Fidelio

Rating: 9/10 (28 June 2014)

Kubrick's last film couldn't have gone by without a fair share of critical backlash and general controversy, similar to what happened to mostly all of his movies. Also, similar to other movies of his, is the feeling of doubt and suspicion we feel after it's over. Like the final scene in "2001: A Space Odyssey", we're not quite sure what the hell we've just watched, but we're certainly left intrigued with many different perspectives and the need to reflect about the meaning of all that. Because with Kubrick, and anyone who is/once was an assiduous viewer of his films would agree, nothing is incidental. It seems that every little thing is in its determined little place to make the wheel spin, so to speak.
There are a number of conspiracy theories revolving around Eyes Wide Shut (like there was with The Shining and 2001, etc.), which we'll never be able to confirm or discard completely. But it's nevertheless interesting because it only shows how much we're affected by how he manipulates us throughout the story. Leaving the conspiratorial bit out for a while, what is left is an ambiguous story seen from Tom Cruise's character point of view...what in his nocturnal adventures were real? what's real? just because things happened inside one's head, it doesn't mean they weren't real, does it? His mind plays perverse tricks with him. From the point when his wife, in a provocative monologue, dangles the possibility of cheating on him, just about everything he comes across has an undertone that relates to that matter. And it's so subtle, from the bunch of bullies who question his "manhood" in the streets, to the unexpected encounter with the Russian guy's daughter, it all seems to echo what's going on inside his mind. Would his wife really betray him if she was given the chance? would he be able to do the same? In the middle of all this, he comes across some sort of bizarre ritual, both sacred and profane, and even though he's wearing the same costume and behaving like the others, he fails to blend in and people soon notice he should not be there. Did those people also realize he didn't have what it takes to be a part of the "cult"? in other words, to have sex with a stranger and to desire to do so.
It's hard to talk about this scene and not mention what a beautiful piece of film it is. I guess it's one of the times where Kubrick succeed best in creating a perfect mood that completely immerses us. All of the elements work, the atmosphere created by the score, the costumes (especially the one who nods to Bill from up the balcony) and the general feeling of strangeness, as we've entered another dimension apart from our world, apart from Bill's repressed middle-class life.
One part which was left unanswered to me was the next scene, when he comes home and Nicole Kidman's character mysteriously has had a nightmare very similar to what he just went through. It could be some sort of subconscious transmission, almost psychic, but there's just something about it that doesn't fit. Later on, Bill's friend tries to clear all this mystery to him, saying there was nothing to it, it was all an act, fake, meant to scare him away. But who would do such a thing? Picking up the pieces, for a few moments I even believed Alice could be involved in the farce...because of the nightmare's timing, and the mask found on the bed beside her.
This is just a tiny little analysis compared to the whole richness of the movie, but it's where it got me thinking. And I'm sure that's what Kubrick wanted in the first place. It's not so fun when an explanation is thrust upon us, like a game of questions and answers, because there is so much more to a story and a character than a filmmaker would be able to synthesize in one last scene. That is one of the reasons why I hold Stanley Kubrick's films so dear, because the genius of him is to never give easy way outs or shortcuts, and to turn each one of his movies into a vast universe where anything is possible.