It has been twelve long years since the last Kubrick-directed film. The long wait, his recent death, the presence of star couple Tom Cruise and Nicole Kidman, their infamous love scene and the now even more infamous digitally edited orgy scene, a record-breaking summer for box office receipts: they all combine to create an enormous buzz for "Eyes Wide Shut".
So, it was surprising, then, that during its
opening weekend the movie theater was mostly empty
when I was there to see it. I wouldn't count
on this film surpassing "Star Wars Episode I".
Could this be a film that people would rather
talk about than go to see?
Loosely based on the 1926 novel "Traumnovelle"
by Arthur Schnitzler, the setting has been changed
to modern-day New York City. Bill Harford (Cruise)
is a successful young doctor who learns that his
beautiful wife Alice (Kidman) has been fantasizing
about having sex with other men. This is a shocker
for Bill, who carefully fends passes apparently
several times a day (he appreciates the compliment,
though).
Bill decides to get his revenge through some
sexual adventures of his own, which soon get him
into trouble after crashing a private 'party' at
a wealthy estate. He then launches an investigation
into the fate of two of his friends there, which
may endanger Bill's life, or worse yet, his marriage.
Although "Eyes Wide Shut" is marginally a great film,
it is not a perfect film. I lost concentration during
some of the lengthier conversations, and Kidman only
seems dynamic when she is dancing (and outrageously
flirting) with a well-spoken middle-aged Casanova.
The film is not quite in the same category as Kubrick's
very best, which on my list (admittedly everyone's is
different) are headed by "Dr. Strangelove",
"Barry Lyndon", and "2001".
The oddest thing about "Eyes Wide Shut" is that the script
is at heart a Mystery, and throws many false clues
at the viewer that turn out to be unrelated to the
plot. This is truly unconventional film-making,
a deliberate prevention of tying up the loose ends.
These diversionary subplots are all sexually related.
And the film is quite forward in its depictions,
retaining Kubrick's favoritism of art over commerce:
soccer moms will be taking their kids to 'Tarzan' instead. (82/100)
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