Eyes Wide Shut: Ending, Themes and Symbols Explained

“Are you here
with anyone tonight, Alice?” “With my husband.” “Oh, how sad.” Eyes Wide Shut opens on an image that
captures what this film is all about. To the spying viewer, this is
clearly an erotic image. Yet, to the woman’s husband who’s theoretically the person
observing this view, the sight is mundane, and that’s signaled in the quick,
casual nature of the shot. Everything that follows in the story
of the woman, Nicole Kidman’s Alice, and her spouse, Tom Cruise’s Bill, elaborates in the ideas embodied
in that opening image. The focus of Eyes Wide Shut is the scary connection between
the erotic and the anonymous. It explores the role that fantasies of
strangers play in our sex lives, and it suggests that
married people are, ultimately, also strangers
to each other. Stanley Kubrick’s final film was
one of his rare box office successes, but it’s among his more
underrated works, and that’s perhaps because
on first viewing, it’s a little difficult to put your
finger on exactly what it’s saying. If you revisit the film, though, and now is a perfect time to do that,
for its 20th anniversary, Eyes Wide Shut is
powerfully terrifying. It takes Kubrick’s trademark skill for putting human nature
under a microscope, and does that very close to home, peering without bias at the lies
that underlie any marriage. “Don’t you think one of the charms
of marriage is that it makes deception a necessity
for both parties?” The film asks whether our safe,
happy, normal lives require us to, essentially, keep our eyes wide shut:
to sleepwalk and dream, wearing a mask that helps us ignore our raging,
roaring ocean of feelings, lest they overwhelm us
if given the chance. “As soon as you were gone,
it was completely different. I-I felt wonderful.” Before we go on, we want to tell you a little bit
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in our description below to get a full month of MUBI for free. The film begins with a couple
getting ready for a Christmas party. Their good looks, vast apartment, and interactions with the babysitter
signal these two have it all. “I’ll hold our cab to take you home.” “Thanks, Dr. Hartford.” Yet almost the first thing
of substance we’re really told is that Bill is sleepwalking,
with his eyes wide shut. “How do I look?” “Perfect.” “How’s my hair?” “It’s great.” “You’re not even looking at me.” Bill and Alice attend
a Christmas party, but after the obligatory
first dance together, they split up and get picked up
by new, temporary partners. Their separation starts with a lie. “Honey, I desperately need
to go to the bathroom.” Alice grabs her opportunity
to quickly get as drunk as possible and indulges a dizzying flirtation
with an older man, while Bill enjoys the charms
of two young women. “You don’t remember me, do you?” “Um…” “You were very kind to me once.” “Only once? That sounds like
a terrible oversight.” Both seem genuinely tempted
by their delicious strangers, but they just about manage to resist,
at least for the time being. “To be continued?” “Maybe… not just now.” Then they go home
and get down to business while we hear the lyrics: “They did a bad, bad thing.” What was the bad thing they did? Well, both of them imagined being unfaithful. Both of them wanted to cheat. And now, their sex life
is totally invigorated by the specters of the strangers they’re bringing
back into the bedroom with them. Alice takes off her glasses, suggesting that she’s willfully
no longer seeing her husband in focus, so that she can imagine him
to be anybody she wants. When the daylight life resumes, vignettes of Alice’s and Bill’s
domestic life show how sexuality has been contained and sanitized
into something unthreatening. Our third conspicuous shot
of a nude Alice is surrounded by scenes
of Bill going about his day as a doctor, which again,
as at the party, involves a beautiful topless woman whose breasts he ignores
with professionalism. “So when you’re feeling tits, it’s nothing more than
just your professionalism, is that what you’re saying?” “Exactly.” Alice’s physicality
is mixed in with shots of a mother’s familiar, unsexy home life. Yet after the day of respectable adult
role-playing is over, Alice breaks out the pot
and decides, for once, to get honest with her husband. “Why can’t you ever give me
a straight f–BEEP-ing answer?” “I was under the impression
that’s what I was doing.” And this is where the trouble begins. Alice starts to strip away the glib falsehoods upon which
a successful marriage depends. “What makes you the exception?” “What makes me an exception
is I happen to be in love you.” When both Bill and Alice
turn down invitations to cheat, their reasoning is, more or less,
“I can’t because…marriage.” “Because… I’m married.” “And because you’re married and
because I would never lie to you.” They haven’t really thought deeply
about what that means to them, what fidelity is, and whether it matters that
they desire others. “Do you realize that
what you’re saying is that the only reason
you wouldn’t f–BEEP those two models is out of consideration for me, not because you
