While the most anticipated film of the summer for the average moviegoer may have been the latest "Star Wars" flick or the sequel to "Austin Powers," among film afficionados, the picture that has cinefiles salivating like Pavlov's dogs is the latest -- and sadly last -- film from acclaimed director Stanley Kubrick who died earlier this year.
Not the industry's most prolific filmmaker -- this release marks only his thirteenth feature over a career spanning forty-six years -- but certainly one of the most meticulous and legendary of all time, Kubrick's previous efforts include well-known films such as "2001: A Space Odyssey," "The Shining" and "Dr. Strangelove."
Now, for his swan song following a twelve-year cinematic furlough (his last film being 1987's "Full Metal Jacket"), Kubrick leaves us with "Eyes Wide Shut." A tale of marital unrest, jealousy and suspicion that drives a man into an unexpected and bizarre odyssey, this isn't Kubrick's best film, and its methodical and creeping pace may drive some viewers nuts.
Yet, like all of the auteur's films, this one has his incredibly unique, trademark touch that easily sets it apart from the rest of the cookie cutter pictures released every year. No one shoots a film like Kubrick, and this picture's visual style -- the incredible cinematography, lighting and production detail -- is simply mesmerizing and glorious to watch.
The antithesis to today's MTV-style filmmaking, Kubrick allows each and every scene its own time to fully achieve its necessary temperature, whether that be an icily cold scene or one that erupts with steamy passion. Although Kubrick's standard slow dissolves and long and near unwavering character reaction shots may make the film sound stuffy and/or too static, it's anything but.
From the wonderfully flowing steadicam shots through palatial estates (that will remind viewers of similar scenes in "The Shining"), the brilliant use of music (found in many of his films) and his overall and literally mesmerizing directorial style (that extracts so much from seemingly so little), the film is constantly compelling despite its slow pace and more than two and a half hour runtime.
While it's the combination of all of Kubrick's "tricks" that make his films so exceptional, it's his splendid use of music that really sets them apart. From the wonderful orchestral score of "2001" to the synthesized revamping of Beethoven in "A Clockwork Orange," Kubrick has forever linked those films and their music in a favorable symbiotic relationship. Here, his repeated use of a simple piano chord -- quite similar in its effective simplicity to the opening, flyover score of "The Shining" -- gets increasingly creepier every subsequent time it plays.
Where the film somewhat falters is with its plot and near glacial pacing of individual scenes as well as the overall proceedings. Based on Arthur Schnitzler's obscure 1926 novella, "Traumnovelle" (Dream Story), Kubrick and fellow screenwriter, Oscar winner/nominee Frederic Raphael (for the 1960s films "Darling" and "Two For the Road") have fashioned an intriguing story of sexual jealousy and obsession, and the repercussions of both.
Yet despite some fascinating and/or disturbing scenes that are reminiscent in their bizarreness to what Griffin Dunne experienced in Martin Scorsese's similarly odd, nighttime odyssey, "After Hours," the story as a whole is never as compelling as its individual pieces. Like many of his films, however, there are plenty of memorable moments as well as his standard use of creepy people in eerie settings.
One of Kubrick's favorite images and most effective shots is of his protagonists locked in a seemingly frozen expression, an inner turmoil apparently simmering just below their stare that burns right through the camera and into the viewer's soul. One only has to think of the sight of Malcolm McDowell in "A Clockwork Orange," Jack Nicholson in "The Shining" or Vincent D'Onofrio in "Full Metal Jacket" to recall such haunting images.
While our protagonist here, ably played by Tom Cruise ("Mission: Impossible," "Rain Man"), gets to join the ranks of such starers, the look -- while still somewhat effective -- isn't quite as creepy. Nonetheless, Cruise does a decent job with the role, especially considering that he has to play a great deal of it under the confines of purposefully reduced emotive capacity.
Although some may complain that Cruise is always just playing a variation of himself -- therefore limiting how far he can stretch -- I found his performance here right on the money as an obsessed man who consequently finds his life unraveling.
His costar -- on the screen and in real life -- is, of course, his wife, Nicole Kidman ("Practical Magic," "To Die For"). With a gutsy performance that requires a lot of exposed skin, Kidman does a fine job, although I can see why some might fault her performance due to the way in which she embodies her character. Needless to say, the chemistry between her and Cruise seems quite natural -- as it should -- but some may be surprised that she's absent from the screen for many long stretches of time.
Supporting performances are good, but many of the actors and actresses have such limited or temporary roles that they come in and out of the picture like a revolving door at a casting call. Nonetheless, Sydney Pollack (the actor/director hybrid who's helmed films such as "Out of Africa" and "The Firm") is good as the doctor's somewhat creepy, but wealthy friend, while
Rade Sherbedgia (the villain in "Mighty Joe Young") delivers a brief, but fun performance as a shopkeeper awakened in the middle of the night for some after hours business.
Todd Field ("Ruby in Paradise") and Vinessa Shaw ("Hocus Pocus") deliver decent performers as Bill's old friend and new hooker acquaintance respectively, while despite rumors of her role in the film, up and coming star Leelee Sobieski ("Never Been Kissed," "Deep Impact") only gets a few moments to show her wares, which in this case are her bra and panties.
That element, and many far more explicit ones, are where this film is drawing the most controversy and/or general attention. Kubrick's often had a thing for nudity in his films (think of "A Clockwork Orange" and "The Shining"), but here -- like in those other films -- presents it in an odd, but boldly visible fashion.
Neither really that erotic nor displaying a vulnerability of those who are naked, the nudity in his film is just there like any other set piece and the effect is quite odd and somewhat hard to explain in words. Of course, the voyeuristic nature of many viewers will have them more concerned and/or curious about the sexual interaction between Cruise and Kidman. While a few steamy scenes between them exist, others -- including one where digital characters were superimposed over an orgy-like scene to insure an R and not a NC-17 rating -- certainly steal the spotlight from them.
Yet while such scenes will easily elicit the most water cooler conversations, they're just another cog, if you will, in Kubrick's overall scheme. While fans of his body of work may have varied reactions to this, his last effort, one can't argue his cinematic prowess even if the film may be somewhat flawed. Although we found it slow at times, the picture is visually astonishing and mesmerizing, and while it's clearly not his best film, "Eyes Wide Shut" is certainly a must-see for afficionados of serious filmmaking. We give the picture a 7 out of 10.