Top right of this frame shows a large billboard on the side of the building stating Manning... Bowman.
So... What connection does Bowman have with Eyes Wide Shut?...
Sunday, 30 August 2015
After watching Eyes Wide Shut I came away feeling a mixture of emotions. I was shocked by the themes and visuals and explicit sex scenes at the orgy, but also completely astounded by the amazing structure of shots typical to Kubrick, such as reverse tracking, single source lighting, use of circles, masks and disguise in the orgy, and common focus on eyes and staring.
Unfortunately, for some reason, I also felt disappointed. Mainly because of the actors chosen; Cruise and Kidman are huge stars, and this obviously attracted mainstream audiences, thus throughout the film I felt drawn away from his unique style and towards the recognizable faces of the actors and the location... too Hollywood for my liking. When compared to settings of 2001, a completely unfamiliar space craft; or A Clockwork Orange, a futuristic setting of Britain; and an isolated hotel in the mountains in The Shining... then we conclude in the streets of New York. Just felt way too mainstream Hollywood, which is unfortunate, but my opinion.
Having said this, his techniques still shine through...
Themes in Eyes Wide Shut are the same as those in others in my study.
Staring and eyes... Bill always stares, this is especially noticeable at the orgy as his eyes are highlighted by the mask. There is also a shot of Alice staring at Bill when she confesses her dreams of the Naval Officer the night they do pot.
Theatre... the staging of the circle of women in cloaks, and the ceremonial style chanting at the orgy is the theatre in this film. "Suppose it was staged, fake..." - Ziegler
Games... the hooker is called Domino, and Zeigler's pool table. "Please Bill, no games" - Zeigler
Masks and disguise... there are African masks on Domino's wall. Milich's costume shop. Masks and costumes at the orgy - ironically they can all see everything through their masks but continue the charade that they haven't seen anything.
18th Century... the large house at which the orgy is held.
Family relationships... Bill tries to get revenge for Alice's dreams of the Naval Officer and the dream of her having sex with uncountable amounts of men; he doesn't think about his daughter or Alice when at the orgy or at Domino's flat, only when he is alone.
This film lacks the idea of technology governing people, but does include the theme of collapsing society much like A Clockwork Orange. The secret society dwells under the cloaks of rich people willing to pay for unprotected sex with hookers; furthermore, it is likely that AIDS will destroy this community, as Domino (a hooker) tester HIV Positive.
Unfortunately, for some reason, I also felt disappointed. Mainly because of the actors chosen; Cruise and Kidman are huge stars, and this obviously attracted mainstream audiences, thus throughout the film I felt drawn away from his unique style and towards the recognizable faces of the actors and the location... too Hollywood for my liking. When compared to settings of 2001, a completely unfamiliar space craft; or A Clockwork Orange, a futuristic setting of Britain; and an isolated hotel in the mountains in The Shining... then we conclude in the streets of New York. Just felt way too mainstream Hollywood, which is unfortunate, but my opinion.
Having said this, his techniques still shine through...
Themes in Eyes Wide Shut are the same as those in others in my study.
Staring and eyes... Bill always stares, this is especially noticeable at the orgy as his eyes are highlighted by the mask. There is also a shot of Alice staring at Bill when she confesses her dreams of the Naval Officer the night they do pot.
Theatre... the staging of the circle of women in cloaks, and the ceremonial style chanting at the orgy is the theatre in this film. "Suppose it was staged, fake..." - Ziegler
Games... the hooker is called Domino, and Zeigler's pool table. "Please Bill, no games" - Zeigler
Masks and disguise... there are African masks on Domino's wall. Milich's costume shop. Masks and costumes at the orgy - ironically they can all see everything through their masks but continue the charade that they haven't seen anything.
18th Century... the large house at which the orgy is held.
Family relationships... Bill tries to get revenge for Alice's dreams of the Naval Officer and the dream of her having sex with uncountable amounts of men; he doesn't think about his daughter or Alice when at the orgy or at Domino's flat, only when he is alone.
This film lacks the idea of technology governing people, but does include the theme of collapsing society much like A Clockwork Orange. The secret society dwells under the cloaks of rich people willing to pay for unprotected sex with hookers; furthermore, it is likely that AIDS will destroy this community, as Domino (a hooker) tester HIV Positive.