really wouldn’t want to.” Alice kicks off all these questions
when she decides to make her husband jealous by divulging
her fantasy about a stranger. “At no time was he ever
out of my mind.” Later, the climactic orgy scene
full of masked figures encapsulates the connection
between anonymity and sex drive. Yet this uninhibited,
impersonal sexual urge is dangerous, and the orgy scene
is infused with peril. “You are in great danger.” As Lee Siegel wrote for Harper’s,
“The risk is that if we surrender ourselves absolutely
to our anonymous animal side, we slide helplessly toward death,
the absolute anonymity.” Whenever Alice and Bill
don’t act on their naked desires, they feel relieved. “I realized he was gone. And I was relieved.” “Do I have to go? I think I do.” What we’re seeing in this movie
is that the Hartfords, and all couples,
veer between two poles. On one end is sex without intimacy,
and it’s kind of terrible, a sinister means
of enslaving and abusing others. On the other end is total intimacy, which can breed boredom
and snuff out lust altogether. The challenge of marriage
is to somehow navigate these two extremes, of mysterious, erotic danger and comfortable knowing familiarity, to find that ideal of sex with love. Earlier, Alice makes the curious observation that while fantasizing
about her stranger, she felt even more tender love
for her husband “You were dearer to me than ever.” So Kubrick raises the possibility
that maybe this duality of the erotic and the mundane
actually works somehow, what if fantasies of strangers
from time to time might just be beneficial
for a marriage? There’s even a suggestion
that on some level the stranger we’re fantasizing about
is our partner. “Someone you know?” We just have to think of them
as this mystery in order to remember the excitement
we once had for them. By the end, Alice and Bill
feel as if they’ve dodged a bullet. “I feel grateful
that we’ve managed to survive through all of our…
adventures.” The film indicates in various ways that they came very close to a ruin
they’ve miraculously escaped. “Because it could cost me my life, and possibly yours.” “She got the results
of a blood test this morning, and it was HIV-positive.” But on the deepest level, the disaster they averted
was really infidelity. Despite very much wanting to, and seriously considering it, neither partner actually sleeps
with someone else. The secret society’s password
is “Fidelio” a reference to Beethoven’s only opera, which is about a faithful wife. “It’s the name of a Beethoven opera,
isn’t it?” When Mandy sacrifices herself
for Bill during the ritual “I am ready to redeem him,” and we hear that this
has sealed her fate “When a promise has been made here, there is no turning back,” the concept of the choice that
can’t be undone might make us think
of an act of infidelity. Once fidelity is violated, it can never be restored. Doubles and mirrors
recur throughout this film. It doesn’t feel like an accident that
Alice bears the name of the character
who goes through the looking glass. And Bill and Alice are mirrored
by other couples in the film. When they walk into
the Christmas party and greet their hosts, the Zieglers, the pairs perfectly reflect
each other in the shot. The Zieglers are a richer,
more powerful version of our couple, representing the class and status
aspect of their lives. A little later we meet
Marian and Carl. In this pair, the man wears glasses
instead of the female, but they have the same hair colors and vaguely similar looks. Marian has fallen desperately
in love with Bill, someone who looks
just like her husband, but is vastly more exciting precisely
because he’s not her husband. “I love you.” “Marian, we barely know each other.” There may be an element
of autobiography in this film for Kubrick. He used the furniture
from his apartment with his wife to create the interior
of the Hartfords’ home. And he added a dose of real-life by casting Kidman and Cruise, who in 1999 were not only two
of the world’s hottest movie stars, they were a real-life couple with a private life
viewers were dying to know more about. Given Kidman’s and Cruise’s
eventual separation, there was something prophetic
in this film’s message that the private truth
is never as it appears, and might shock us, both for its depravity
and for its banality. “You are very very sure
of yourself aren’t you.” “No, I’m sure of you. Do you think that’s funny?” There’s a lot of talk
in film theory about the fact that cinema is dominated by the male gaze, and in recent years
that’s prompted the question of what a female gaze looks like. Some even speculate that
a pure female gaze is impossible, because in our society
women can’t help internalizing the male gaze and seeing even themselves
through men’s eyes. At the end of his life and career, Kubrick is here very interested
in the female gaze, which is expressed visually
through Alice’s glasses, which turn her into someone
who looks with agency. Kubrick tracks how
the male’s stable narrative, which props up his comfortable life,
is utterly threatened by the very existence
of this female gaze. “Women don’t… They basically just
