Return to Table of Contents for films

This is going to be a huge and unwieldy page, but if one is searching for different ideas and themes explored in the analyses, my congregating some bare bones summaries and keywords on one page may be of assistance.

Go to Day of the Fight
Go to Fear and Desire
Go to Killer's Kiss
Go to The Killing
Go to Lolita
Go to 2001: A Space Odyssey
Go to A Clockwork Orange
Go to Barry Lyndon
Go to The Shining
Go to Eyes Wide Shut

Analysis of Stanley Kubrick's 1951 film The Day of the Fight

Link to the single page analysis.

Though I give a listing of all the shots in the film, for this analysis I don't provide screencaps for each.

The Introduction to the story. On the two versions of the documentary and their differences. The title cards. The 64 introductory shots of the Bonafield Production.

Notes on the Introduction. Kubrick's use of inexact marquee doubles in the first two shots of the introductions anticipating his later interest in doubles (and suiting this film being about twins). Narrowing Down the Global to the Particular. A link between Day of the Fight and Fear and Desire via the "running our fingers down the lists and directories, looking for our real names" line. The directory in Day of the Fight and the altering of the name of Walter and Vincent McCarthy (Cartier). The typewriter and archival photos and the typewriter and archival photos in The Shining. The prior photojournalism story and documentary reality. The artificiality of the film being presented as about a randomly chosen pugilist as Kubrick had previously done a Look story on Walter. Chess. The numbering of shots in the Kubrick production and the Bonafield production. I explain how Kubrick already appears to be counting shots in his production, how the addition of the introduction in the Bonafield version threw off the hidden subtext use of 64 (perhaps to do with chess) in his production, and how he adapted by having the Bonafield intro instead being composed of 64 shots.

The Shots of the Main Body of the Film.. A descriptive listing of the shots. Notes on the main body of the film. Resemblances to Killer's Kiss. Shots that were duplicated in Killer's Kiss. The shots defining the neighborhood and apartment of Walter Cartier and their presentation of different exteriors. April 17th. The location of the apartment at 136 W 12th street. The featuring of the Village Presbyterian church and its Delos Apollonian temple facade. Apollonian and Dionysian dynamics in theater and ritual. The mass at St.Francis Xavier Church. Its three arches and the three arches theme of Eyes Wide Shut. Kubrick's residence directly across from St. Xavier's so that he likely shot from his building. The shining of the light in Walter's eye during his physical exam (this is a theme in Kubrick films). The build of the transformation from Walter the regular guy to Walter the killer boxer. The relationship of Vincent and Walter and the ties of their being twins so that Walter shares Vincent's experience. Fiction presented as fact with the fake pet. How 64 is presented in the film via anticipatory dialogue. At 4:00 p.m. it's noted it is 6 hours before he "enters the ring" (Walter has had his last meal) and then at shot 64 Vincent and Walter enter the arena. Notes on the victory robing shots of 97 and 98 and their doubling. Close with shot 101.

Supplemental Posts

The Showgirl as Walter Cartier's Counterpart and Her Relationship to Killer's Kiss. Before the Black Swan and The Fight Kubrick had the boxer Walter Cartier and the showgirl Rosemary Williams.

"The Creep" And The Doll - - 1951 Life Article on Showgirl, Rosemary Williams, Who Had Been Photographed by Kubrick for an Unpublished Look Story in 1949. Wherein Rosemary Williams gets in a couple of years after Kubrick photographed her.

Conclusion of the Sid Levy Trial, Benefactor of Showgirl Rosemary Williams Who Kubrick Had Photographed in 1949. How it ended. But what happened to Rosemary later?

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Analysis of Stanley Kubrick's 1953 Film Fear and Desire

Table of Contents

With this film I concentrate a good bit on its relationship to Shakespeare's The Tempest, as it is essential and these elements were carried over to later work of Kubrick's: ideas of metamorphosis and the protean, the illusory, the director (and counterparts) as a magician. Kubrick's interest in doubles continues from Day of the Fight, as is his interest in chess evidenced. The idea of the "error" that isn't an error enters already, which becomes pivotal in 2001 Check out also the supplemental post.

Though I list/describe all the shots and give dialogue, I do not provide screenshots of all shots.

