Eyes Wide Shut [VHS]

Eyes Wide Shut [VHS]
by Stanley Kubrick

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Product details

Actor: Jackie Sawiris, Madison Eginton, Nicole Kidman, Sydney Pollack, Tom Cruise
Director: Stanley Kubrick
Cinematographer: Larry Smith
Producer: Stanley Kubrick
Writer: Stanley Kubrick
Producer: Brian W. Cook
Producer: Jan Harlan
Writer: Arthur Schnitzler
Writer: Frederic Raphael
Edition: VHS Tape
Audio: English (Original Language)
Format: Closed-captioned, Color, NTSC, Original recording reissued, Original recording remastered, Special Edition
Running Time: 159 minutes
Release Date: 2001-06-12
Audience Rating: NC-17
Publisher: Warner Home Video
Studio: Warner Home Video

VHS Movie Reviews of Eyes Wide Shut [VHS]

Movie Review: What was his inspiration?
Summary: 5 Stars

Stuff like this isn't too far from reality. For more on why I say that, see the documentary "Dark Secrets: Inside the Bohemian Grove"

Movie Review: Eyes Wide Shut
Summary: 5 Stars

Consumed by betrayal and jealousy, a wealthy Manhattan doctor becomes entangled in a a ritualistic sexual underworld when his wife admits to having lascivious sexual fantasies about another man. 'Eyes Wide Shut' is an intriguing movie. Stanley Kubrick to spend the last two years of his life making the most humane, emotional motion picture of his career.

Movie Review: DVD Eyes Wide Shut
Summary: 5 Stars

We were very satisfied. Exellent quality. Would recommend site.

Movie Review: blue ray waiste
Summary: 2 Stars

buy this on dvd. The blue ray is no better than dvd. This is the worst blue ray I own. Picture quality is poor. I have a new sony blue ray player and a samsung LED t.v. so the flaws really show.

Movie Review: The "sadistic" Mr. Kubrick
Summary: 4 Stars

I have no intention of plowing my way through all the reviews of "Eyes" to see if anyone caught the De Sade element in this movie. The scene of the so-called orgy is in fact a literal representation of the high-literary sex scenes in the novels of the late-18th-century novelist Marquis De Sade. These scenes occur in all versions of "Justine" as well as in that novel's "twin" namely "Juliette." A catalog of Sade's personalized deliberate insult delivered to religious believers and 18th-century worshippers of "reason" alike would include the following list, all of which items appear in "Eyes":

(1) a mimicking of a religious edifice, normally a monastery of monks. Here, the monastery fuses with another element in Sade, namely, the isolated fortified castle.
(2) monks who systematically assault all Christian religious values. The red-cloaked "monk" who wields a incense censor (drawn from Roman Catholic religious ceremonies) which is juxtaposed against the near-naked females who form a kind of religious circle around him.
(3) The black cloaks worn the "watchers"--lots of voyeurism in this sexualized religious ceremony, including those figures who were brought in supposedly to mask the sex scenes--are in fact direct reference to the monk's robe worn by Sade's libidinous monks.
(4) Hints a torture practice--something much more explicit in Sade's fictions--as well as of some mysterious power that can reach outside the monastery/fortress and attack enemies on the outside: a plot factor realized in the incompletely developed harrowing of Dr. Hartford after the ceremony.

All these elements are very "literary" in the sense of "literary allusion" to be accidental on Kubrick's part. Whatever "moral" theme the movie possesses or pretends to (and it does this sporadically throughout the film), it is clear that Kubrick was trying to bring an updated of a Sadian (and "sadistic" if you will) version of how late 18th-century "rationalist" France's literary world was deep-sixed by its own involvement in the French Revolution. De Sade himself made up a part of this revolution until finally imprisoned for life by Napoleon, but much of his work is satirical in the mainstream tradition of 18th-Century French and English satire.

One of the things Kubrick--for whatever thematic issues he wanted to hawk abroad publcly--was doing was mimicking the view of "ordinary" people about the absoluteness of the separation between human holiness and human depravity. Sade scholarship and literary analysis has advanced sufficiently far today for us to recognize that much of his "blasphemy" is a mirror-image presented to the sentimentalist believer in the goodness of human nature. For Sade, such a simplicity is mirrored back to the sentimental reader in his rendering of a world consisting of nothing but villains and innocent victims. Dr. Hartford gets a whiff of this dialectic and then retreats back into his marriage.

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Summary of Eyes Wide Shut [VHS]

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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