don’t think like that.” What sets this whole drama in motion is Alice revealing her lust for a naval officer she saw
on vacation. “And I thought if he wanted me, even if it was only for one night, I was ready to give up everything.” She shatters Bill’s assumption that,
because she’s a woman, she’s less interested in sex and doesn’t actually want
to be unfaithful, whereas a man naturally
has desires that he suppresses. “Men have to stick it
every place they can, but for women–women, it is just about security and commitment and whatever the f–BEEP else!” “A little over simplified Alice,
but yes.” The film, like Kubrick’s 2001, takes inspiration from the Odyssey, Homer’s epic about
Odysseus’ journey back to his loyal wife Penelope, who is besieged by suitors. As Siegel writes, quote, “Just as every enchantress
Odysseus meets on his voyage home is an echo of his thralldom
to Penelope, every woman Bill meets
is a version of Alice.” The question of
Penelope’s unbesmirched virtue, of whether she gave into her suitors,
or wanted to, haunts Odysseus and Bill,
all of literature and film, and really, it seems, men in general “Knowing Penelope to be faithful,
he told her to be nice to the suitors. I think that’s when Penelope,
who at heart is a simple woman, began to despise him.” The female’s desire and the male’s inability
to possess or contain it is the central anxiety
and crisis of the movie. “If you men only knew.” What’s subtly revolutionary
about this film is that it’s telling men: your wife has the same feelings
and fantasies and temptations as you. All of these perverse, dark, difficult
human impulses are universal. Yet a man like Bill can’t handle this. The erotic femininity she exudes as she describes her true feelings
strikes him as confrontational. “Alice, this pot is
making you aggressive.” And the desperate, long adventure
he goes on in search of a sexual thrill is ultimately just an attempt to live up
to Alice’s fantasy. “I was fucking other men. So many. I don’t know how many I was with.” “Ladies, where exactly are we going? Exactly?” “Where the rainbow ends.” “Where the rainbow ends.” A recurring idea in Eyes Wide Shut is the impulse to go
where the rainbow ends. The film has images of rainbows, and the custom store Bill goes to
is called Under the Rainbow. So the suggestion is that,
in this night of chasing his desire, Bill is trying to find
the end of the rainbow. Of course, the end of the rainbow
is a place that’s impossible to reach. Likewise, Eyes Wide Shut illuminates the immense false promise
of desire, and the way that
when we get what we covet, it’s disappointing, maybe because
the real void or hunger we wanted to fill can’t be satisfied. As Lee Siegel wrote,
“Desire is like Christmas: it always promises more
than it delivers.” Eyes Wide Shut has been called
a Christmas movie for grownups. In this adult’s version
of a Christmas movie, instead of the latest cool toy, the thing characters very badly want
is anonymous sex. But what doesn’t change
no matter your age is this feeling that
getting what you thought you wanted, doesn’t make you happy. Notably, the secret ritual gathering
is lacking a Christmas tree, while the rest of the film is dominated by Christmas tree lights
everywhere Bill goes. So while the lovely,
glittering illusion exists elsewhere, there the cold, hard truth
is undecorated. “She was a hooker. Sorry but that’s what she was.” And this bare, ugly reality
is perhaps the true meaning of where the rainbow ends. “Don’t you want to go
where the rainbow ends?” “That depends where that is.” “You’ve been way out of your depth.” Bill and Alice may strike us
as a pretty upper-class couple, but they’re small fish,
at the outer edges of a ruling class that’s operating
in the shadows of this society. “I couldn’t even begin
to imagine how–how you even heard about it, let alone got yourself
through the door.” Many have read
Eyes Wide Shut’s sinister power elite as a message from Kubrick implying that similar groups do operate
in our real world, as the ritual incorporates imagery that
might evoke the Illuminati, Freemasons and others. But whether there’s any basis
to this or not, the movie appears to
make a subtle connection between Bill and Alice’s marriage and this power structure. The elite depends
on people like the Hartfords keeping up their clichéd performance
of respectable married life. Ziegler is a dark mirror
of the worst parts of Bill and of powerful men in general. That’s underlined visually
in these two shots which look like inversions
of each other. Ziegler stands in front
of a nude portrait, while Bill stands behind
the naked, passed-out prostitute Ziegler has just exploited. Soon after, this shot of Bill presenting a nice face to Mandy,
while Ziegler’s groin is behind him, expresses the idea that Bill’s pleasant manners paper over
and legitimize the baser urges that drive Ziegler and his ruling class “It’s okay, I’m a doctor. I’m actually a very old friend of his.” “I’m a doctor.” “I’m Dr. Hartford.” We already get hints
at the Christmas party that there are two layers,
two worlds, operating here: the surface, Christmas-light filled
