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Eyes Wide Shut (1999)

 -  Drama | Mystery | Romance  -  16 July 1999 (USA)
7.3
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Ratings: 7.3/10 from 185,840 users   Metascore: 68/100
Reviews: 1,470 user | 260 critic | 33 from Metacritic.com

A New York City doctor, who is married to an art curator, pushes himself on a harrowing and dangerous night-long odyssey of sexual and moral discovery after his wife admits that she once almost cheated on him.

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Title: Eyes Wide Shut (1999)

Eyes Wide Shut (1999) on IMDb 7.3/10

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Nominated for 1 Golden Globe. Another 5 wins & 22 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Marie Richardson ...
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Milich (as Rade Sherbedgia)
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...
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Sandor Szavost (as Sky Dumont)
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...
Carl
Madison Eginton ...
Helena Harford
Jackie Sawiris ...
Roz
Leslie Lowe ...
Illona Ziegler
...
Bandleader
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Storyline

Sexual jolts disrupt Manhattan physician Bill Harford's equilibrium. At an elegant Christmas party, two "models" hit on him, he watches a Lothario try to pick up his tipsy wife, he aids a woman sprawled naked in a bathroom after an overdose. The next night, his wife reveals sexual fantasies with a stranger; a dead patient's daughter throws herself at him; as he walks, brooding, six teen boys hurl homophobic insults at him; a streetwalker takes him to her flat; he interrupts men having a sex party with a girl barely in her teens. His odyssey, which next takes him into a world of wealthy sex play at a masked ball of hedonism, threatens his life, his self-respect, and his marriage. Written by <jhailey@hotmail.com>

Plot Summary | Plot Synopsis

Taglines:

Cruise. Kidman. Kubrick.


Motion Picture Rating (MPAA)

Rated R for strong sexual content, nudity, language and some drug-related material | See all certifications »

Parents Guide:

 »
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Details

Country:

|

Language:

Release Date:

16 July 1999 (USA)  »

Also Known As:

EWS  »

Box Office

Budget:

$65,000,000 (estimated)

Opening Weekend:

£1,189,672 (UK) (10 September 1999)

Gross:

£5,065,520 (UK) (22 October 1999)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

| |

Color:

Aspect Ratio:

1.66 : 1
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Did You Know?

Trivia

Stanley Kubrick:  [114]  The room in the morgue visited by Bill is in wing C, room 114 (C-Rm114, or CRM-114). CRM-114 was the name of the decoding machine in Kubrick's film Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), as well as the number printed on the medicine that Alex is given in A Clockwork Orange (1971). See more »

Goofs

When Bill enters the temple, there is a laptop to the left of the pianist on a black box. From the other side we see the black box but the laptop is gone, only to return shortly after when we see him from the other side again. See more »

Quotes

[first lines]
Dr. Bill Harford: Honey, have you seen my wallet?
Alice Harford: Isn't it on the bedside table?
Dr. Bill Harford: Now listen, you know we're running a little late.
Alice Harford: I know. How do I look?
Dr. Bill Harford: Perfect.
Alice Harford: Is my hair okay?
Dr. Bill Harford: It's great
Alice Harford: You're not even looking at it.
Dr. Bill Harford: It's beautiful. You always look beautiful.
See more »

Crazy Credits

Special thanks to the staff of Hamleys of London. See more »

Connections

Referenced in Moonrise Kingdom (2012) See more »

Soundtracks

It Had to Be You
(1924)
Performed by Tommy Sanderson and The Sandman
Courtesy of Maestro Records Ltd
Music by Isham Jones
Lyrics by Gus Kahn
Published by EMI Music Publishing Ltd, Gilbert Keyes Music and Bantam Music
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
A fitting completion to Kubrick's study of humanity
17 July 1999 | by (California) – See all my reviews

I managed to swallow my expectations before the film, setting myself to judge it on its own without judging it as a Kubrick film. No need, no need! This film IS a Kubrick film, without any doubt, and as all Kubrick films are it was absolutely stunning. Absolutely. Visually it is brilliant, though I should warn that this isn't quite as visual a film as most other Kubrick works. A lot of the film focuses on the characters, on human interaction, something rather new to this director. Of course, all the Kubrick trademarks are there, cold analytical gazes, sharp introspection. Tom Cruise seems like Jack Nicholson in 'The Shining' and even Malcolm MacDowell in 'A Clockwork Orange' at times, a rather striking fact considering that this is Tom Cruise. The performances were excellent all around, even from places not expected. Again, this is typical for Kubrick. He wasn't much of a people director, but he still knew how to direct people.

Almost every moment of this film was flawless, perfect and pristine. The dialog is predictable, but in some solemn and holy fateful sort of way, as though the words and the moments are matched so essentially that nothing else could possibly fit. Beyond that the sounds and images all fit together beautifully, creating an almost unblemished whole. The only part that didn't seem right was the sequence that had been digitally altered. While the alterations were not nearly so obtrusive as I had feared (not knowing about them one probably wouldn't notice them) they do grow a bit noticeable for redundancy (you see a lot more backs than you'd expect, and always in the same places). Unfortunately these came right in the middle of one of the most visually amazing pieces of the film (one of the most amazing pieces of cinema as a whole, in my opinion), a very unwelcome distraction.

Is this movie about sex? Yes, it is, but more importantly it is about people. The sex part is simply a product thereof. This is one of the most disturbingly honest portraits of human behavior and motivations ever made. The most honest I've ever seen, at least. To be put simply: It is about sex because people are about sex.

I'm still trying to sort through this movie. It's been a good twelve hours since I saw it, and I can still feel it, hard and definite, rotating in my stomach. The film itself seems mostly void of opinion (not entirely, but mostly), serving more as a general statement and commentary than any specific moral warning, but the questions it inspires are very strong indeed. The film, being objective, provides no answers, no justification for humanity. There is no redemption, either, none whatsoever. The film's final word sums it (it being the film and humanity) up pretty well, for better or for worse. I guess that depends on you.

A common thread in Kubrick's films since 2001 has been the contemplation and examination of human intentions, the essence of human behavior. Motivations. He's shown us violence and madness and everything else, all tracking the path back to the dawn of man. I think he finally figured it out with this film, however anticlimactic the discovery might have been. At least he did finally figure it out. That's something.

I am one of many. I never had the privilege to know Stanley Kubrick. I don't even know that privilege is the right word. I do know his films, though, and while I am in no position to say that I will miss him as a person, I can say, without doubt or hesitation, that I will miss him as a filmmaker.


207 of 272 people found this review helpful.  Was this review helpful to you?

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