Day 1 - Shots 1 thru 227

Some subjects covered:
Credits: How the credit illustrations tie into the film. The Tempest, the illusory storm, and the symbolism and alchemy behind the horse-centaur in the credits. Feel of credits anticipating Fear and Desire. Possible reason for the horse illustration, no horse being in the film. Story of The Tempest. The centaur. American Indians. Hybrids. A Midsummer Night's Dream, Theseus, the hybrid Minotaur, the moon. Aegeus. Alchemical process in The Tempest. The magician, Prospero, as alchemist. Mazursky and The Tempest.
Behind Enemy Lines: Prospero's magic circle. The circle traced by Lt. Corby as compared to Prospero's magic circle. The characters and situation. Dynamics of such. The marooning tempest. Comparison of film with the play. Doubles. Actors doubling with two roles. Also, Mac as Caliban, Lt. Corby as Prospero. The mouse-trap map as one of Prospero's magic sigils. I should also have perhaps gone into Hamlet's mousetrap, which is used in Barry Lyndon, but didn't. Proteus and other "animals". The Protean dog. Idiosyncratic shots such as the CU of the hand throwing the stone.
On the Way to the River: The disembodied thoughts as Ariel's noise that both guides and confounds. The mazelike forest.
Building the Raft and Seeing the Enemy: The skewing of the sense of direction. Kubrick destablizes with disrupting a sense of direction and impossible sets that seem natural. Corby and Mac have a conflict with Mac not recognizing a cabin and Corby insisting that is because they have gone in a different direction than previously. The plane, the seeming lens flare circle, and the mouse-trap.
The Killing Dinner: Corby's control of Sidney. The flipped shots and diagonals. Examination of idiosyncratic shots in this section, Kubrick already using reversed shots (would do the same in 2001). The benign knife and the murderous, the CU of the hand clutching the stew, the eyes of the living and the dead, the expression of the dead as liminal, the relationship of the dead to the mannequins in Killer's Kiss and Eyes Wide Shut. The banquet in The Tempest. Comparison of the dinner with the banquet in The Tempest. Guilt. Misdirection, sigils, the illusory death of Ferdinand. The soldier who carries wood who is shot for no reason. We spend our lives running our fingers down the lists and directories, looking for our real names. See Day of the Fight relationship. The rebuke of "No man is an island", and war as cold stew on a blazing island with a "tempest" of gunfire around it. John Donne's Devotions upon Emergent Occasions. The island of The Tempest.

Day 2 - Shots 228 thru 474

Some subjects covered:
The Decision to Return to the Raft: Caliban and the cannibals, Corby versus mac as Prospero versus Caliban. Mac's teasing about cannibals, and The Tempest The raft and Huckleberry Finn.
The Capture of the Woman: Defining of the characters of the men in respect of their treatment of the woman. Prospero vs. Caliban, and the hypocrisy of civilization. Supposedly civilized Prospero/Corby vs Caliban/Mac. Breaking the fourth wall. Communicating with signs rather than language. The audience in the role of captor and captive. Sidney's flood of memories represented through overlays. Sidney's transition to madness through guilt over the dinner.
The Woman Killed by Sidney: Sidney as Ariel and his fear of being left behind. The death of the woman and its similarity to the deaths of the three soldiers the previous night. The open eyes of the dead. The audience as the dead woman. Metamorphosis, illusion, and why Sidney denies responsibility for the woman's death, asserting the magician, Prospero, is in control. Sidney's defying what the audience sees and the relationship of this to Prospero's illusions. The woman, free will, Comus, the error that requires the calling upon Sabrina as a goddess who holds the power of reversals. The relationship of the passage from The Tempest that Sidney relates (rephrasing) for the imprisoned woman, and John Milton's Dionysian Comus who imprisons a woman. Brothers attempt to help release her but commit an error in the escape of the "false Enchanter", a backwards reversal of his spells not effected. Sabrina as the watery spirit is able to release the woman from Comas' spell through her powers of reversal. Theater, the illusory, and magic. The director as magician. No one actually dies in The Tempest, there is only the illusion of death in order to effect a change. Sidney's tale of metamorphosis and the story of Taliesin. The story of Taliesin referred to by Sidney. Metampsychosis and A Clockwork Orange and The Shining. Metamorphosis, the mystery of what's in the woman's hand and its relationship to what's in Jack's hand at the end of The Shining. The photograph and the mystery of what's in Jack's hand already anticipated in Fear and Desire. The dog, Proteus, and the protean nature of Kubrick's characters, settings, props. The Two Gentlemen of Verona, its relationship to the Protean Sidney, and the question of one's true face. Proteus' threat of raping Sylvia in The Gentlemen of Verona and valentine reminding him of his "true face" and nature and his love for Julia who he does not recognize as she is disguised as a boy. Mac's speaking of the rifle sight and the red eye, and its relationship to the mouse-trap and to 2001. HAL's red eye, Mac's speaking of the red eye, the theme of lights being shown in eyes in Kubrick's films. HAL's error. The error in Lolita. The error (one of them) in A Clockwork Orange. Sidney's error in his relation of the passage from The Tempest. Examining the film in respect of The Tempest does not negate addressing the real life horrors of war.

