Eyes Wide Shut

Unlike the rest of his filmography, Kubrick's latest film was controversially received. Remarkably often, five-star enthusiastic reviews full of superlatives are alternated with two-star reviews, where displeasure with the film's sexual openness and disgust with the vulgarization of the subject of romantic relationships prevail. I won't take either side in the dispute. The truth is that Eyes Wide Shut impressed me noticeably less than Kubrick's other dramas. It's not that his venture into the world of desire didn't evoke any feelings or questions in me, but they were sins committed in different places and of a different kind than the director intended. The bored, fresh widow (already a much worn-out topic these days) Nicole Kidman doesn't evoke sinful desires in me. Her beauty is the detached beauty of a runway model, not that of a sensual woman inciting sinful thoughts. Beauty and erotic allure are less related than commonly believed. Alice's flirtation with the aging beau at the party doesn't come off as erotic, but rather awkwardly lascivious. Alice and Bill's relationship is not driven by sexual fantasies and is instead a study of marital alienation. Kubrick should learn about desire, passion, and pleasure from Polanski. Animality belongs to desire, playfulness to eroticism. However, the game that Bill unknowingly enters into feels strange, overstrained, and overconstructed after three sexual revolutions. I don't even understand how Bill identified the masked beauty from the party with the dead woman in the morgue, and I don't understand many other things either. If anything, the film sparked an interest in the source material by Arthur Schnitzler in me. I will be wiser after reading it. My overall impression is 65%, with the understanding that my review is aided by Kubrick's traditional ability to work with images and master the technical aspect of the work. (31/12/2021)

This desire truly burns the viewer and most importantly, it matures within them. It may have been a long time since I saw the film, but the suggestive feeling of presence at the ritual or paranoid thoughts of Bill still remain. Cruise and Nicole are brilliant, and Kubrick's construction of atmosphere with the help of minimalist musical accompaniment is also exceptional. (14/09/2006)

I once saw a bit of A Clockwork Orange in a summer camp movie theater, but otherwise I had been virtually uninitiated in Kubrick up until that point, save for a few documentaries and trailers. It was the master's last (and ironically my first) film that I saw in its entirety :)) and it must be said that it is a well thought out and functioning film combining elements of a psychological thriller and drama with an erotic touch and featuring a strong above-average performance by Tom Cruise (although I don't like Tommy otherwise, here he proves again that he is capable of acting really well under capable direction – just like in the case of Magnolia) and incredibly seductive Nicole Kidman. The slightly lighter soundtrack from the opening half hour is then replaced by a four-note (or five-note, I'm not sure now :))) piano motif, which at times gives you chills and gets under your skin quite unpleasantly.)) Otherwise, I can't remember a film in a long time that has so many memorable scenes (Alice's haunting monologue, the billiards scene, the opening dance with the "Hungarian", where the sexual tension between the two actors is masterfully captured). Before I got my first and Kubrick's last film home :)), I read somewhere that Kubrick's films resemble chess games – at the beginning they play with you, then they attack you quite sharply and thoughtfully, and at the end they might show you their method, and while you still feel only total defeat, you are totally fascinated (as in my case :)). So I have to say in conclusion that there is something to the chess comparison :)) 100% (03/02/2010)

Finally! I've finally gotten to see this film by my beloved director Stanley Kubrick. I've been avoiding it, perhaps because of the subject matter. But I'm glad I finally watched it. It's not Kubrick's best film, but I just love the visuals and acting. And I'm not talking about naked women. This is about getting into someone's head, and it's not a pretty journey, even though it's bloodless. That makes it all the more depressing. (27/11/2015)

Heavy calibre. As a wise old saying goes, "It's not art to tame pelican once, but to ride it" (okay, not that old), and I don't know of a better film that could so flawlessly put that into practice. The story, brimming with sexuality, keeps you in check the whole time, and you not only can't let go under the weight of the hypnotic dialogues and atmosphere, but you won’t even want to. What is the story about? About unfulfilled desires in life, about a crisis of sexual identity, about the nature of the universe? I can’t say, and honestly, I don’t care, because when someone can so grandly captivate you with the very tone of the narrative and delight you with the most amazing filmmaking art in history, you don't even want to dig deeper into that captivating splendour. The best imaginable epitaph for a brilliant artist and visionary. The erotic séance sequence is more suspenseful and thrilling than the vast majority of horror films ever made. Bravo! (18/05/2018)