world of appearances, and the deep, dark,
bottom-line underworld. The camera frequently shows the eight-pointed star
on the walls of Ziegler’s house, and this resembles the Star of Ishtar, a symbol of fertility and sexuality. Later, the orgy
has striking visual similarities to the Christmas party. “Do you know anyone here?” “Not a soul.” Meanwhile key details are inverted, first faces are unmasked
and bodies covered; then faces are masked
while the female bodies are naked; first Bill saved Mandy,
then she saves him; first he turns down a proposition,
then he tries to have sex but fails. All these parallels
make it apparent that the reality beneath the hazy, dreamy lights
of the first party was actually this one all along. The same people were there. Prostitutes were
pleasuring important men and taking drugs. There’s a hint that Ziegler
may himself be the Red Cloak character, as later when he talks with Bill, the way he taps objects twice
on the pool table echoes the way Red Cloak taps his staff. And while their faces were visible,
the people in the first party were wearing even more
impenetrable masks, as they do all day long, even with their loved ones. The comparison reminds us, too,
that as lovely and civilized as the original socializing looked, we should make no mistake: there is an evil that
holds the rich and powerful in place, and this evil will do whatever it takes
to maintain this hierarchy. “Come on. It was always gonna be just
a matter of time with her.” What makes the men truly powerful
is that they get to be invisible. To do whatever they want,
unseen, with impunity. “I’m not gonna tell you their names
but if I did, I don’t think you’d sleep so well.” Bill is not important enough
to be invisible. He’s shamed and put in his place
by having to take off his mask, to be seen by others he can’t see. “Of course it didn’t help a whole lot that those people arrive in limos and you showed up in a taxi.” This powerful society’s dominance
is everywhere, even a toy in the very last scene alludes to the magic circle
of the ritual. “It’s only a dream.” Eyes Wide Shut takes loose inspiration
from an Austrian novella called Dream Story by Arthur Schnitzler. And throughout the film,
there’s this question of whether some or all of this
has been a dream. “I just had such a horrible dream.” You could even read all this action
as Alice’s dream. “Then there were all these
other people around us, hundreds of them, everywhere. Everyone was f–BEEP–ing.” In the daytime, when Bill
returns to the costume store, everything is different. What we saw under the moonlight, we question under the sun. “Things change.” And this is how Ziegler
tries to convince Bill that everything he saw and felt
wasn’t real “She was a junkie. She OD’d. There was nothing suspicious. Her door was locked from the inside. The police are happy. End of the story.” His society concocts a rationalization
to dismiss Bill’s experience “Suppose I said that
all of that was staged.” However unbelievable it is,
it gives Bill a story to hold onto, to let go of what he’s learned
and go back to docile obedience. “Nobody killed anybody. Someone died. It happens all the time.” In the end, Alice concludes
that the whole truth doesn’t lie in the dream,
or in the waking reality. Both are real. “Only as sure as I am that
the reality of one night let alone that of a lifetime
can ever be the full truth.” “And no a dream is ever just a dream.” Over the course of the movie,
these two confront their unconscious desires and, at least for a time,
snap out of their trance. Yet is all this
awareness and soul-searching honesty even good for their relationship? The movie doesn’t
necessarily indicate that it is. In fact, it’s downright dangerous. As the movie goes along, we sometimes get the feeling that
Alice needs to stop being so transparent with her spouse “Just f–BEEP-ing all these men. I wanted to make fun of you,
to laugh in your face.” By the end,
they’ve both made forthcoming confessions to each other of all that they wanted to do and almost did. “I’ll tell you everything.” Their eyes are more open,
for better or worse They’re obviously unsettled, not sure whether they like
being less oblivious. “We’re awake now. And hopefully for a long time to come.” The last dialogue in the movie
is Alice saying there’s something they need to do as soon as possible. “What’s that?” “Fuck.” What’s going to heal this marriage
isn’t communication, it’s sex. Sex is the very force
that set them off on this hazardous journey, and a marriage counselor might find this
a simplistic relationship fix, but who knows? What if the good old-fashioned practice
of having sex with each other is the foundation
of a marriage that lasts? All these two struggling,
blind individuals can know for sure is that there is love here. “I do love you.” And though the future is uncertain, they choose to keep
that love alive another day. “Is it as bad as that?” “As good as that.” Hi, guys, this is Alani, and today I want to talk to you about one of our favorite places
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100 thoughts on “Eyes Wide Shut: Ending, Themes and Symbols Explained