Day 3 - Shots 475 thru 675

Some subjects covered:
What Are You Living for Anyway: Mac's belief in the serendipitous and synchronous now drives the story. The two versions of this scene with a significant dialogue change in shot 509. The CU shots of Corby digging in the pine straw.
Sneak Attack by Water and Land: Kubrick's interest in doubles (Corby/the general, and Fletcher/the captain) already previously expressed in Day of the Fight.The Realization of the Mouse-trap map for the general. Why might Kubrick not have wanted this film to be seen. Kubrick's affirmation, in a latter, on the doubling in Fear and Desire, the confrontation with a deadly enemy made from almost the same mold as one. The cannibals as Caliban's doubles. Heart of Darkness. Proteus expressing the protean nature of all the characters. The extinguishing of the front fill light when the general is shot. Final shot of the plane and the seeming lens flare halo.
Sidney in the River: The noises in the air as conjured by Ariel, and the sleep of Caliban. Maya and the state beyond illusion. Sidney's loss of his wallet, Bill's loss of his wallet in Eyes Wide Shut. Prospero's monologue after the masque.
Conclusion by the River: Ariel's final song. Closing with the return to the beginning.

Supplemental Posts

STANLEY KUBRICK'S FEAR AND DESIRE, THE TEMPEST, CHESS AND HAL'S ERROR. A glaring mistake concerning The Tempest occurs in Fear and Desire and merits examination. How Kubrick incorporates the chess game into Sidney's "error" when relating Ariel's story. How this relates to HAL's error. How chess is expressed through a hidden 64 in Fear and Desire, which uses as its template a hidden 64 in The Tempest.

In brief, the passage that Sidney relates to the girl concerns Ariel's telling Ferdinand his father, Alonso, is dead when he is not. Instead, Sidney tells the girl that Miranda's father is dead. This is an error. Miranda's father is Prospero, not Alonso. However, near the end of the play, after Ferdinand's father wishes his son was alive (believing him dead) and wishes he was married to Miranda (believing her also dead), Prospero unveils Miranda and Ferdinand both alive and playing chess. Ferdinand's father, through agreement of marriage, has become also Miranda's father. Alonso says this, that he is now Miranda's father. But, in fact, no one had been dead. All was an illusion. The dialogue between Miranda, Ferdinand, Alonso and Sebastian, with the unveiling of the chess game, was scripted by Shakespeare so it is is 64 words, and Kubrick has Sidney's monologue to the captive girl, on The Tempest be 64 words, so he is referring to this chess scene. With the chess game that Miranda and Ferdinand play, they are in effect saying that they are unable to compete against each other for they are as one and all they do is shared. They are each able to see and play from both sides of the chess board at once. This anticipates HAL's "error" during the chess game that reveals he is able to see both sides at once. (And yet Miranda a are also two. Life's a mystery.)

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Analysis of Stanley Kubrick's 1955 Film Killer's Kiss

Table of Contents

In this I end up spending some time focusing on Himberama, a movie made by the magician, Richard Himber, featuring Orson Welles, that was used in his purported 4d magic act so that Orson Welles, the stage and the audience were in dialogue, leaving the audience to wonder how the film was able to anticipate events. Certain features of the magic act are repeated in Killer's Kiss.

