Sunday, 29 April 2007

something about Eye Wide Shut——会有多少人看呢?

发信人: NORRIS (阿玛兰塔。。阿玛兰塔!!), 信区: Movie
标  题: Eyes Wide Shut解析(zz)
发信站: 日月光华 (2005年09月23日09:04:51 星期五), 站内信件

原作者:Sebastian Sipat

Eyes Wide Shut
Directed By Stanley Kubrick

First off all, let's say that Eyes Wide Shut has little to do with the
onslaught of publicity that preceded it.While the intention is sexual, the
treatment is cold and intellectual rather than physical or sensual. In
fact, one can easily recognize Kubrick's style (cold lights, long scenes..)
and this film won't necessarily shock straight-asses and conservatives any
more than the Stanley Kubrick's previous creations.

Without talking about a cinematographic testament, one can't help notice
that for his last film, Kubrick decided to quote himself, to refer to his
earlier films. Some of the winks are really obvious (Lolita), while others
are more subtle to amuse the amateur [from the lunch with the mom and the
kid in front of tv cartoons referring to The Shining to Cruise shopping as
the camera shhots him with a backward travelling, reminiscent of A
Clockwork Orange (Bill Harford (Tom Cruise) doesn't shop for music tapes,
but does wear a long coat similar to Alex's)]. The film doesn't look like
Kubrick's cinematographic conclusion, but rather like a generator of
endless loops (and reminds us of Alex's fixed look in the opening of A
Clockwork Orange, resumed by Jack in The Shining and by Gomer Pyle in Full
Metal Jacket, we could wonder if these loops were not already inherent of
this filmography) - Eyes Wide Shut's structure being built around loops.

The Loops

All the film elements (secondary stories, time and space) appear for the
first time and are then repeated, opened and then closed:


 When he asks where the girls are taking him, they reply ? where the
rainbow ends ? - it's at Rainbow Fashions that he will buy his disguise
that would allow him to access group sex;

 during Mandy's (Julienne Davis) first O.D, Bill tells her ? you’re a very
very lucky girl ? and on the paper from which he will learn about the
second O.D, the headline is: Lucky to be alive ;
In the same way, Bill's itinerary (who seems to be in constant travelling)
functions in loops: he comes back a second time at all the points of his
wandering. [Victor Ziegler's house (Sydney Pollack), the bar where
Nightingale (Todd Field) plays the piano, Somerton (the place of the orgy),
Domino's appartement, Rainbow Fashions, etc.]. Space and events
cross-check, close in on themselves, the spectator cannot consider any of
them as being objective. This is not an absent narrator that relates of
Bill's comings and goings, it is obvious that we are running through the
one of the characters' substance of his fantasies (awake or asleep) (we
will talk about that later).

A dreamed logic

The events shown to the spectator are the subjective perceptions of one of
the characters, these perceptions working according to a dreamed logic
rather than a rational and concrete one (dreams explaining the systematic
repetitions ; recurrent dreams or fantasies). Fantasy, even when strange
and disconcerting, takes its roots in the known and it is as a
cross-reference to Bill and Alice's appartment and to Alice (Nicole Kidman)
herself that is the narrative framework. This is particularly the case of
the use of paintings (although the Christmas tree has almost the same use).
Inspite of the fact that Bill visits lots of places, the spectator can
doubt about their multiplicity ; isn't he only visiting the rooms of an art
gallery ? Eveywhere, walls are saturated with paintings referring to the
Harford's appartment and especially to Alice (the gallery is hers - ? I
used to manage an art gallery in Soho ? she tells her Hungarian dance
partner). From the beginning to the end, Bill is the prisonner of this
labyrinth gallery in which each room has its own movement (abstraction in
the hospital halls ; impressionnism in Bill and Alice's apartment ;
portraits in Ziegler's pool room ; etc.). Some spaces are in the direct
continuity of the others :


 When he enters a café, Bill passes under a Christmas decoration that is
also outside of Ziegler's pool room (the café also features portraits) ;

 the tapestry (golden lily flowers on blue background) in a hall outside
Bill and Alice's apartment is the same as in Marion's** bedroom (Marie
Richardson) ; etc.
Spaces as the situations they host are undoubtly generated by a mind
intrinsic to the story. The main concern is to know which one - is it Bill
or Alice's fantasies that are weaving the story ? It's blurry. Even if this
text favors one of them, we do not believe there is a unique abswer to this
question, each answer offering interesting thoughts on the nature of the

Answer #1 : Alice's fantasies


? If you men only knew ?. Angry at her husband for under-estimating female
sexuality (to disregard her fantasmagoric imagination), Alice gives him a
visit of her museum of perversions (maybe a variation on the wonderland -
she indeed likes to glare at mirrors*** the little Alice). This hypothesis
places Alice as the generator of Bill's adventures and the art gallery as a
reflect of her interiority (of her cervicality).

