Friday, December 20, 2024

Is Eyes Wide Shut a Christmas Movie?

Yes, it is.

But I still want to get into it a bit. First off, though, these debates are pointless and stupid. “Is Die Hard a Christmas movie?” is just clickbait at this point. (And the title of this article is, too, but hey, I want those clicks, and at least my site isn’t filled with ads.) It’s just an opinion, for one thing, and it depends on your own personal qualifications. Personally, if a movie takes place at Christmas, it’s a Christmas movie. But other people demand that Christmas is pivotal to the plot (this is why there is the Die Hard debate, and I’ve seen the argument that even Home Alone isn’t a true Christmas movie). So for those joyless assholes, I decided to get into the Christmas aspect of Eyes Wide Shut for my yearly article (going strong since 2018).


In the past, I mainly addressed the Christmas aspect in regards to the use of color in the film, and how all the decorations simply make for a beautiful movie. I never got into the point of the Christmas setting on a deeper level. 


On the surface, the Christmas setting is there to get the plot moving with Ziegler’s party. But there could be a party any time of the year. More importantly, Christmas is time meant for family, and the plot of this film is about the possible destruction of the Harford family. So while Christmas isn’t absolutely necessary for the basic plot, it does serve as a nice reminder of what’s at stake throughout. 


Beyond the simple plot of Eye Wide Shut, there are the myriad theories out there (check out the reddit for this film if you dare), but I’m going to stick with the surface level for the most part because, while I enjoy a ridiculous deep dive from time to time, I love this movie just for the experience of it. 


The primary conflict of the film is that Bill makes the assumption that men have this savage, primal sexual desire while women desire romance over sex. Alice destroys that assumption with a story about being willing to throw her entire life away for a man she saw once while on vacation. Bill then spends the rest of the film trying to get sexual revenge by embracing his primal need for sex, but he gets blocked at every turn, most notable at the mysterious orgy.


The orgy is what makes this a Christmas movie. I didn’t get too deep into the Wikipedia weeds with this, but the orgy has plenty of pagan-type things going on for it. The easiest comparison is that it represents Saturnalia, a weeklong Roman festival held around the winter solstice that most likely included orgies, as it was a fairly hedonistic celebration. 


The orgy is certainly not presented in a celebratory fashion in Eyes Wide Shut, but it still represents that time period, free from modern civilization’s attempts to stifle human desire. (But everyone is wearing a carnival-type mask.) Historically, new religions co-opted older traditions and made them their own. This is what happened with Saturnalia and Christmas. There were trees and boughs of holly used for decorations, gift-giving, etc. The main difference between the original Saturnalia and the current Christmas is that giving into our desires has been condemned rather than celebrated. Beyond the obvious Christian implications of turning Saturnalia into a celebration of the birth of Jesus Christ, even non-religious people still teach children at an early age that it is a time to be “good” rather than “bad.” 


In that way, the orgy is a celebration of primal human sexuality while marriage is an attempt to stifle it. If the orgy is Saturnalia, then marriage is Christmas. With that in mind, the Christmas decorations take on a deeper relevance beyond looking pretty. As Bill makes his way through New York City, desperately trying to have sex, he is always surrounded by Christmas decorations used as visual metaphors for the marriage, or civilization, keeping him from doing these things. The only place devoid of Christmas decorations is the orgy; it’s as if they’re angry that modern religion has overtaken the original festival, so they’ve decided to eschew the decorations and other celebratory aspects and focus solely on sexual desire.


Which side the film takes on this matter is not clear. While Bill is seemingly saved by not engaging in extramarital sex with Domino, who is HIV positive, things don’t end entirely happily for the couple. Alice’s last line of “Fuck” isn’t given with a smile or even a bit of desire. It’s more like a job they have to do as soon as possible to stay together and keep their baser instincts at bay. In that way, Eyes Wide Shut seems to say that marriage, and civilization’s attempt to tame sexual desire, is a constant battle, and Bill and Alice have survived this fight, but who knows what the future holds? 


This is one of the many reasons why I love Eyes Wide Shut and consider it not only my favorite Christmas movie, but one of my favorite movies overall. There’s nothing simple about it. Who wants to see this story as just a celebration or condemnation of marriage? Reality isn’t that simple. Eyes Wide Shut finds an entertaining and fascinating way to consider human nature in a historical, cultural, and religious aspect. 