Saturday, 29 August 2015
THEME 7 Family Relationships...
In 2001, Floyd calls his daughter via video telephone and later Poole receives birthday wishes from his parents; family relationships are positively portrayed in 2001, however the sense of distance between the characters and their families heightens the isolation and danger.
In contrast, Alex has a terrible relationship with his parents. They don't know what he gets up to and they don't really pay any attention to him; even worse, when he returns home after treatment they disown him and don't allow him to live back at his house.
Jack, Wendy, and Danny's family unit is just a huge mess. Jack clearly doesn't like his wife and is always fed up with her; Wendy is in a world of her own; and Danny is being led by his imagination further and further from the protection of his mother. This separation from each other isolates each character making them even more vulnerable, and when Jack turns on his wife and son, it actually brings Danny and Wendy closer together.
Full Metal Jacket doesn't really touch on family relationships, but it is clear as the film progresses, the soldiers form their own family unit.
Having studied British horror, I know that the destruction and breakdown of the family unit is a typically British style and is common in all British horror. Kubrick may have picked this up when he moved to England after the making of Spartacus.
In 2001, Floyd calls his daughter via video telephone and later Poole receives birthday wishes from his parents; family relationships are positively portrayed in 2001, however the sense of distance between the characters and their families heightens the isolation and danger.
In contrast, Alex has a terrible relationship with his parents. They don't know what he gets up to and they don't really pay any attention to him; even worse, when he returns home after treatment they disown him and don't allow him to live back at his house.
Jack, Wendy, and Danny's family unit is just a huge mess. Jack clearly doesn't like his wife and is always fed up with her; Wendy is in a world of her own; and Danny is being led by his imagination further and further from the protection of his mother. This separation from each other isolates each character making them even more vulnerable, and when Jack turns on his wife and son, it actually brings Danny and Wendy closer together.
Full Metal Jacket doesn't really touch on family relationships, but it is clear as the film progresses, the soldiers form their own family unit.
Having studied British horror, I know that the destruction and breakdown of the family unit is a typically British style and is common in all British horror. Kubrick may have picked this up when he moved to England after the making of Spartacus.
THEME 6 Technology...
"Kubrick was a technological genius" - Paul Duncan
I agree... his need and want to invent new and better gadgets, and prove to inventors that what they thought could not be done, could in fact work if they followed his very thought out instructions; the most famous being the steadicam.
The theme technology follows with the idea that technology governs the characters in the films.
In 2001, there are zero gravity toilets, video phones, food dispensers, and voice identification; all of which the astronauts rely on greatly.
Alex undergoes the Ludovico treatment which is considered a form of modern technology.
Jack disables the radio and snow-cat, and on top the phone lines are dead due to the storm.
The rifles in Full Metal Jacket are the ultimate image of technology governing characters; the soldiers are trained to become one with their rifles, thus the technology becomes a part of them. This reflects on the idea of evolution in 2001; the way in which humans develop and become unable to move forward or fulfill daily activities without technology - the restriction and restraint technology has upon us.
"Kubrick was a technological genius" - Paul Duncan
I agree... his need and want to invent new and better gadgets, and prove to inventors that what they thought could not be done, could in fact work if they followed his very thought out instructions; the most famous being the steadicam.
The theme technology follows with the idea that technology governs the characters in the films.
In 2001, there are zero gravity toilets, video phones, food dispensers, and voice identification; all of which the astronauts rely on greatly.
Alex undergoes the Ludovico treatment which is considered a form of modern technology.
Jack disables the radio and snow-cat, and on top the phone lines are dead due to the storm.
The rifles in Full Metal Jacket are the ultimate image of technology governing characters; the soldiers are trained to become one with their rifles, thus the technology becomes a part of them. This reflects on the idea of evolution in 2001; the way in which humans develop and become unable to move forward or fulfill daily activities without technology - the restriction and restraint technology has upon us.
Friday, 28 August 2015
THEME 5 Games...
Physically and mentally all characters play games at some point. In 2001, Poole plays chess; chess is particularly relevant as it was Kubrick's interest and aid "to remain calm in a crisis and apply methodical approach to the job in hand" (Paul Duncan).
