Archive for Eyes Wide Shut

Alpha-Omega

Posted in FILM with tags , , , , , , , , , , , , , , on April 2, 2019 by dcairns

The opening and closing shot of every Kubrick feature film.

Observations:

Some of these films seem to be talking to each other.

KILLER’S KISS, which in Kubrick’s own revised filmography stands as his first feature (he suppressed FEAR AND DESIRE, top) is the only film ending with anything so conventional as a clinch, but way down at the end EYES WIDE SHUT ends with Nicole’s four-letter suggestion, thus closing a circle of a kind.

The forested hillsides of FEAR AND DESIRE seem to echo those of THE SHINING but if you’re looking at what the shot’s DOING, the real rhyme is between DR. STRANGELOVE and THE SHINING.

STRANGELOVE to CLOCKWORK ORANGE is the sequence I really stand by.

It’s sometimes hard to know what IS the last shot. BARRY LYNDON earns two images, the last live image and the Epilogue card which is clearly part of the film and makes a nice connection with LOLITA and THE SHINING. Likewise LOLITA gets the last shot of Mason, which loops back to the first scene (Peter Sellers is about to emerge and say “I’m Spartacus” just as we hastily fade out), and its final super-title. THE SHINING’s closing shot I’ve represented with two images because it’s a rostrum move.

SPARTACUS is an outlier — I chose to use the first shot of Saul Bass’s title sequence, because the first shot of the film proper, I believe, is by Anthony Mann before he was fired. And the hand makes a nice rhyme with LOLITA…

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An Odyssey in Bits: Keir Dullea and Gone Tomorrow

Posted in FILM, MUSIC, Science, Television with tags , , , , , , , , , , , , , , , , , , , , on February 19, 2019 by dcairns

Thanks to the acid wit of Noel Coward for the title. Noel co-starred with Dullea (happily still very much here today) in Otto Preminger’s BUNNY LAKE IS MISSING.

2001’s second superimposed caption appears: it’s not altogether certain that THE DAWN OF MAN has finished (it was apparently in play all through the orbital and lunar ballet) but at any rate the JUPiTER MISSION has begun.What was strange to me, this time around, was how fast this section of the film seems to go by, when you watch it in isolation. The pace of the shots may be slowish, but the narrative is super-economical.1. The Discovery sails past us.

(Various spaceship designs were considered with various propulsion systems, but the final look chosen is less about scientific practicality and more about style. The bony colouring adds to the Discovery’s resemblance to a giant skull and spinal cord. Also a little like a spermatozoa. So it also makes me think of the miniature Spike-creatures in ERASERHEAD.) 2. We cut to inside Kubrick’s giant hamster wheel. Here’s Gary Lockwood jogging, in a whole series is striking shots, including an up-butt angle as startling as the one George Sidney devotes to Ann-Margret in VIVA LAS VEGAS. Bruce Bennett’s citation of TRAPEZE as an influence gets backed up here — not only for the earlier use of the Blue Danube, but for turning the image sideways so it can fill the WS frame. It’s true that Kubrick lingers over these images, but they’re well worth it. My problem with EYES WIDE SHUT was its, to my mind erronious, supposition that Tom Cruise walking down a street or into an apartment was worthy of the same following-too-close attention.

(How does the craft generate its gravity? It’s not rotating in the exterior shots. Is there actually a big rotating wheel inside it for the living space? Seems to be the case. Wild.) 3. & 4. Then we get a couple of video bits — Lockwood’s taped message from home, and the BBC interview with the crew and HAL, which infodumps all the necessary exposition on us in a reasonable engaging and natural way.

Bowman and Poole have i-Pads so they can watch TV as they down their space-chow (from plastic pallettes packed with nutritional coloured pastes. Yummy).5. And then HAL is glitching right away — his mental breakdown is really just as speedy as Jack Torrence’s in THE SHINING. It’s when he says, “Just a moment. Just a moment.” Computers shouldn’t repeat themselves. It feels wrong. Later, he will repeat himself A LOT, so I know I’m right.

Dullea and Lockwood are beautifully blank. GL said they looked at reports on what astronauts were like, and their inexpressive performances reflect the demands that those fired into space should NOT be hysterical, hand-flapping types of furious fist-wavers. Ryan Gosling’s unemotive Neil Armstrong in FIRST MAN makes this a big story point, whereas Kubrick and Clarke and the cast just take it for granted. The fact that HAL is more appealing and warm is certainly no accident — Kubrick liked machines. Unfortunately, the story he’s telling requires HAL to turn homicidal, so this is far from the “alternative Frankenstein myth” he hoped to achieve with A.I., proving to us that our machines might be our heirs, our best hope of leaving something of ourselves behind.HAL trounces Poole at chess.