How could Kubrick have conveyed this visually if the film wasn’t set during Christmas? It would have had to be much subtler and certainly less visually interesting. In other words, the movie would suffer, and possibly fail to convey a major theme. Christmas is absolutely vital to the story, making this a legit Christmas movie.


Random Thoughts


I love how they have random shit all over their room. Stacks of books, CDs, movies, etc. I get the movies and CDs, but how many books can you be in the middle of? I mean, I’m in the middle of two right now, but one is physical and one I read on my phone, so that doesn’t count.


Harford and Nightingale laugh a lot during their little reunion, yet nothing remotely funny is said.


“I happen to be a doctor.” Really? I don’t think you make that clear enough throughout the movie, Bill.


“Where are you going to get a costume at this time of night?” 

“Simple, I’m going to hop in a taxi and go right across the street.”


There’s a neon sign that reads “EROS” right next to Bill’s head while he talks to Milich. The background in this movie is rarely subtle. Case in point: the newspaper headline “Lucky to Be Alive” right after Bill finds out Domino tested positive for HIV.


Not that I have any experience in the area, but for a pagan orgy everything seems kind of tame. There’s one room where they’re all just slow dancing, for fuck’s sake! And the vast majority of the people are just watching. What kind of lame orgy is this?


“Ex-beauty queen in hotel drugs overdose” always bothers me. Is there not a better way to phrase that? At least drop the “s” from “drugs.” My edit would be “Ex-beauty queen dead from overdose.” I don’t get why the hotel part of it was ever necessary.


“Excuse me, sir, are you the stupid fucking dildo who showed up in a taxi?”


The more times I watch this, the more I’m convinced Ziegler was telling the truth about the play act “I redeem him” moment. The dialogue there is so silly and comes off like a high school play. But I guess I should give them a little credit for throwing the whole production together in minutes.


I love how Cummings says “big guys” with the hand gesture.


Do these guys take turns hosting the orgy? And is the owner of the mansion pissed at Ziegler? “Damn it, Ziegler, first this stupid dickhead you hired to play the keyboard shared the password. Now this loser doctor is showing up, and I have to have my creepy butler give him sinister notes to make him go away! You're hosting next month, fuckface.”


Tom Cruise is really good at staring off into space while thinking about another dude absolutely crushing his wife's vag.


“Hey, Domino, I bought you an ‘I almost had sex with you’ cake.”


I looked up the Barbie Helena holds up in the toy store at the end, and it’s the 1996 Sugar Plum Fairy Barbie. Strongly considering getting one for my daughter for Christmas next year (too late now, especially since I’ve only found them on eBay). 


Tuesday, December 17, 2024

2024 IFJA Awards

Being a member of the Indiana Film Journalists Association is a point of pride, and as our group grows, I think our awards choices get more interesting. The Substance is one of my favorite films of the year (I'll have my personal top ten list closer to the end of the year or, more likely, early next year), and it's a bold choice for Best Film and Leading and Supporting performances.

The IFJA prides itself on picking movies that interest us whether they are traditional awards-bait movies from big studios or unique visions from independent filmmakers. If we like it, we like it. So with that, here are this year's winners.

“The Substance” dominated the 2024 awards by the Indiana Film Journalists Association (IFJA), earning Best Film, Best Director and both Lead and Supporting performances for Demi Moore and Margaret Qualley, respectively.

A haunting mixture of social satire, cautionary science fiction and body horror, the film also took the prizes for Best Editing and Best Special Effects for a total of six wins.


“The Brutalist,” an ambitious tale of a post-WWII Jewish immigrant struggling to embrace the American Dream, was named runner-up in multiple categories including Best Film, Director, Editing, Cinematography and both Lead and Supporting Performances. It won the awards for Best Original Screenplay and Best Musical Score.


Eight other films were voted Finalists for Best Film. Along with the winner and runner-up, they represent the IFJA’s selection as the Top 10 movies of the year. 


“Mars Express” won both Best Foreign Language Film and Best Animated Film in a rare category crossover. “Daughters” was named Best Documentary and “Nosferatu” earned the prize for Cinematography. 