In The Shining, Danny is the image of this theme. He is always playing, whether it be in his car or playing with his trains or with a ball, or in the games room playing darts; however we do see Jack throwing a ball around when he is bored. Danny is also the image of innocence, due to his age and lack of understanding for the things happening around him.
Interestingly, but not surprisingly, there are visual similarities in the presentation of games...
In both 2001 and The Shining, game playing are captured from a birds eye view. This creates a sense of weakness in the character and strength in the spectator, or, in this case, whoever the POV belongs to (i.e. HAL and the spirits lurking in room 237). This perspective of the theme suggests that threatening characters (HAL and the spirits) have power over the characters playing the game and already have the upper hand; this creates fear and intensity within the spectator as we can feel something bad is going to happen to them but we don't know what.
In terms of intertextuality, Danny has been connected to Poole, not just because they are both playing, but something much more. To aid the visual connection, Danny is wearing a jumper with the Apollo space craft on it. But what do Poole and Danny have in common?...
Physically and mentally all characters play games at some point. In 2001, Poole plays chess; chess is particularly relevant as it was Kubrick's interest and aid "to remain calm in a crisis and apply methodical approach to the job in hand" (Paul Duncan).
In The Shining, Danny is the image of this theme. He is always playing, whether it be in his car or playing with his trains or with a ball, or in the games room playing darts; however we do see Jack throwing a ball around when he is bored. Danny is also the image of innocence, due to his age and lack of understanding for the things happening around him.
Interestingly, but not surprisingly, there are visual similarities in the presentation of games...
In terms of intertextuality, Danny has been connected to Poole, not just because they are both playing, but something much more. To aid the visual connection, Danny is wearing a jumper with the Apollo space craft on it. But what do Poole and Danny have in common?...
Thursday, 27 August 2015
THEME 4 Theatre...
Masks and disguise highlights the theatrical element of Kubrick's style and therefore connections well to the theme of theatre.
In 2001, theatre can be seen in the staging of scenes. Particularly when Floyd gives a speech; the tables run length ways forming two parallel lines opposite each other, and another table at the back of the room. Floyd stands at the front behind a podium when he gives his speech making him centre of the stage.
Theatre is much more obvious in A Clockwork Orange. Alex and his droogs fight a rival gang in a theatre; Alex is forced to watch footage in a typical cinema theatre; and he is tested, after the Ludovico treatment, on a stage in front of a crowd. More subliminally it is communicated that Alex craves an audience, perhaps due to the lack of attention and affection received from his parents. Alex is leader of his droogs therefore they look up to him; he forces Frank Alexander to watch him rape his wife; and at the very end of the film he dreams of making love in front of a crowd - this crowd is interesting as they are dressed in clothing from the 18th century (another theme in Kubrick's films, although less common - 18th Century is also referred to in 2001, at the very end in the suite).
The theatrical style of The Shining replaces the typical staging of a theatre; costumes of character from the party and the characters in the bedroom (bear suit and tuxedo) are examples of this theatrical style; this suggests that Jack himself (or Delbert Grady, depending on your take of the film) is overreacting and very theatrical as seen in the way he calls after Danny ("Danny boy") and his expressive gestures, and the way he announces his presence ("its Johnny").
In Full Metal Jacket, Hartman has to play a specific role in order to intimidate and train the soldiers correctly. Additionally the theatre of war; the way in which the entire film shows stages of progression towards the war ground is very theatrical.
Masks and disguise highlights the theatrical element of Kubrick's style and therefore connections well to the theme of theatre.
In 2001, theatre can be seen in the staging of scenes. Particularly when Floyd gives a speech; the tables run length ways forming two parallel lines opposite each other, and another table at the back of the room. Floyd stands at the front behind a podium when he gives his speech making him centre of the stage.