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  2. There was an extra 21 to 25 minutes footage deleted following Kubrick's death, which happened right after this movie was made??? None of this mentioned here???

  3. This is a psychological manipulation on the masses. To invoke the sexual primitive instincts in humans to break up the family units so they're easier to control.

  4. This analysis is pretty good. However it's only pretty surface level analysis. This would not be a problem if the author would have expressed that there are deeper levels on this film to pursue. This is Kubrick's most complex film. And because it's so complex, most don't even realize it.

    One simple surface level example is that the woman in the mansion who sacrifices herself is not Mandy. When Bill asks Ziegler about Mandy, he says that she was the girl in the party, but he is lying/referring that Mandy was at Ziegler's house party. Ziegler most likely got her assassinated after that party. The woman in the mansion is someone else, played by a different actor.

    So it seems that the woman who sacrificed her self, Mandy, Nick Nightingale, Domino, the guy who Milich replaced (Rainbow fashions guy) and possibly even the man who died in the beginning in sleep, were all murdered.

    This film is filled with subliminal messages, couple simple examples are words PORN and SEX that can be found in Helena's bedroom, in the paintings she has made that are hanging on the wall.

  5. Great Essay Once Again!!! Could You Please Do… Get Out, J. Carpenter's The Thing or Tarantino & His… Casting (Also Music)/Resurrecting Career's, Writing or Directing!!! Thanks x

  6. This movie isn't really about sex. It's about personal, social and political power structures and how the 'elites' maintain control using blackmail and misdirection.

  7. A simple, superficial and disappointing analysis of a masterpiece of cinema and of an iconic director. No-one should lightly attempt to analyse this film. A simple analysis of this film is nothing short of a Blasphemy

  8. I am a divorce atty, I am shocked that somebody was dumb enuf to hire hookers and bring them home to his fancy black tie party.

  9. There is something this video missed. In the beginning the camera lingers on Kidman's nude body because at the end Cruise notices that one of the sex slaves at the party is his wife when he sees her from behind, nude. Because Hollywood required CGI panties this harsh truth is hard to notice.

  10. Unrealted to this video, you should do a take on that new series "Dark" on Netflix, I'm itching to hear your thoughts on it.

  11. you gals are insane! you have helped me and so many people in filmmaking. you people are great! keep doing it and thank you for all this!

  12. Personally I think eyes wide shut is scary because it’s not a Stanley Kubrick film. Not really the way he intended. My personal favorite Director.

  13. OK, so you're breaking down a movie made for thinking adults, and yet youtube demands that you self- censor the film verbally and visually. Just another example of America's Puritanical double standards. Some good observations… what a pity we can't all be grown ups about the topic of human sexuality.