Writer/director/star Vera Drew earned the Breakout of the Year Award for “The People’s Joker.” The Original Vision award for a film that is especially innovative went to “Hundreds of Beavers.”


“Nickel Boys” won Adapted Screenplay, Best Ensemble Acting went to “His Three Daughters” and Lupita Nyong’o took the prize for Best Vocal/Motion Capture Performance for “The Wild Robot.”


The Edward Johnson-Ott Hoosier Award, which goes to a film or filmmaker with Indiana ties, went to Michael Husain for writing and directing the documentary “The Waiting Game” about American Basketball Association players’ long fight for recognition from the NBA.


IFJA members issued this statement for the Edward Johnson-Ott Hoosier Award:

 

“‘The Waiting Game’ chronicles the David vs Goliath story of the fight to get former ABA players honored by the NBA after blazing a path for a more uptempo, exciting version of the game that today’s league has fully embraced without giving due credit. Filmmaker Michael Husain’s keen and objective eye follows the herculean effort by lawyers, players and fans to right a historic wrong. The roots of the saga run through Indiana, and Husain creates a clear and compelling portrait of those who finally prevailed in the most important contest of all.”


In addition to the winner, IFJA recognizes a runner-up in each category (with one exception, noted below). Here is the complete list:


Best Picture

Winner: The Substance

Runner-up: The Brutalist

 

Other Best Film Finalists: (listed alphabetically)

Civil War

Conclave

A Different Man

I Saw the TV Glow

Mars Express

Nickel Boys

A Real Pain

Sing Sing


Best Animated Film

Winner: Mars Express

Runner-up: The Wild Robot

 

Best Foreign Language Film

Winner: Mars Express

Runner-up: Aattam

 

Best Documentary Film

Winner: Daughters

Runner-up: No Other Land

 

Best Original Screenplay

Winner: Brady Corbet and Mona Fastvold, The Brutalist 

Runner-up: Coralie Fargeat, The Substance

 

Best Adapted Screenplay

Winner: RaMell Ross and Joslyn Barnes, Nickel Boys

Runner-up: Peter Straughan, Conclave

 

Best Director

Winner: Coralie Fargeat, The Substance

Runner-up: Brady Corbet, The Brutalist

 

Best Lead Performance

Winner: Demi Moore, The Substance

Runner-up: Adrien Brody, The Brutalist

 

Best Supporting Performance

Winner: Margaret Qualley, The Substance

Runner-up: Guy Pearce, The Brutalist

 

Best Vocal/Motion Capture Performance

Winner: Lupita Nyong’o, The Wild Robot

Runner-up: Jonno Davies (motion-capture) and Robbie Williams (voice), Better Man

 

Best Ensemble Acting

Winner: His Three Daughters

Runner-up: Sing Sing

 

Best Musical Score

Winner: Daniel Blumberg, The Brutalist

Runner-up: Trent Reznor and Atticus Ross, Challengers

 

Breakout of the Year

Winner: Vera Drew (director / co-writer / editor / performer), The People’s Joker

Runner-up: Mikey Madison, Anora

 

Best Cinematography

Winner: Jarin Blaschke, Nosferatu

Runner-up: Lol Crawley, The Brutalist

 

Best Editing

Winner: Jérôme Eltabet, Coralie Fargeat and Valentin Feron, The Substance

Runner-up: Dávid Jancsó, The Brutalist

 

Best Stunt/Movement Choreography

Winner: Guy Norris (action designer / supervising stunt coordinator / second-unit director), Tim Wong (stunt coordinator), Harland Norris (assistant stunt coordinator), Karl Van Moorsel (sequence coordinator) and Michael Roughan (stunt rigging coordinator), Furiosa: A Mad Max Saga

Runner-up: Runner-Up: Ashley Wallen (dance choreographer), Nicholas Daines (stunt coordinator), Slavisa Ivanovic (stunt coordinator), Tim Wong (fight choreographer) and Spencer Susser (second-unit director), Better Man


Best Special Effects

Winner: Bryan Jones (visual effects supervisor), Pierre Procoudine-Gorsky (visual effects producer) and Jean Miel (special effects supervisor), The Substance

Runner-up: Mike Cheslik (visual effects) and Jerry Kurek (assistant effects artist), Hundreds of Beavers

 

Original Vision Award

Winner: Hundreds of Beavers

Runner-up: The Substance

 

The Edward Johnson-Ott Hoosier Award*

Michael Husain (writer / director), The Waiting Game


*As a special honor, no runner-up is named for the Hoosier Award. It is named after founding IFJA member and longtime NUVO Newsweekly critic Edward Johnson-Ott.


