Saiyuki (2000–2001)
Ceres, Celestial Legend (2000)
Super Legend Web (2000)
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Super Gals! Kotobuki Ran (2001–2002)
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The Twelve Kingdoms (2002–2003)
PiNMeN (2002)
Eight Factor (2002–2003)
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E's Otherwise (2003)
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Hikaru no Go: New Year Special (2004)
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Bleach (2004–2012)
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Naruto: Shippuden (2007–2017)
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Chess the Champion (2007–2008)
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Hakken Taiken Daisuki! Shimajirō (2008–2010)
Hanasakeru Seishōnen (2009–2010)
Tegami Bachi (2009–2010)
Yumeiro Patissiere (2009–2010)
Shimajirō Hesoka (2010–2012)
Tegami Bachi Reverse (2010–2011)
Yumeiro Patissiere SP Professional (2010)
Beelzebub (2011–2012)
Level E (2011)
Naruto: Rock Lee & His Ninja Pals (2012–2013)
Shirokuma Cafe (2012–2013)
Kingdom (2012–2014)
Gaist Crusher (2013–2014)
Baby Steps (2014–2015)
The World Is Still Beautiful (2014)
Sabagebu! (2014)
Tokyo Ghoul (2014)
Yona of the Dawn (2014–2015)
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Re-Kan! (2015)
Mr. Osomatsu (2015–present)
Divine Gate (2016)
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Onigiri (2016)
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Puzzle & Dragons X (2016–2018)
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Soul Buster (2016)
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Cosmo Police Justy (1985)
Fire Tripper (1985)
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Baribari Legend (1986)
Maris the Chojo (1986)
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Laughing Target (1987)
Lily C.A.T. (1987)
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Kimagure Orange Road (1989–1991)
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Baoh (1989)
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The Abashiri Family (1991)
Mermaid's Forest (1991)
Here Is Greenwood (1991–1993)
Eternal Filena (1992–1993)
Kyō Kara Ore Wa!! (1993–1996)
Eizo Hakusho (1994)
Key the Metal Idol (1994–1997)
Eizo Hakusho II (1995–1996)
My Dear Marie (1996)
Sonic the Hedgehog (1996)
Fushigi Yûgi 1 (1996)
Fushigi Yûgi 2 (1997–1998)
Eight Clouds Rising (1997)
Harbor Light Story Fashion Lala Yori (1998)
Tokimeki Memorial (1999)
Microman vs. Gorgon (1999)
Fushigi Yûgi Eikoden (2001–2002)
Gensomaden Saiyuki: Kibou no Zaika (2002)
From I"s (2002–2003)
I"s Pure (2005–2006)
Saiyuki Reload: Burial (2007–2008)
Naisho no Tsubomi (2008)
Tegami Bachi: Hikari to Ao no Gensou Yawa (2008)
Tegami Bachi Academy (2010)
Yumeiro Patissiere: Mune Kyun Tropical Island! (2010)
Beelzebub (2010)
Yona of the Dawn (2015–2016)
Tokyo Ghoul: JACK (2015)
Tokyo Ghoul: PINTO (2015)
Films
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Urusei Yatsura 2: Beautiful Dreamer (1984)
Kimagure Orange Road: Shonen Jump Special (1985)
Aitsu to Lullaby: Suiyobi no Cinderella (1987)
Kimagure Orange Road: I Want to Return to That Day (1988)
Osomatsu-kun: Suika no Hoshi Kara Konnichiwa zansu! (1989)
Like the Clouds, Like the Wind (1990)
MAROKO (1990)
Yu Yu Hakusho: The Movie (1993)
Yu Yu Hakusho the Movie: Poltergeist Report (1994)
Ninku: Knife no Bohyō (1994)
Ninku: The Movie (1995)
Shin Kimagure Orange Road: Summer's Beginning (1996)
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