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Eyes Wide Shut (1999)

 -  Drama | Mystery | Thriller  -  16 July 1999 (USA)
7.3
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Ratings: 7.3/10 from 180,947 users   Metascore: 68/100
Reviews: 1,467 user | 259 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)

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Nominated for 1 Golden Globe. Another 5 wins & 15 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
...
Madison Eginton ...
Helena Harford
Jackie Sawiris ...
Roz
...
Leslie Lowe ...
Illona Ziegler
Peter Benson ...
Bandleader
...
...
Ziegler's Secretary
...
Sandor Szavost (as Sky Dumont)
Louise J. Taylor ...
Gayle (as Louise Taylor)
Stewart Thorndike ...
Randall Paul ...
Harris
...
Mandy
Lisa Leone ...
Lisa
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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

Rade Serbedzija dubbed himself in the Italian release. See more »

Goofs

When Milich opens the door to the room where he finds his daughter, the legs of the steadicam operator are visible. 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 Saturday Night Live 25 (1999) See more »

Soundtracks

I Got It Bad (And That Ain't Good)
(1941)
Performed by The Oscar Peterson Trio
Courtesy of Verve Records
Under license from Universal Music Special Markets
Music by Duke Ellington
Lyrics by Paul Francis Webster
Published by EMI Music Publishing Ltd, The Estate of Duke Ellington and Webster Music Co.
See more »

Frequently Asked Questions

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User Reviews

 
Remarkable finale to a long, glorious career
16 July 1999 | by (NAS Whidbey Island) – See all my reviews

The thing a lot of folks haven't liked about Stanley Kubrick's films is the fact that he always seemed to think the audience needed some points driven home a little harder than others. Very little is left for debate; most everything is spelled out, pressed hard, and dwelled upon. His critics have compared the long waits between his films to the long periods of waiting that occur while watching his films.

Personally, I like the long, slow scenes in his films. When they're filled with something: music, movement, thought, memory of a previous scene, dread, or any other emotion, they can never really be said to be empty. I like them because, with Kubrick, I can be sure that they're absolutely essential to his ultimate vision. He could have put out a six-hour documentary on tissue manufacturing; at least I'll know that not one minute of screen time is wasted.

"Eyes Wide Shut" isn't as vacuous as, say, "Barry Lyndon" or "The Shining." Compared to those two, this one scoots along like a person trying to get to his car in the rain. It'll try a lot of folks' patience, I'm sure -- even his most loyal fans will be bothered by the incessant piano "bell tolls" in the soundtrack of some scenes, or the constant reminders (in imaginary flashbacks) that Cruise's character is bothered by his wife's near-infidelity. I know I was.

Despite that, it's an apt final film for the long, glorious career of a man who has done more for the cinema, with less movies, than can ever be catalogued. To try and cite influences for this particular work is futile. Though one might draw parallels to Lindsay Anderson's "O Lucky Man!" or Martin Scorsese's "After Hours," "Eyes Wide Shut" is no less than a complete work from the cold heart and brilliant mind of Stanley Kubrick alone. It's also a furiously ingenious piece of filmmaking, one that works less on the emotions than on the senses and on the mind. Unlike most of Kubrick's earlier work, however, it does have an emotional subtext, which is used to devastating effect.

Cruise, by the way, does an outstanding job, not as a trained, camera-conscious film actor, but as a mature, seasoned performer. Here he uses his "Top Gun"/"Jerry Maguire" suavity to malicious effect; like Ryan O'Neal's Barry Lyndon before him, he's an egotistical cad. Unlike Lyndon, he gains our sympathy -- that's key to keeping us from disowning his character and thus negating the entire film.

Kidman is given less screen time, but it matters little. She's mostly seen in the beginning, and she has brief (but crucial) scenes throughout, and a masterful one at the end. It is safe to say that this is her best performance to date, and those of us who have been ignoring her treasured abilities up until now (the Academy, critics, myself) will be astounded to see how far she's come since "Dead Calm." Her high points: the argument with her husband that ends by setting the film's plot in motion perfectly captures the way women lure men into arguments when the cause for one is nonexistent (and on Cruise's part, how men can't think fast enough to do anything about it), and her dream confession scene, in which she wakes laughing but becomes tearful during recollection.

On a technical level, "Eyes Wide Shut" displays Kubrick's trademark perfectionism. Recreating Vietnam in rural England for "Full Metal Jacket" must have been nearly impossible, but the unrelenting accuracy in recreating uptown and downtown New York City is absolutely stunning. Right down to the diners and the newspaper stands; I shake my head in awe when I remind myself that Kubrick (a native Brooklynite) hasn't been to NYC in decades. The lighting and photography is impeccable, also, as it is in every one of his films.

This is the sort of film one sees more than once. Once is good to cleanse the palate, to clear out all the residual toxins left from other recent films. See it again, perhaps a third time, and get to appreciate the graceful, nearly unblemished finale of a man who took the art of cinema seriously. It's a sobering experience.


197 of 280 people found this review helpful.  Was this review helpful to you?

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