Established in 2009 by a dedicated group of Indiana journalists, the Indiana Film Journalists Association (IFJA) endeavors to promote quality film criticism in the Hoosier state and support Indiana’s growing film industry.

 

For more information, visit http://indianafilmjournalists.com.


Thursday, December 12, 2024

Nosferatu - The Night Demon


Robert Eggers has quickly become one of my favorite filmmakers, but I was disappointed when I found out Nosferatu would be his next project. I wasn’t worried about the quality, but I did wonder why he felt it necessary to make yet another Dracula movie. Sure, this was specifically the Nosferatu version of the Dracula story, but that had been revisited by Werner Herzog quite effectively already. After watching Nosferatu (twice, with a third watch planned as soon as possible), I realized how stupid I was to ever doubt Eggers’s choice of source material.

Eggers has a way of making the horrific beautiful, and his Nosferatu is the best example of this yet. There is no romanticizing of the vampire here as Orlock is a rotting corpse come to life. He doesn’t de-age into a sexy Gary Oldman after drinking blood; he is constantly a truly disturbing Bill SkarsgÃ¥rd. Eggers makes the first meeting with Orlock equally frightening and hypnotic. It’s easy to understand how Nicholas Hoult’s Thomas could be paralyzed with fear. Yet the film itself isn’t what I would consider properly scary; it’s more about creating a horrifying experience. 


Nosferatu is much more interested in presenting a cinematic experience of horror. There are so many expertly staged shots that many frames look like paintings come to life, and when Willem Dafoe shows up with nearly every line sounding like poetry, the movie completely takes you into this dark, beautiful world. 


The world of Nosferatu that’s always been more interesting and darker than that of most Dracula adaptations is the more monstrous and deadly version of the vampire. He brings a literal plague with him when he arrives. This gives the story an appropriately apocalyptic feel.


Of course, all the bad vibes in the world are wasted if the performances aren’t there. SkarsgÃ¥rd is the go-to monster these days for good reason, and he somehow creates his own take on one of cinema’s most iconic characters. But Lily-Rose Depp is the most impressive, easily portraying inner and outer turmoil. One scene near the end should make her a shoe-in for starring in an Evil Dead movie. Hoult proves he can be serious as well as funny in a vampire movie after last year’s Renfield. And Willem Dafoe serves as a perfect guide to the supernatural world, running around calling the vampire a “night demon” and whatnot.


Every aspect of the film comes together to create a unique, horror experience unlike any other adaptation of the source material. At first glance, the idea of yet another vampire movie may create skepticism as it did with me, but immediately the film grabs you and doesn’t let you go until the sun comes up. Sorry about that. I’ll stop now.


Random Thoughts


“My dear husband, there’s something I need to tell you now that we are wed. Years ago, in an act of desperation, I summoned an ancient evil to satiate my carnal desires. I thought it was a passing fancy, but apparently the entity sees it as a more permanent situation. So fate, and a deranged real estate agent, will conspire to bring him here. A plague will follow him, and he will personally kill everyone I love until I swear myself to him and let him corpse-fuck me. Now enjoy your work trip to the Carpathians; I’m sure it’s not related to this.”


The count’s name is Orlock? At least it’s not something evil-sounding, like Dracula.


This Orlock doesn’t take dainty bullshit sips like other vampires; he’s straight up chugging that blood.


I think Dafoe could’ve made his trance point without pushing the needle all the way through her arm.


The scene with Thomas and a possessed Ellen is some straight up Evil Dead shit.


It seems like Hoult has been in ten movies this year, but it’s actually four: this, The Garfield Movie, Juror #2, and The Order.


The choice for the bite to be directly on the chest is creepy. Makes sense to go directly to the source, I guess. And it really seems like he’s drinking blood. Too often in vampire movies there’s a bite sound, and then there’s this little trickle of blood on the neck, like the vampire just stopped in for a sip. These motherfuckers would be gulping this shit down.