Theatre is much more obvious in A Clockwork Orange. Alex and his droogs fight a rival gang in a theatre; Alex is forced to watch footage in a typical cinema theatre; and he is tested, after the Ludovico treatment, on a stage in front of a crowd. More subliminally it is communicated that Alex craves an audience, perhaps due to the lack of attention and affection received from his parents. Alex is leader of his droogs therefore they look up to him; he forces Frank Alexander to watch him rape his wife; and at the very end of the film he dreams of making love in front of a crowd - this crowd is interesting as they are dressed in clothing from the 18th century (another theme in Kubrick's films, although less common - 18th Century is also referred to in 2001, at the very end in the suite).
The theatrical style of The Shining replaces the typical staging of a theatre; costumes of character from the party and the characters in the bedroom (bear suit and tuxedo) are examples of this theatrical style; this suggests that Jack himself (or Delbert Grady, depending on your take of the film) is overreacting and very theatrical as seen in the way he calls after Danny ("Danny boy") and his expressive gestures, and the way he announces his presence ("its Johnny").
In Full Metal Jacket, Hartman has to play a specific role in order to intimidate and train the soldiers correctly. Additionally the theatre of war; the way in which the entire film shows stages of progression towards the war ground is very theatrical.
Jack Torrance and Frank Alexander...
The images above show similarities in visual style, specifically camera work, in A Clockwork Orange and The Shining. Kubrick clearly presents a connection between these two characters, but what is it they have in common?
Writing? Yes, obviously, they are both writers, but Jack doesn't really write anything, and in the film we never see any of Alexander's productions; so are they both unsuccessful at their hobby? Well... yes.
Background? Both lived happily married lives (not sure about Jack though, he conveys to us that he's not particularly keen of his wife...) but the rape of Mrs Alexander and the dwelling forces within Jack cause the loss and breakdown of the family unit.
Insanity? Most definitely! On the outside they appear sane but their experiences and inner demons drive them to show elements of insanity, such as their cunning plans to demonstrate violent actions.
Revenge? Mainly just with Alexander as he wants to get revenge for the attack, rape, and death of his wife; Torrance on the other hand is (arguably) just caught in a time loop; he is a puppet on strings playing the role of the original caretaker, Delbert Grady... so what were Grady's motives? Ullman says at the beginning of the film during Jack's interview, "he seemed like a completely normal individual... police thought it was cabin fever". This suggests it was not the individual but the winter, or the hotel; Ullman later says the hotel was built on an Indian burial ground, therefore there are many lurking spirits haunting the place.
Control? It is debatable as to whether either character are completely in control or not... Alexander is out of control of the rape and death of his wife, but does control his future actions and his choice of vengeance. Jack on the other hand seems completely in control of his actions and decisions, however once we learn of the possession-like insanity, it is clearer he is out of control and merely doing as he is told; furthermore this could be a result of temptation, it may be that deep down he has always wanted to "bash your brains in" (directed at Wendy).
But why these two characters in these films?
Perhaps it was the aim of Kubrick to capture particular feelings felt by Alexander towards Alex the same in Jack. Specifically frustration. Frustration and urge to want to kill Alex is very clear and this can be seen in the worms eye view of Jack locked in the storeroom; his frustration to want to escape and murder his wife and son.
Tuesday, 25 August 2015
THEME 3 Masks and Disguise...
There isn't any particular form of masks and disguise in 2001, however I would argue that HAL's red eye could be considered a type of mask due to the way it represents no face, or hidden identity; HAL is a computer that actually acts like a person with some of the things it says and asks, it appears to convey emotional values.
Alex and his droogs in A Clockwork Orange wear masks to assault the couple; this is ironic as the masks show what they truly are, animals. It communicates that the person they are is a shell but when they wear masks they become what they really are.
Masks and disguise are both physical and metaphorical in The Shining. For example, the 2 characters dressed in a bear costume and suit in a bedroom seen by Wendy, and the beautiful lady in the bathroom of room 237 that turns into a hideous and rotten corpse. I would also say that in the maze scene Jack's silhouette can be considered a disguise as it represents his possession and insanity.
In Full Metal Jacket the highlight of disguise is the idea of propaganda; the journalists are pretending to tell the truth but are lying for the better of the war.
Masks and disguise links strongly to the theme of staring and eyes due to the idea of truth, reality, and sanity. Additionally it links well to the theme theatre...