  14. New York City is an incredible co star in this film, but even she isn’t real. The entire thing was shot at Pinewood Studios.

  15. Alice can be seen at the ritual when Bill walks away with Mandy. The daughter, Helena, is kidnapped in the last scene, hence why Alice is wearing the same coat as the man following Bill in the streets. It's not just a movie about fidelity but human trafficking and mind control.

  16. Excellent analysis, made me realize the rich and careful symbolism of the narration, and pay closer attention to the images and color of the shots. But, what I remember that really did strike me while watching it and stuck with me after the movie, was the MUSIC. I would love some comments on that. Those piano notes were unsettling and beautiful at the same time, building up much of the sublimity of the atmosphere in my opinion!

  17. Ok, Nicole Kidman's wiping technique… that's how you get urinary tract infections. Wipe from front to back ladies. Front to back.

  18. Never understood why people still don’t like this movie. I adored it the first time I watched it and it’s only gotten better.

  19. Polly people get to lol at this kind of conflict. Not saying it's the better relationship type. People always like to say "well, i never see x relationship type work out" and I'd argue no relationship types are any more stable than any other, so do what works for you.

  20. God, this makes marriage seem exhausting. You could almost look at it as a justification for couples that choose to have open marriages.

    Maybe its just me but I have no interesting in spending the rest of my life with a spouse if it means such a constantly need for reassurance and mental games to maintain.

  21. Couple of points — Interesting how Alice's fantasy is about a man who doesn't look like her husband, and same goes for that flirtation — that guy's much taller and older and seems to be from a higher socioeconomic class than either she or her husband. However, Tom Cruise's character keeps meeting women like his wife — not that he's so fixated on her that's all he can see; rather, women are all alike for him, a not unusual point of view for a lot of men, also articulated by the EWS party members — "she was just a hooker. Sorry, but that's what she was," when Cruise's character seems to object to the death of that woman. Also, I'm not sure if these folks are on poles as regards their struggle with infidelity and commitment — incidentally, their struggle is between wild fucking and slavish togetherness, both very unrealistic states of being, lust and romance. Plenty of people leave the door open when they use the bathroom, but using the toilet in front of the guy, who ignores her, is a step beyond, IMO — I close the door, myself. I think this film is about a couple who are a couple in name only, unwilling to know each other mind, body, and soul while maintaining basic personhood, and who are not able to cheat or possibly form a relationship of any kind with other people. If they're messing around with others just to get their jollies, the jollies are pretty solitary in nature, more like masturbation with people as sex toys, which makes them closer to the recreational sex/sex killings committed by those naughty Illuminati stand-ins, the next level of dehumanization of self and others, which leads to the creation of monsters. Interesting analysis and thanks! 🙂

  22. Kubrick was telling us about Jeff Epstein and Hollywood all this time and also with his movie Lolita Express .

  23. Eyes Wide Shut was a movie adaptation of the 1926 Weimar novel called "Dream Story." After the revelations of Jeffrey Epstein's "pedophile island" both the book and the movie are accurate depictions of the lives of certain elites at their respective times. It is worth noting that, like Epstein and his associates, there is a certain Jewishness associated with both the book and the movie (both Arthur Schnitzler and Stanley Kubrick were Jewish), and represents the composition of such practitioners, both in Weimar Germany and in present-day America. Ziegler, who is the elite starting the chain of events for Dr. Harford, and Milich the costume shop owner (and brothel owner for pedophiles) are both Jewish as are the pseudo-religious rituals in the manor. Even the style of the masks, which evokes Bauhaus and post-modern art, point to this.

    Rumor has it that Stanley Kubrick was killed for revealing a little too much about the behind-the-scenes lives of powerful people.

  24. alice is an mk ultra slave who was at the orgy and they give their child to the two guys who were sitting at the base of the stairs. why is this so hard for people to see?

  25. Like all films from Kubrick after path of Glory I found the ending horribly pessimistic. When Nicole said the solution to their misadventure was to simply fuck. Not much about making love or loving each other. It's like they lost themselves in it despite their fidelity to each other. They walk to this scene arms cross or hiding in the pocket without the glimpse of a smile or relief.