What we see from Alice in the movie lets us believe in the pertinence of
this approach. Sitting at a table, she smokes, reads the paper with
distraction, or wraps gifts having time to daydream. Twice (of course) Bill
comes back to the house and Alice wakes up (therefore she was dreaming) and
she tells him her dreams, which correspond to Bill's almost same adventures
(while he is coming back from the orgy, she describes a similar scene -
both situations ending in Bill's humiliation).

The mask is very important, symbolizing theater, it is a denunciation of
unreal fantasy. Bill is only an actor in the orgy set by Alice, she
imagines as him jealous of her naval officer because it is what she would
like him to be (? Why haven’t you ever been jealous about me ? ?). Ziegler
directly addresses the spectator when he says : ? Suppose I tell you that
all of that was staged [...] that it was fake ? (this also at Ziegler's
that the spectator finds the first clue of Bill's fake reality: Mandy,
drugged and lying in the red coach is also in the painting in the
background). The mask is then associated to Alice's sleep to emphasize that.

Answer #2 : Bill's fantaisies

After his wife tells him about the naval officer, Bill has a jealousy
crisis. Tortured, he turns to his own extraconjugal desires. This second
hypothesis places Bill as a generator of his own story and the art gallery
as a reflect of the prison in which his wedding is jailed. Wherever he
goes, he feels his wife's ascendancy, he feels watched and guilty [he will
never be able to commit adultery - and his feeling of guilt will explode
when he discovers her asleep by the mask ( evidence of the games he
played)]. In this approach, the mask, Ziegler's speech and the painting
representing Mandy have almost the same function. What is interesting is
Bill's incapacity to fulfiil anything with the girls that he meets. As
guilty, he makes himself endure an asexual role, what he was thinking about
women: he is the one who needs security and feels menaced by the imminent
l act [he must leave the orgy without having tasted it, feeling his
life is in danger; he refrains from making love to Domino (however he pays
$150) and avoids to dying of AIDS]. The ? To be continued ? Bill tells the
girls when he has to leave to go cure Mandy, lets suppose he is conscious
enough to own a certain control of the story - if we suppose they are
Somerton's guests.

? The important thing is - we’re awake now ?

With its mosaic of places and characters, paintings and references to
Kubrick's previous films (without forgetting the disguise exhibit at
Rainbow Fashions), Eyes Wide Shut is simply a museum-film. Complex,
intelligent and open to a lot of different interpretations, one can't help
to go back see it again (and again).

  Sebastian Sipat

rock that strangely ressembles a monolith - information that we have not


> Analysis 2                                                                                                           
**   Thanks to Cynthia Collette for having underlined this element.
*** Thanks to Nicolas Handfield for pointing out the use of mirrors in the
发信人: reliyi (liyi601), 信区: Movie
标  题: <金塞性学博士>和<大开眼戒>一起看有感!
发信站: 日月光华 (2005年09月24日22:06:40 星期六)

什么是人性 什么是道德伦理?

人类自己束缚自己的天性 然而人类又必须自己束缚自己

他的确会受到惩罚 他的确会受到自己的伤害
比如如果克鲁斯和那个妓女在夜晚发生了关系 那么无疑他染上爱滋的可能性便会增大也许
正如《kinsey》里最后所说做爱不仅仅是肉体的摩擦的愉快运动 它还包含很多别的意义在
里面 弄不好会伤的很深

尼克向迎着问题去解决 剖析自己 然而迎面去解决问题如果没有足够的能力知识和运气有
天性必然会与人类千年以来自创的婚姻制度发生冲突 这也几乎每个婚姻对于这个问题或多
或少都是有的 而金塞居然允许了她的妻子和他的男伴上床 这样的知识和境界非常人所能
达到 当然也只局限到他个人的生活 而且可以看出他的婚姻最终也并没有破灭 他和妻子的
爱仍旧十分坚固 正如他所说 性比起我们的爱情和生活还有事业算得了什么。

但无论怎样 倘若我们自己无法拥有金塞夫妇的胸襟和能力去那样的对待性 那么我们理应
最大限度的保护自己 保护你的她和他 虽然我们有更多的欲望 但是那还要建立在足够的安
全之上 我们的欲望 不是去压抑它 而是让它在别的更有利于己有利于他人的地方发泄出来
 用弗洛伊德的理论讲 就是将其“升华”。
Some things are what we know we know,
some are what we know we don't know,
some are what we don't know we know and
some are what we don't know we don't know.

发信人: Laputa (God on high in my pray in my need), 信区: Movie
标  题: 立即做爱!(zz)
发信站: 日月光华 (2002年08月24日18:30:17 星期六), 站内信件



毛 尖


 作者:毛 尖


(Stanley Kubrick)在他的离伦敦25英里的家中因心脏病突发死去。一个星期前,他刚
刚完成Eyes Wide Shut(「大开眼戒」是个不准确的译名,但因为流传很广,本文还是

考砸了。"传言说他在拍「全金属外壳」(Full Metal Jacket)时,当他问手下的演员
olita, 1962),「2001:太空漫游」(2001:A Space Odyssey, 1968),「发条橙」(
A Clockwork Orange, 1971)和「闪灵」(The Shining, 1980)。


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