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1999 was one of the greatest years in unusual memory for film. Yet Eyes Wide Shut is all but absent from the end-of-the-year awards ceremonies and most critics lists.
The first thing to believe in mind are that this film was hyped arrangement beyond necessity. As if the general public had any interest in the “Kubrick” listed below “Hover” and “Kidman”. To them this was honest another Sizable Actor’s next Enormous Movie. Passing it off like a “precise Hollywood couple gets busy on the sizable cloak” heightened expectations for something Kubrick wasn’t trying to execute. It suffered the same audience reaction as The Phantom Menace, and made only a portion of the money.
Critics seemed to be lining up to bewitch potshots at this film. Why? Current history shows us that all of Kubrick’s films from 2001 onward have been attacked critically, and subsequently hailed as classic years later. The same is suitable of most of Orson Welles’ work. Few critics took the time to stare this movie more than once before spewing their venom. A filmmaker like Kubrick is not going for command emotional contact with the audience. He is aiming far deeper, asking the viewer to judge on not only the images, but the themes, and the emotional investments of the characters. The subtlety is not something popular in today’s films, and something critics apparently can’t process snappily enough to meet a press deadline.
For all those complain that the film isn’t sexy or erotic enough are missing the point completely. It’s not about sex. It’s about many other things, some of which linger in the background, some that aren’t noticeable on the initial viewing. Kubrick raises questions about our institution of marriage, the nature of faith, commitment, temptation. That most in the audience weren’t willing to meet Kubrick, Flee, and Kidman halfway in this meditation isn’t a comment on the quality on the filmmaking, it’s a shortcoming of the sensory-deadened society. If Kubrick had been more in touch with today’s film culture, would he have bothered to give us this complex of an experience? Let’s thank him for his seclusion.
A Impress on the DVD not being letterboxed: Kubrick (again, like Welles) preferred the aspect ratio of television, and left extra state in his frame for their widescreen theatrical showings (some are letterboxed on Home Video as well) . The Luminous, Pudgy Metal Jacket, and Eyes Wide Shut are meant to be seen in the full-screen standard format, and therefore aren’t available in letterbox, so don’t feel you’re being cheated out of any compositional impart. Unfortunately you are being cheated by Warner Bros’ refusal to lift the digital figures blocking the orgy scenes, inserted for theatrical release to regain the “R” rating. Only in America…
The Special Edition is a welcome release simply because it’s the unrated, European, uncensored version of the film. I won’t originate to review the film itself except to say that it’s probably Kubrick’s least appreciated and most underrated film–undeservedly so– I personally mediate it’s unprejudiced as bright as his other works. Ogle it more than once before you settle.
That said, the current Warner release has some flaws. The disk is supposed to have BOTH versions of the film (unrated and rated), but it ONLY contains the unrated version (better that than objective the rated one!) . But the packaging says it contains both, so there’s a colossal boo-boo. Also, it was originally advertised that the film would occupy commentary by Sydney Pollack and someone else– but there is no commentary on the film (and it doesn’t say as such on the packaging… so it must have been decided not to include it for some reason) . Nevertheless, it was originally touted in press releases that it would have commentary that I was looking forward to hearing.
After that, the extras a marvelous and the movie looks sizable. But someone at Warner Home Video needs to have a reprimanding! 
Kubrick’s final disaster is also his greatest masterpiece: a humane and expressionistic chronicle, endlessly complex and guardedly optimistic.
A few notes about the HD DVD of “Eyes Wide Shut:”
This is the unrated version of the film, meaning it does not have those CGI figures added to the orgy scenes to obscure the simulated sex. (The CGI figures were added in order to acquire a U.S. theatrical release rating of “R,” without Kubrick’s input; their only purpose was censorship. This unrated version, which was released theatrically in Europe but until now has not been available in the U.S., restores those shots to the arrangement Kubrick filmed them.)
The HD disc contains all of the special features which appear on the 16×9 standard-definition DVD in the recent boxed site, and they are attractive enough. The aspect-ratio of the HD DVD is 16×9, which is a mountainous improvement over the archaic 3×4 DVD, as 16×9 is grand closer to the theatrical aspect-ratio for which the film’s shots were unexcited. The High-Definition film transfer is splendid, pristine, the images lustrous and rich. For a film as beautifully photographed as this, in which the texture of the image conveys principal, visceral meaning, the disagreement between High-Definition and Standard Def might effect the contrast between fully receiving the film and not.
If you’ve gone HD and are thinking of buying this to replace your worn standard-def 3×4 DVD, by all means do so. Short of a unique 35mm print of the unrated version, this HD disc — displayed on a substantial 1080 position in a black room, uninterrupted — is how this enchanting and ultimately thrilling film should be seen, and seen again.
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