One - Shots 1 - 131 (through abt 16:22)

Some subjects covered:
A Note before Beginning. On the acting. Expectations versus what is delivered. When Kubrick's choices seem to sometimes go against the grain.
Credits and Intro at the Train Station. The double bass, the sweeper and the faceless man. Comparison with the beginnings of some of Kubrick's other films, in particular The Killing which also has a sweeper. The Double Bass. The Train. Notes on the train and a brief mention of how Kubrick later used trains. The Minotaur. The production company for the film is Minotaur. Kubrick on bullfighting and films. The mazes of Kubrick's films.
The Boxer and the Dancer and Their Mirrored Lives. Blur transitions. Kubrick's focus on the details. Day of the Fight and twinship/doubling. Compared with Day of the Fight. The twinship of the apartments and their opposing mirrors also bringing Gloria's apartment into Davey's and vice bersa. Davey's Mirror. The Washland tickets and photos. The fish bowl. Life in. What about that bright shiny triangle on the wall by Davey's window? And what about that great big knife hanging by the door over what looks like a packaged Ramen level kitchnette area? The knife and The Band Wagon. Location. Perry Arms in the Bronx.
The Letter. The filmed letter gives entirely different information than the voice-over.
The Duress of the Boxer in his Ring and the Hired Dancer Compared and Found Equivalent. Santa and the swimming baby. Christmas. Many of Kubrick's films occur around Christmas. 83 plus 7 equals what? 83 and 7 is, in error, given as 1.00. Kubrick includes errors in his films. Trouble in Pleasure Land. Vincent's office. Identification of the theatrical production posters on the walls, "Blue Jeans" and "The Cherry Pickers", Joseph Arthur melodramas. The move from theater to film and the heightened reality for the audience. The fight. Comparing the boxer's preparations and fight with the dancer's preparations and dancing. Who is the audience? The only audience we see for Davey's fight are Gloria and Vincent watching via television. "How many times have you come home in the evening and wanted to feel the love...?" Interaction between the TV and action. This commercial prompts Vincent to go down and get Gloria to watch the fight with him. "It's a well known ring adage that too much education..." Shot 114. Notes on shot 114, the knock-out punch, and CRM-114.

Two - Shots 132 - 236 (through abt 34:16)

Some subjects covered:
The Voyeur, The Dream and Gloria's Rescue A comparison to Jack in The Shining. The Voyeur. Davey and the audience as voyeurs. The medium of the mirror and its indirectness in softening the feel of voyeurism. The Journey through the negative dream world into Davey's role as Gloria's savior. On the transitional state of Davey's room, which anticipates the later warehouse section, and its being portrayed in the negative, an inversal of black and white. Dopey. Davey as "dopey" (perhaps referred back to in The Shining with Dopey on Danny's door). Davey's exploration of Gloria's room. Davey's voyeuristic exploration of Gloria's room while she sleeps as compared to Kubrick's exploration of Davey's room. Gloria's forelorn doll anticipating the later mannequins.
A Story of Two Sisters. The photo of Gloria's father compared to Vincent who attempted to rape Gloria. Iris' story. Her suicide after her professional ballerina ambitions are thwarted by her father and fate (she sacrifices herself). Gloria's story. She was 14 when she left home and entered the taxi dancer world, placing her in a Lolita-like position. She is a type of twin/alter ego to her dead sister in her becoming a dancer, but not artistically, instead a paid dancing partner/hostess. Shots 225 and 226. The idiosyncrasies of shots 225 and 226 and relationship to the dialogue of "She was sorry for making a mess of everything between us." Relationship of these two shots to the end of the film. Relationship of these two shots to The Killing. A few words on Taxi dancers. The relationship of shots 225 and 226 to a break/passage of time, as had with certain shots in Lolita.
A Proposal. The kiss. Some reflections on sex and women in Kubrick's films and his portrayal of women's roles as allotted by society.

Three - Shots 237 - 325 (through abt 48:27)

Some subjects covered:
The Killing of Albert. The mocking clowns and the broken mirror. On windows and mirrors. The breaking of the mirror should be reflected upon when considering Davey's breaking through the window. Albert at the Gym. A second example of the perplexity of Albert seeming to be against the blue screen/green screen, we seeing now that he was not. Albert taking his wife to a show. Albert's seeking of help from the laughing audience (estranged from them as an actor in a story, Kubrick's playing with the boundary between reality and fiction, stage and audience). "Watch your step" and the two conventioneers. The Parisian Dance Land (location of some of the filming). Mapping the walk of the clown-conventioneers. The skewing of our sense of direction in relationship to their movements and Davey's. The Man Between. 8:15 sharp. The alley (where Albert is killed) compared with Cocteau's Orpheus.
Gloria vanishes.