  26. The eight pointed star is also the symbol of Scientology. Given Kubrick's commitment to including symbols that can be interpreted multiple ways, and the theme of Tom Cruise's character getting entrenched in a secret society, I hardly think the similarity between the star at the party and the star on Scientology buildings would have been lost on Kubrick.

  27. "Fuck" is bleeped out in this video, but only sometimes. Are you trying to tell us something?
    Excellent video, though I've been waiting so long for someone to help me understand this movie, so thank you!

  28. The prostitute was a beauty queen/ and many beauty queens are equally considered prostitutes as well. The models were prostitutes too, or do you think they wanted to sleep with bill for nothing ??? Loll / they were possibly paid to get him away from his wife so the old guy could lure Alice into sth.

  29. Didnt know The Take was into that kinky stuff 😉

    Eyes Wide Shut is not my favorite Kubrick movie, but I've got a greater appreciation for it now (which I specifically re-visited, thanks to this video). I share a lot of Bill's anxieties in the film, but one thing that always bothered me was Alice accusing him about fondling breasts as a doctor. That kind of occupational jealousy might happen as they're getting to know each other when they're dating. But the film states they've been married 9 years. She should know his work.

    I also realize Hitman 2's final Secret Society level takes it's cues from this film- right down to the blindfolded musicians.

  30. This video does a good job explaining the marriage relationship and lack of depth in relationships but it fails to explain the occultic sex trafficking of minors and shadow figures who are pulling the strings.

  31. This video stays in the outter courts of explaining this movie. This film ultimately is not about two boring couples sex lives it has much bigger meaning. SK was assassinated after this movie came…. what is the real story? SK was on another level of thinking.

  32. I would like to point out, that if you pay attention to the toy store scene at the end? There is so much symbolism there. Including the pram (stroller) that their daughter looks at, she even comments on getting it for her doll. This was a reference to Rosemary's Baby. While Bill & Alice are talking, the child walks away and can be seen following two of the gentlemen we saw at the Christmas party they had attended at the beginning of the film. Eerily enough, people think that means that Bill & Alice haven't broken free from them and that they sold their daughter. Really though, re watch the scene.

  33. This movie was about the evil that exists amoung some elites, and how sex is used by satanic groups to control people and control their influences in the dark underworld. Kubrick always gave hints and clues in his films.

  34. One of my fav and so underrated. Thank you the Take I thought I dig deep in this text but I was wrong ! Keep the good work ! Cheers from France !

  35. Thank you for such well written content.Your explanation of the metaphors, plot, and imagery has opened my eyes (pun intended). Subscribed!

  36. Kubrick's films must be viewed multiple times, as I believe majority of great art requires. To fully absorb it's nuances and textured layers.

  37. Not bad. A bit more gender studies than symbolism interpretation, but the use of the word "agency" regarding the female lead speaks volumes about what a viewer is in for. The section "the threat of the female" gaze will be entertaining to misandrists, even if stretched to try and inflate female gaze into something it isn't, and distract from a more primal and evolution based human quality; women will not be free of the fear of rape (or the echo of it found in the male gaze), men will not be free of the fear of castration (or the echo of it, found in female ridicule). One point regrettably glossed over is Bill's confession. Alice is noticeably colder to him in the following scenes, so we may assume he said something she didn't like….but did he tell all? We weren't there, so we'll never know.

  38. Zeigler was part of that 'cult'. bill did him a favor, so it should be wise of zeigler to help him from the masked ball, maybe hes the one who told that hooker to warn him and then do the phony sacriphice. but, lets just say for a moment, bill at the masked ball was just lucky that nick, giving up like he adviced when they first met, blows the whistle and gives bill the password. i couldnt think of any rational reason why nick would do that, he did get caught in the hotel later on wirh a couple of bruisers which in my opinion was stranget. what i BELIEVE, is that since bill said in the beginning that zeigler KEPT inviting him in his parties, i think that kubrick gave as the clue that zeigler wanted to make bill part of the 'cult', making him experience what they do in an accidental sort of way. i believe that zeigler let bill know what hes about to get into. bill has powerful friends and when any person does, sooner or later he will become THEM. eyes wide shut i believe is kind of bills ceremony, similar to a mason becoming a master of the highest grade or a 33rd degree mason. i believe in the end bill realized that with power comes great responsibility, and now that he has seen power, he woke up and realized what the future lies ahead of him, which he WILLINGLY wants and desires. zeigler is the key and maybe he staged everything perfectly to test bill, see how he keeps secrets and then judge on whether he deserves to be THEM. powerful people play people like this all the time in order to test on whos smart enough to join them and bill succeeded. by the time bill opened his eyes it was too late, but at least he did