Clarke thought it a shame that the film didn’t make clear the reason for HAL’s malfunction: mission control had instructed him to withhold the true purpose of the voyage, in effect to lie, which was against his programming. (To lie is already to err.) When he tries to sound out Dullea’s Dave Bowman about the mission parameters, he’s probably looking for a chance to open up and get things off his metallic chest. Bowman brushes him off, and so he has to kill all the damn humans who are clearly going to screw this thing up. Again, his motivation connects him with Jack Torrence’s rant about “MY responsibilities to my employers,” though he expresses himself with a less hysterical tone.

I read somewhere that all Kubrick films are about somebody being entrusted with administering a system, and then screwing it up due to “human error.” Which sounds sort of right, but then you need to get out the old shoehorn to make it fit LOLITA (how not to be a step-parent) and THE SHINING (how not to look after a hotel: a sort of Fawlty Towers with axe murders) and EYES WIDE SHUT continues to be an outlier (the system failing to be administered is what, adultery?). But anyway, mission control has screwed up royally, somewhere in between the Clavius freak-out signal and this sequence, and now our eerily calm astronauts are going to pay the price. 6. The first EVA scene, though we’re our Extra Vehicular Activity is taking place in another, smaller vehicle. Contemporary critics harped on about the heavy breathing here, as if it were a showy and clumsy stylistic touch, rather than a logical solution to the problem of What can you hear in space? Kubrick alternates bold silences with music and subjective space-suit sound, all of which are great choices.

(William Friedkin on the excellent The Movies That Made Me podcast complained of Kubrick’s extreme low angle shot in THE SHINING when Jack talks to the food locker door. “Who’s POV is that meant to be?” But it’s another logical solution: how to shoot a man talking to a door and see all of his face rather than a profile. If you just do very logical things, like a machine would do them, maybe you will develop a striking personal style, because everyone has their own logic. And that’s why there’s so much trouble in this world.)7. HAL can read lips.

(Just like in real life, as soon as somebody goes a bit wrong mentally, everyone else starts tiptoeing around and lying and humouring them and unintentionally but very effectively escalating their paranoia…)

Though his eyeball was a fisheye lens earlier, and I think he even asks Dave to hold his drawings closer, but now he has a zoom and can follow a conversation in which his two pals are plotting to murder him. Which confirms him in his decision to off them first, which presumably he was going to do anyway since why else is he tricking them into cutting off communication with Earth and going E.V.A.?

And at this point, Kubrick goes audaciously to an intermission, and so shall I.Incidentally, 2001: A SPACE ODYSSEY stars the Marquis de Sade; Sir George; Sam Slade; Emanuel Shadrack; Lord Beaverbrook; Off-camera voice of Jesus; Scrimshaw’s henchman; Commander Ed Straker and Hank Mikado.

Imagine you somehow find yourself watching a sixties Canadian TV play and the off-camera voice of Jesus rings out and it’s instantly, chillingly recognizable as the dulcet tones of HAL-9000.

Also, you should see the 1957 version of OEDIPUS REX directed by Tyron Guthrie and Abraham Polonsky, in which among the voices issuing from behind Greek tragic masks are those of Douglas Rain and William Shatner. Sophocles has never seemed so interstellar!

An Odyssey in Bits: Moonwatchers

Posted in FILM with tags , , , , , , , on February 9, 2019 by dcairns

Fadeout on Rossiter/Smyslov. Fadeup on chunky moonhopper on its way to Earth’s satellite. Fadeup also The Blue Danube again, just to piss off Quincy Jones. Because we’ve already heard it, and because we don’t have a spinning wheel-shaped space station this time, the reprise feels like a lesser sequence, but it has some really lovely shots. The inside of this craft has a great sixties/seventies leisure centre look… it actually feels a bit like the ABC Cinema where I saw 2001 in the seventies. Heywood R. Floyd is asleep AGAIN, there are more cute stewardesses, and a mouth-watering selection of vegetable drinks. The stewardess gets to demonstrate the power of grip shoes by walking up a curved wall in a tubular corridor until she’s upside down. I wonder if they ought to have filled the drinks trays with helium to make them look weightless in her hands. I mean, they look light, but not like they would float off, even though Heywood’s does.

