Got it wrong

Rating: 10/10 (27 July 1999)

There seems to be a general consensus that this film is about sexual intrigue and the relationship of husband and wife, but I submit that this interpretation is way off base.
Let us begin with the symbolism that Kubrick uses. One may notice that in nearly every frame, there are thousands of small lights, one might even say a thousand points of light. This is, in fact, a symbol employed by certain secret organizations to refer to their members. On the list would be the freemasons, the Illuminati, et cetera. It was employed by a former president of the US on a number of occasions, and this president was, in fact, a member of secret organizations.
Next, when the main character enters the house where his adventure begins, where the old man has just died and the daughter makes a play for him, there is a falcon statuette in the hallway, which recures several times. The falcon is symbolic of the Egyptian god Horus, son of Isis and Osiris. The connection to this god is reinforced by the setting in wintertime, which is dominated astronomically by the constellation Orion, or Osiris, and the star Sirius, or Isis. The additional use of Christmas time, the symbols of which are decendent from Roman and Egyptian festivals of light and rebirth, further enhances this connection (ie- the Christmas tree, lights, etc.).
The obvious use of a Luciferian mass for the orgy is, without doubt, a reference to the secret societies. Even the masks used are various symbols and images employed by Luciferians. The loose and very grey morality of the characters through-out serve to enhance this reference. Even the characters, man and wife, do not refer to physical love with any reverence. It is simply a course and vulgar act. And that Lucifer is the fallen star, the light of Heaven fallen to Earth, is further reflected in the use of the thousand points of light.
Kubrick has even alluded to his own doubts and misgivings about himself in this area. The way in which he allows himself to appear in reflection, not a mistake by an amateur, but purposeful, is telling. The scenes in which the camera is visible tells us that we, too, must now suspect our own motivations. In other words, this belief system has become so pervasive, that no one is immune to its machinations.
There are many more subtle and oblate references. For instance, the name of the restaurant in the background when the main character is being followed. The music being played when he stops into the pub for a beer immediately after (reference the password used to enter the house).
Kubrick has sent out a warning. He is trying to wake the audience up to the hidden messages all around us. Our eyes, he says, are wide shut. We see, but we do not understand. This film bears additional viewings to pick out the rich subtlety embedded in it. But viewing it with these points in mind will suddenly open a vastly deeper subtext to the film.