The uncensored version contains what seems to me a near-impossibility: performing oral sex while wearing a full-face mask. Don’t try this at home!
Thanks to the ever-great DVDBeaver for these images*. I was always very very amused by the idea that the U.S. release of Kubrick’s dirty swan song EYES WIDE SHUT had been censored, by having additional figures inserted into key shots to block our view of the orgiastic activities taking place at Sidney Pollack’s Bilderburg-like exclusive shagging palace. It sounded so goofy!
(It should be noted that the U.K. version was also censored, but in this case the issue was with the soundtrack, which contained sacred Islamic texts chanted over the scenes of illicit rumpy-pumpy. The score was re-jigged to defuse religious wrath.)
Now at last I’ve seen frame comparisons of both versions. Pretty funny stuff. Fiona was particularly amused by the nude blonde sitting, her head resting on her masked and cowled beau’s shoulder, as they watch the hot boy-girl action. So sweet.
Why did the scenes have to be occluded in this way? Kubrick apparently researched the U.S. censorship system as best he could, to find out what was acceptable, but still found himself looking down the barrel of an X Certificate when he presented his film to the industry bluestockings. The principle in question was one of buttock-thrusts, and he should really have researched further, because Alan Parker had come up against the same problem with ANGEL HEART. The M.P.A.A. had strongly objected to the sight of Mickey Rourke’s heaving buttocks, arguing that more than three consecutive thrusts of the buttocks in one shot constituted obscenity. Parker, ever the street-fighting man, protested and won, but the principle that obscenity has a numerical value measured in pelvic thrusts obviously remained on the sexy statute books.
(The M.P.A.A. being the odd organisation it is, did not object to the blood pouring down the walls of the room, over Rourke and his paramour, Cosby Show graduate Lisa Bonet. In Britain, the censors for a long time maintained that any conjunction of blood and breasts was liable to act as a Rape Trigger, turning male audience members into slavering beasts. They squabbled with Michael Winner over his prurient remake of THE WICKED LADY, in which Faye Dunaway bullwhips a topless Marina Sirtis, and again, a stroppy Brit managed to overcome a censorship decision just by making a big fuss over it, aided by respected industry figures like Lindsay Anderson coming to the defense of his, er, art. Maybe Kubrick should have done the same. Happy ending — at least Marina S., who has to get nude in every one of her WICKED LADY scenes, had Star Trek: The Next Generation to look forward to.)
From Parker to Barker: the other person who could have helped Kubes out would be Clive Barker. When making his first feature, Barker had run up against a narrative problem. Clare Higgins’ character in the film is besotted with a particular lover, so much so that she raises him from the dead in order to continue enjoying his affections. At a certain point in rehearsal, it became clear to Barker and his cast that it would be necessary to spell out what, exactly, this kinky couple were into. Eventually, Higgins said, “*I* think she’s into spanking.” Barker clapped his hands together: “Great.” They shot a scene.
Barker’s American producer called the next day. “We’ve just seen yesterday’s footage. Sensational. We can’t use any of it.” Turns out there was an absolute Thou Shalt Not Spank commandment in force. Barker was frustrated: “You’ve got to come clean and tell me what the rules are, then. I can’t go on guesswork.” It turned out that there WERE rules, despite the M.P.A.A.’s insistence that each case was judged on its merits. Censors don’t like to make their rules known because it makes them look silly. Splitting pubic hairs is not an occupation with a lot of dignity. It’s similar to the way that executive producers and funding bodies often don’t like to admit that they’re looking for particular kinds of material, since it implies that they’re not creative and flexible.
Anyhow, Barker was DELIGHTED with his new set of rules. “It did wonders for my sex life,” he attested. “I now knew the exact moment when I was crossing over into obscenity.”
That fourth thrust is the one that does it, folks. Try to climax before then, to stay out of trouble.
The kinkiest touch — one girl holding the other’s wrists — is also hidden. Fiona points out that the same couple is back in this shot, having presumably darted through a side exit, scooted ahead of Tom Cruise, and assumed their seats moments before his arrival. “People in masks are not to be trusted.” ~ Fessick the Giant in THE PRINCESS BRIDE.
Anyway, Stan’s difficulties with this sequence illustrate again my ground-breaking thesis re Kubrick.
*DVDBeaver is a terrific DVD review site. Not porn.