Eyes Wide Shut (Unrated Two-Disc Special Edition)

Eyes Wide Shut (Unrated Two-Disc Special Edition)
by Stanley Kubrick

Eyes Wide Shut (Unrated Two-Disc Special Edition)
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DVD Cover Information

Actor: Jackie Sawiris, Madison Eginton, Nicole Kidman, Sydney Pollack, Tom Cruise
Director: Stanley Kubrick
DVD: Region Code 1
Audio: English (Subtitled); French (Subtitled); Spanish (Subtitled); English (Original Language); French (Dubbed)
Format: AC-3, Closed-captioned, Color, Dolby, Dubbed, DVD-Video, NTSC, Original recording remastered, Special Edition, Subtitled, Widescreen
Picture Format: 1.66:1
Running Time: 159 minutes
DVD Release Date: 2007-10-23
Audience Rating: R (Restricted)
Studio: WARNER HOME VIDEO

Movie Reviews of Eyes Wide Shut (Unrated Two-Disc Special Edition)

Movie Review: Illuminati secret symbolism layed out for the public to see...
Summary: 5 Stars

This movie is highly symbolic, loaded with symbolism about and secrets used by the global elite. Which is why most people find this film somewhat puzzling. Go to http://www.kentroversypapers.net/ for details about the meanings within. Classic Kubrick. Also see a review about the highly symbolic 2001 (about secrets of Alchemy) at: http://www.jayweidner.com/kubrick.htm

Summary of Eyes Wide Shut (Unrated Two-Disc Special Edition)

It was inevitable that Stanley Kubrick's Eyes Wide Shut would be the most misunderstood film of 1999. Kubrick died four months prior to its release, and there was no end to speculation how much he would have tinkered with the picture, changed it, "fixed" it. We'll never know. But even without the haunting enigma of the director's death--and its eerie echo/anticipation in the scene when Dr. Bill Harford (Tom Cruise) visits the deathbed of one of his patients--Eyes Wide Shut would have perplexed and polarized viewers and reviewers. After all, virtually every movie of Kubrick's post-U.S. career had; only 1964's Dr. Strangelove opened to something approaching consensus. Quite apart from the author's tinkering, Kubrick's movies themselves always seemed to change--partly because they changed us, changed the world and the ways we experienced and understood it. And we may expect Eyes Wide Shut to do the same. Unlike Kubrick himself, it has time.

So consider, as we settle in to live with this long, advisedly slow, mesmerizing film, how challenging and ambiguous its narrative strategy is. The source is an Arthur Schnitzler novella titled Traumnovelle (or "Dream Story"), and it's a moot question how much of Eyes Wide Shut itself is dream, from the blue shadows frosting the Harfords' bedroom to the backstage replica of New York's Greenwich Village that Kubrick built in England. Its major movement is an imaginative night-journey (even the daylight parts of it) taken by a man reeling from his wife's teasing confession of fantasized infidelity, and toward the end there is a token gesture of the couple waking to reality and, perhaps, a new, chastened maturity. Yet on some level--visually, psychologically, logically--every scene shimmers with unreality. Is everything in the movie a dream? And if so, who is dreaming it at any given moment, and why?

Don't settle for easy answers. Kubrick's ultimate odyssey beckons. And now the dream is yours. --Richard T. Jameson


It was inevitable that Stanley Kubrick's Eyes Wide Shut would be the most misunderstood film of 1999. Kubrick died four months prior to its release, and there was no end to speculation how much he would have tinkered with the picture, changed it, "fixed" it. We'll never know. But even without the haunting enigma of the director's death--and its eerie echo/anticipation in the scene when Dr. Bill Harford (Tom Cruise) visits the deathbed of one of his patients--Eyes Wide Shut would have perplexed and polarized viewers and reviewers. After all, virtually every movie of Kubrick's post-U.S. career had; only 1964's Dr. Strangelove opened to something approaching consensus. Quite apart from the author's tinkering, Kubrick's movies themselves always seemed to change--partly because they changed us, changed the world and the ways we experienced and understood it. And we may expect Eyes Wide Shut to do the same. Unlike Kubrick himself, it has time.

So consider, as we settle in to live with this long, advisedly slow, mesmerizing film, how challenging and ambiguous its narrative strategy is. The source is an Arthur Schnitzler novella titled Traumnovelle (or "Dream Story"), and it's a moot question how much of Eyes Wide Shut itself is dream, from the blue shadows frosting the Harfords' bedroom to the backstage replica of New York's Greenwich Village that Kubrick built in England. Its major movement is an imaginative night-journey (even the daylight parts of it) taken by a man reeling from his wife's teasing confession of fantasized infidelity, and toward the end there is a token gesture of the couple waking to reality and, perhaps, a new, chastened maturity. Yet on some level--visually, psychologically, logically--every scene shimmers with unreality. Is everything in the movie a dream? And if so, who is dreaming it at any given moment, and why?

Don't settle for easy answers. Kubrick's ultimate odyssey beckons. And now the dream is yours. --Richard T. Jameson

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