There isn't any particular form of masks and disguise in 2001, however I would argue that HAL's red eye could be considered a type of mask due to the way it represents no face, or hidden identity; HAL is a computer that actually acts like a person with some of the things it says and asks, it appears to convey emotional values.
Alex and his droogs in A Clockwork Orange wear masks to assault the couple; this is ironic as the masks show what they truly are, animals. It communicates that the person they are is a shell but when they wear masks they become what they really are.
Masks and disguise are both physical and metaphorical in The Shining. For example, the 2 characters dressed in a bear costume and suit in a bedroom seen by Wendy, and the beautiful lady in the bathroom of room 237 that turns into a hideous and rotten corpse. I would also say that in the maze scene Jack's silhouette can be considered a disguise as it represents his possession and insanity.
In Full Metal Jacket the highlight of disguise is the idea of propaganda; the journalists are pretending to tell the truth but are lying for the better of the war.
Masks and disguise links strongly to the theme of staring and eyes due to the idea of truth, reality, and sanity. Additionally it links well to the theme theatre...
THEME 2 Staring and eyes...
Probably the most obvious theme that runs through Kubrick's films due to the very creepy visual style that presents each sinister stare.
In 2001, not only does Bowman stare at the universe but the apes can always be seen staring at the moon.
Alex is the opening of the Clockwork Orange; his smirk and stare creates a very uneasy edge to the opening of the film as the camera tracks backwards revealing his surroundings; also later in the film, when he undergoes the Ludovico treatment, Alex is forced to stare at the screen.
In The Shining, Jack stare is obviously the worst (as he does it all the time), but so is Wendy's wide-eyed stare of pure fear. Danny also does his part, in the mirror, staring at the Gray twins etc.
Pyle's stare at Joker in the bathroom scene is horrific as it is so clear he has lost sanity which puts the spectator on edge both for the safety of Joker and Pyle; then Hartman enters and is shot... Hartman also does a lot of staring as this intimidates the soldiers in training. Additionally at the end of the film Joker holds a stare when looking down at the sniper just before shooting her.
Each character shown in the image above has their head tilted down holding a solid stare either directly into the camera or just off center. The eyes of characters are important and they are highlighted in Kubrick's films due to another theme of masks and disguises. There are physical and metaphorical masks and disguises in these films that make it more challenging to know if they really are who they were. Thus, eyes (being the gateway to the soul) provide a better truth of the character. The truth being told, all characters share a similar possession of forces within; not necessarily demonic entities, but the change of sanity within ones mind.
The spectator can then visualize a character from one film in a character from another, and once again combine feelings and reactions towards such footage. For example, when I first watched Full Metal Jacket and saw Pyle's face as he stared at Joker, it immediately reminded me of the shot of Jack staring as both are thinking about killing.
Probably the most obvious theme that runs through Kubrick's films due to the very creepy visual style that presents each sinister stare.
In 2001, not only does Bowman stare at the universe but the apes can always be seen staring at the moon.
Alex is the opening of the Clockwork Orange; his smirk and stare creates a very uneasy edge to the opening of the film as the camera tracks backwards revealing his surroundings; also later in the film, when he undergoes the Ludovico treatment, Alex is forced to stare at the screen.
In The Shining, Jack stare is obviously the worst (as he does it all the time), but so is Wendy's wide-eyed stare of pure fear. Danny also does his part, in the mirror, staring at the Gray twins etc.
Pyle's stare at Joker in the bathroom scene is horrific as it is so clear he has lost sanity which puts the spectator on edge both for the safety of Joker and Pyle; then Hartman enters and is shot... Hartman also does a lot of staring as this intimidates the soldiers in training. Additionally at the end of the film Joker holds a stare when looking down at the sniper just before shooting her.
Each character shown in the image above has their head tilted down holding a solid stare either directly into the camera or just off center. The eyes of characters are important and they are highlighted in Kubrick's films due to another theme of masks and disguises. There are physical and metaphorical masks and disguises in these films that make it more challenging to know if they really are who they were. Thus, eyes (being the gateway to the soul) provide a better truth of the character. The truth being told, all characters share a similar possession of forces within; not necessarily demonic entities, but the change of sanity within ones mind.