Four - Shots 326 - 494 (through abt 1:07:13, beginning of last shot)

Some subjects covered:
The Fight for His Life. The Ace of Spaces and the 4 of Spades. Is the appearance of 11-4 (114) intentional or happenstance? Shot 114 gives the knockout punch of Davey in the ring and the Ace of Spaces and 4 of Spades (11-4) take him out at the warehouse. Himberama, Orson Welles and the Card Trick Distraction. A magic trick intersecting film, the stage and the audience in "Himberama" (featuring magician and director Orson Welles) is represented in Killer's Kiss. The Jack of Spades. Davey's dream and his crash through the window. The negative film of Davey's dream in comparison to the sense of negative reversal as Davey crashes through the window. His dark socks also change to white. Comparison to use of negative film in Cocteau's Orpheus with the trip to the underworld. Comparison with Cocteau's death using mirrors to travel between the worlds and her dress changing from dark to white as she moves with Eurydice from the world of the living to that of death. Positive/negative black/white reversals in Eyes Wide Shut. Back to the "Blue Jeans" Poster. The 1917 film and its relationship to Killer's Kiss and Davey and Gloria in the fight scene with Vincent. Illusion blurring reality and fiction. As related to A Clockwork Orange, and, through Pagliacci, with The Killing. The mannequin factory. Influenced by The Band Wagon. Possible influence by the surrealist film, Dreams That Money Can Buy, in which Kubrick's wife, Ruth Sobotka, acted (she plays the ballerina in this film), especially Fernand Leger's, "The Girl with the Prefabricated Heart" and its mannequins. Iris, the Labrys, the Fleur-de-lys, and the killing of Vincent. The labrys, the fleur-de-lys, the Minotaur and the labyrinth. The dancing floor of Ariadne. Shot 451. Shot 435 and Walter. The relationship of shot 451 to shots 225 and 226. Iris and the fleur-de-lys. Iris' revenge. On Kubrick's showing in Killer's Kiss the Rationale of paying attention to screen shot numbers. How the film ending on shot 494 is anticipated in the film with the announcement of the train to Seattle and its sleeping cars "494, 493, 492, 491 and 490" given in shot 489, after which we have the last 5 shots of the film--490, 491, 492, 493 and 494--during which Davey and Gloria reunite. Again, Kubrick counting shots and he ends on a shot with a number mirroring. 494.

Supplemental Posts

Kubrick's References in Killer's Kiss to an Obscure Magic Film by Orson Welles. A Piece of the Puzzle. The seeming green screen/blue screen behind Albert and the intentionality of it seeming to be such. Albert's attempt to interact with the "audience" and the relationship to A Clockwork Orange, breaking the 4th wall. The stages in A Clockwork Orange. Another Piece of he Puzzle.. The focus on the Ace of Spades and the 4 of Spades and the relationship to shot 114. More Puzzle. Shot 277, the man who the light cuts out on leaving him in the dark (this similarly happens with the General in Fear and Desire when he is shot), and Himberama. A synopsis of "Himberama", which promises 4D, and its seeming magical interaction of screen (Orson Welles), stage and the audience. The cards thrown at Orson Welle's eye (as with in Killer's Kiss, the cards thrown at Davey's eye. The Jack of Spades. An interview in which Orson Welles compares Kubrick's temperament to his own.

The Showgirl as Walter Cartier's Counterpart and Her Relationship to Killer's Kiss. Before the Black Swan and The Fight Kubrick had the boxer Walter Cartier and the showgirl Rosemary Williams.

"The Creep" And The Doll - - 1951 Life Article on Showgirl, Rosemary Williams, Who Had Been Photographed by Kubrick for an Unpublished Look Story in 1949. Wherein Rosemary Williams gets in a couple of years after Kubrick photographed her.

Conclusion of the Sid Levy Trial, Benefactor of Showgirl Rosemary Williams Who Kubrick Had Photographed in 1949. How it ended. But what happened to Rosemary later?