  39. Maybe this is wrong, but could the shot of Christian in Midsommar after doing "the ritual" be an example of The Female Gaze, or a type of Female Gaze?

  40. I feel like I have learned a lot about marriage all at once.
    – Your partner is a human being too with thoughts and wants, always remember that.
    – Your partner is a stranger: don’t take then for granted, don’t assume you know them fully.
    Also empowering as a woman, don’t feel afraid to share some darkness with men sometimes just so they understand women are also sacrificing.

  41. Jaded Eyes Wide Shut
    a e y e i d h u
    d d e y d i u h
    e a s E e W t S
    d J

    (((Who))) could Kubrik have been meaning?
    (((Who))) would want their child sacrifice ritual cut from the film as it would identify them?
    (((Who))) had Kubrik killed?
    (((Who))) can't we criticize?
    (((Who))) are the men who will not be blamed for nothing?

  42. Seriously, nearly everything I see in the U.S. media today pretends that the only differences between women & men are only social while completely disrespecting the biological differences between men & women. This forced gender neutrality is happening b/c of one particular group power-hungry females who don’t want to change a damn thing about society, except taking over the violent, oppressive, militaristic patriarchal power seat themselves. Hillary Clinton really WAS the lesser of two evils – that means she’s evil too. 😒

  43. Larry Celona, the NY Post reporter who wrote the "drugs overdose" article about the ex-beauty queen in EWS, was the same person who wrote about Kubrick's heart attack* and subsequent death.
    "The world is run by pedophiles." -Stanley Kubrick

  44. Interesting how Alice looks into a mirror when she and Bill are making love. It could symbolize that women have internalized the male gaze, as you said, and surely has greater significance within the context of the movie. But I think it also points to something we already know about female sexuality, which is that women's erotic desire is very much based in feeling desirable, being desired, and being "hunted". Men, on the other hand, are motivated by desiring and being the "hunters".

  45. Why is Nicole Kidman so gross? I can't figure it out but literally everything about scream BPD creepo.

  46. 5:24 I don’t know if the use of the word glib was intentionally a reference to Tom Cruise but I appreciate those kinds of things in these videos

  47. Maybe if Tom Cruise wore a beak mask with a long nose and had a tickler stick? Renaissance doctors had these strange costumes to protect them while using astrology and giving hot cautery, etc. (which are essentially burns with a hot iron). I was looking for Roman poison references but I didn't see any. The Greeks were followers of Hippocrates and doctors and the Romans used to hire them as assassins to poison whoever they wanted. In the Renaissance era, human body parts were the main staple in local pharmacies. The poising is what led to the Hippocratic oath. I don't like the doctor as a weak character especially related to Freemasons who merely had an informational glimpse. American ruling classes are based on the movements of invention and patents which is essentially a lower class theme.

  48. The Blackbird's Revenge

    "Disinformation of the Higher History"

    Today goes general revenge

    through books and scholarship, friends

    a generous guilt proceeds

    A blackbird sits softly their shoulder

    and bibliophiles, they wander

    so, even these churches concede

    And, common discourses to connect

    maths, or science they respect

    a scout'd engineer wants see straight

    Disinformation of dire

    Into higher history conspired

    To catch late medicine, of Renaissance

    Or, periodic tables with metals

    both, separated and so endeavored

    Occultists with Freemason's sentry

    A marketed populace is preached

    spending their gold beseeched

    Their Vatican treasures so empty

    -F. Nienow, Sept 31, 19

  49. This is actually a practice of the Illuminati. Extravagant parties with high ranking politicians and officials. Sprinkle in some narcotics and an Orgy and you have a party for the Elite.

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