The spectator can then visualize a character from one film in a character from another, and once again combine feelings and reactions towards such footage. For example, when I first watched Full Metal Jacket and saw Pyle's face as he stared at Joker, it immediately reminded me of the shot of Jack staring as both are thinking about killing.
THEMES AND ISSUES
Information I have gathered from the Pocket Essentials film book by Paul Duncan has given me amazing insight to themes, audio, and visual ideas that run throughout all Kubrick's films.
THEME 1 Hand-to-hand...
In 2001, the apes fight in the opening of the film and at one point HAL controls a the pod and makes it hit Poole.
In Clockwork Orange, Alex and his droogs fight their rival gang in the theatre; they attack Frank Alexander and rape his wife, and Alex beats up Georgie and Dim.
Interestingly in The Shining, despite being husband and wife, Wendy and Jack never show any affection towards each other and don't ever touch; they frequently argue and as the film goes on Jack becomes more and more violent - he tries to attack Wendy, chases Danny, and kills Dick.
Full Metal Jacket presents more obvious hand-to-hand action; they fight each other during training and this is replaced by rifles in Vietnam.
Much of hand-to-hand action presented in Kubrick's films are very intense due to hand-held filming; this is particularly clear in Clockwork Orange during the fight with the rival gang. Unfortunately, after the invention of the steadicam, Kubrick replaced his hand held camera with this, thus losing the edge and documentary style. Having said this, the steadicam was used to perfection in The Shining especially when following Danny on his car.
Having themes that can be seen in all productions is beneficial as they incorporate similar visual styles and ideas to each theme, thus a specific visual style is established within his films.
All three images below show traits of "the beast in man". The hand-to-hand action in Clockwork Orange shows visuals of Alex crouching with a stick in his hand; this refers to the ape with the bone in 2001 and Spartacus' many fights with a sword.
Viewers can easily relate the frame of Alex to the two other frames; the benefit of this revolves around the fact Kubrick wants to make you think about how you feel. The scene of Alex beating Georgie and Dim is in slow motion allowing more time for the spectator to think about similar frames from Spartacus and 2001 and the emotions felt when watching these; a combination of tensity and the want to understand motives of the characters builds up in the spectator (it did for me anyway), thus heightening to mood of the film.
Information I have gathered from the Pocket Essentials film book by Paul Duncan has given me amazing insight to themes, audio, and visual ideas that run throughout all Kubrick's films.
THEME 1 Hand-to-hand...
In 2001, the apes fight in the opening of the film and at one point HAL controls a the pod and makes it hit Poole.
In Clockwork Orange, Alex and his droogs fight their rival gang in the theatre; they attack Frank Alexander and rape his wife, and Alex beats up Georgie and Dim.
Interestingly in The Shining, despite being husband and wife, Wendy and Jack never show any affection towards each other and don't ever touch; they frequently argue and as the film goes on Jack becomes more and more violent - he tries to attack Wendy, chases Danny, and kills Dick.
Full Metal Jacket presents more obvious hand-to-hand action; they fight each other during training and this is replaced by rifles in Vietnam.
Much of hand-to-hand action presented in Kubrick's films are very intense due to hand-held filming; this is particularly clear in Clockwork Orange during the fight with the rival gang. Unfortunately, after the invention of the steadicam, Kubrick replaced his hand held camera with this, thus losing the edge and documentary style. Having said this, the steadicam was used to perfection in The Shining especially when following Danny on his car.
Having themes that can be seen in all productions is beneficial as they incorporate similar visual styles and ideas to each theme, thus a specific visual style is established within his films.
All three images below show traits of "the beast in man". The hand-to-hand action in Clockwork Orange shows visuals of Alex crouching with a stick in his hand; this refers to the ape with the bone in 2001 and Spartacus' many fights with a sword.
Viewers can easily relate the frame of Alex to the two other frames; the benefit of this revolves around the fact Kubrick wants to make you think about how you feel. The scene of Alex beating Georgie and Dim is in slow motion allowing more time for the spectator to think about similar frames from Spartacus and 2001 and the emotions felt when watching these; a combination of tensity and the want to understand motives of the characters builds up in the spectator (it did for me anyway), thus heightening to mood of the film.
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