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Analysis of Stanley Kubrick's 1956 Film The Killing

Table of Contents

The Film is based on the book "Clean Break" by Lionel White so I am able to make a comparison between the film and the book throughout the analysis. I also focus on associations with Pagliacci, the character Randy identifying George with Pagliacci. That comparison is not made in the book. The Pagliacci comparison is most notable to me due the breaking of the 4th wall when the boundary between fiction and reality is disturbed and the staged action becomes reality that breaks off the stage into the area of the audience, the audience at first not comprehending it as such. This is significant to me as in Kubrick's Fear and Desire we had allusions to The Tempest in which there is the confusion of reality and fiction on the magician's island, and in Killer's Kiss we had also a breaking of the 4th wall via the character of Davey's manager, Albert. These permeable walls and transgressions of them are a repeated theme in Kubrick's films.

One (shots 1 - 97)

Some subjects covered:
Preliminary. The film has a jumbled timeline so I first provide the timeline.
Credits and Intro at the Race Track. These shots are of the critical race. On the opening shots being from the later, critical 7th race. Shots noted that are seen in the opening and repeated during the race. Bay Meadows and Lansdowne. Possible relationshp to the Lansdowne track that was in British Columbia and its connection to the Pagliacci theme through Columbine. Perhaps I should relate a brief summary of the story of "Pagliacci" before going further. As the plot has Pagliacci elements I relate the story of Pagliacci. The play within the play and the breaking of the fourth wall. How this occurs with Pagliacci. The breaking of the fourth wall in Killer's Kiss and its relationship to the breaking of the 4th wall in "Himberama". The breaking of the 4th wall in A Clockwork Orange.
Introducing Marvin Unger, the Bartender, and the Cashier, Saturday 3:45 p.m.. The crowd. Intrusion of the crowed between the leads and the camera and its effect. The sweeper anticipating the film's end. Circularity in Kubrick's films. We have a sweeper here at the beginning and this will relate to the wind from the plane's propellors at the end. Relationship to Killer's Kiss. The window. The theatrical effect of the light and shadow from the oversize windows. The Shining. Comparison of opening tracking shot of Unger to Jack entering the Overlook. Other. Notes on the tickets and information on them. Comparison with the book. 411.
The Patrolman, Randy Keenan, Saturday 2:45 p.m. Order of introduction of the characters. The character of Randy. The Shining and Eyes Wide Shut. Joe Turkel as Tiny in The Killing and the bartender in The Shining. Some DNA from this scene at the bar found in Eyes Wide Shut in the Sonata scene.
Johnny Clay and Fay, Saturday 7:00 p.m. Fay. Comparison with the book. The Bars. Sense of imprisonment of Nedda in Pagliacci. Photographing Beyond the Walls and Pagliacci. Comparison of shots of Marvin's apartment with shots in Lolita.
Mike O'Reilly, the Bartender, and Ruthie, Saturday 6:30 p.m.. Mike and Ruthie. Comparison with the book. Our sympathy for them.
George Peatty, the Cashier, and Sherry, Saturday 7:15 p.m. Sherry and George. Comparison with the book and with Pagliacci. Papa and Mama--And the climax to this exciting story? Not in the book. There are other allusions to pregnancy in the film. The Hole in the Head. Foreshadowing of the shooting. Set Decoration for George and Sherry's Apartment.
Sherry's Lover, Val. Sherry goes running to Val.
Eavesdropper, Saturday 8:00 p.m. The Scene. Movement through the apartment and comparison with the shooting scene. Primary difference between the novel and the movie. Pagliacci the clown. A fondness for ship's wheel wall lamps and corner curio shelves. Comparison with Killer's Kiss and its ship's wheel wall lamps and corner curio shelves.
Always and Always. Comparison with Alice's fear of "forever" in Eyes Wide Shut. Columbine's stage avowal of "always" loving Harlequin sends Pagliaccio over the edge.
What Happens if We Remove the Narration for this Day? We will have linearity despite the jumbled timeline.