The stewardesses are studying self defense.Zero gravity toilet gag! For those who are interested, or even concerned, the full instructions can be read here.

Randy Cook points out the similarity between the moonbase’s dock and the selenites’ solar power panels in THE FIRST MEN IN THE MOON, released not long previously, which shared some crew, notably effects man Les Bowie.  Kubrick wasted a good bit of his time on earth worrying about whether the TV show Space 1999 was infringing his copyright — “The title is just two years removed from our own!” But you can’t copyright a title, Stanley. However, he might have potentially sued Gerry Anderson and his team for ripping off the look of Moonbase Alpha from his Clavius base. Pick your battles.

Kubrick also remarked that older viewers seem to be depressingly word-based in their thinking — several picked up on the characters’ discussion of “Clavius” and imagined that H.R. Floyd was on his way to a planet called Clavius. He knew that most audiences wouldn’t know that was a place on the lunar surface, but assumed they’d figure it out when they got there. When he asked kids how they knew his destination was instead the moon, they all replied, “Because I SAW it.”If you want reasonably compelling proof that Kubrick didn’t fake the moon landings — and I’m only speaking to those of you who want it, I can’t be bothered with anyone who NEEDS it — consider how everyone on the moon walks about as if the gravity were earth-normal. No galumphing sideways meerkat loping for Heywood R. Floyd, thank you very much. And nobody’s wearing grip shoes. We might guess that Kubrick is supposing some kind of goofy artificial gravity in the Clavius briefing room, but Arthur Clarke would surely have nixed such unscientific nonsense. And when we see the astronauts outside at the excavation site, they’re STILL walking perfectly normally, as if strolling around Borehamwood on a May morning. It seems nobody concerned with the production predicted the effects of the low lunar gravity, or else they dismissed it as too finicky to deal with (subtle slow motion might have been an option, reverting to normal speed when Floyd and his colleagues talk, keeping them stationary for dialogue or looping in normal-speed lines…)Further proof that S.K. the perfectionist wasn’t perfect: (1) the stills photographer in the briefing room has a hideous, Great McGinty-style suit; (2) big-ass continuity error on Floyd’s posture as he addresses the assembled bods.A beautiful lunar cruise in another lovely craft, with Ligeti’s Lux Aeterna for company — the micropolyphony (don’t know what it means) of the unaccompanied choir gives an eerie, celestial (or selenite) tone which anticipates the appearance of alien artifact #2. We couldn’t have stood another iteration of The Blue Danube, so Kubrick transposes the eerie emotions of the upcoming scene over this more neutral one. As ever, those effects that don’t quite convince are the ones that look like still photographs on a rostrum camera set-up, but they’re beautiful anyway.More unappetizing space food, and more monotonous space dialogue. Floyd, the world’s blandest man, has a tendency to parrot back whatever anyone offers him, sometimes repurposing their words a little, and the others do the same to him. His dialogue isn’t chicken, but it tastes the same anyway.

“What a wonderful surprise to meet you here.”

“You’re looking wonderful.”

“I appreciate the way you’ve handled this thing…”

“Well, the way we look at it, our job’s to do this thing the way you want it done…”

It’s not quite Tom Cruise’s baffled echolalia in EYES WIDE SHUT, where he repeats every damn sentence spoken to him, but it’s an early clue to the new direction.

The original script, or one of them (here) suggests more dialogue, in particular stating clearly that the recently unearthed (or unmooned?) monolith may be solar-powered (because it’s black, therefore absorbs light) but has not actually seen daylight for millions of years, and has not yet been shone on by the sun since they cleared the moondust off it. So that the low angle “eclipse” shot that accompanies the painful high-pitched whine — the Jupiter signal, we must presume — shows the sun actually triggering the hitherto inert device.A lot of Kubrick’s dialogue slashes have the effect of making the action more ambiguous or mysterious, which is clearly both deliberate and, I would argue, good. In this case, the repeated angle with the sun cresting the monolith suggests an almost astrological event, which I’m sure would horrify Arthur C.C. Of course, the fact that the astronauts apparently HEAR the Jupiter signal from the monolith, through the vacuum of space, doesn’t make literal sense, but as we don’t know quite what kind of signal it IS, I guess we can’t rule out the possibility.

Might have been funny if the stills photographer at the excavation was wearing a loud plaid spacesuit.

Just when the whine becomes too irritating to bear, we cut to ~