Two (shots 98 - 127)

Some subjects covered:
The Academy of Chess and Checkers and Maurice, Tuesday 10:15 a.m. Maurice/Nikki the Wrestler. Differences from book. Maurice and 42nd street in the book. Kubrick's referring to the New York Chess and Checkers Club, located at 201 W. 42nd Street, with his staging of the chess and checkers club that Maurice frequents. In the movie Maurice takes on Tex's job, and gives Maurice's original job to Marvin. Kaddish. Maurice and the Judaic temple priests--Maurice as the philosopher of the Chess and Checkers Club. The speaking Yiddish there. The prayer for the dead (Kaddish) spoken when an opponent had a "busted position". The busted position in 2001. Life is lice a cup of tea. The yiddish joke. The patsan and Johnny. The Mirror shot. A mirror shot introduces Johnny to the lub. This is followed by reversals at the gun range.
The Gun Range and Nikki, Tuesday. The flip. The flip/reversal of the targets against the landscape then against Nikki and Johnny. 504. The numbers on the targets and the 504 address of Marvin's building foreshadowing the shooting. More reversals. 5 and 4 and the "missed move" as related by Maurice to the "patsan". Nikki in the book. No farm. No puppy.
Joe Piano and the Violin Case, Tuesday. Joe Piano. Comparison with the book. The Patzan/patsan, the patsy and Pagiliaccio. Remarks on "Patsy" as Joe Piano's son. In the bus/in the butts/a pitcher. Slang. "Doing the book on his ear". Comparing the three scenes of the cabins. There are 3 scenes of the cabins and there are significant differences. A comparison of them that shows 3 (maybe 4) versions of the cabins. Ariel (across the street) referring to The Tempest. 504. On the playing around with 504/405, the hidden reference to 42 (the chess club, Nikki dies at 4:24). 78x29, the numbers on the door. 4524. Have we an allusion to eavesdropping? The man outside the cabin.
What Happens if We Remove the Narration for this Day? Without the narrative, we still have a linear story.

Three (shots 128 - 280)

Some subjects covered:
Storyline Sequence Differences with the Novel for this Section. The differences are significant and here outlined. The error in the book of the florist box. The novel has Johnny dropping off a suitcase (the gun) at the locker at Penn Station for Mike when it should instead be a florist box. When Mike picks up the gun it is in a florist box. Kubrick has instead Johnny dropping off the florist box and Mike picking up a florist box.
Returning Now to the Movie--Saturday 7:30 a.m. Breakfast with Sherry and George. Did it happen this way in the novel? No. Comparison with. George's Mask. The sense of George wearing a mask.
Saturday 5:00 a.m., Breakfast with Red Lightning. Not in the book. As said. Oats. And the Quaker Oats at Marvin's. Another flip/inversion/reversal. The star on the horse's forehead. The 5-point star on the stall barrier. the reversed 5 point star on the other.
Saturday 7:00 a.m., Johnny and Marvin. The conversation between Marvin and Johnny. The conversation doesn't occur in the book. The seeming allusion to a homosexual relationship? Or Marvin's potential hope for one? Comparing this scene to Johnny and Sherry on the bed. Both scenes occur on the same bed--Marvin suggesting he not marry Fay as it would be a mistake, and Johnny rebuffing Sherry's attempted seduction. A comparison of the use of the bars and lighting.
Saturday 7:00 a.m., the Airport. Timeline error. Timeline errors begin to error. Johnny is both at Marvin's and the airport at 7:00 a.m. Another error is Johnny is said to be flying out on 465 yet that evening he is waiting to board flight 40. Comparison with Johnny's actions in the book that day. 7 thru 9 and the Chess Academy.
Saturday 8:15 a.m., the Motel. Those screen doors. Comparing the doors. Images of. Eavesdropping. The eave over the door where Johnny and the audience will accidentally eavesdrop. Ariel and Errors. The error of Sidney's relation of the song of Ariel in Fear and Desire, its meaning, and Ariel across from the cabins perhaps anticipating Johnny's later error here. The error in the book as to the florist box and the author seemingly calling attention to that error.
Saturday 8:45 a.m., the Bus Station. Location. 504, 405 and 45. The gun is stored in locker 45. Looking again at the use of 504, 405 and 45 in the film.
Saturday 9:20 a.m., Mike's Apartment. Johnny doesn't visit Mike's place in the book.
Saturday 11:15 a.m., Mike's Apartment. Again, Kubrick's cultivating our sympathy for Ruthie.
Saturday 11:29 a.m., the Bus Station. Human Error and/or Fate. Near disruption of the plan. In the book Mike doesn't nearly miss his train. Kubrick adds the suspence of Mike nearly missing the bus.
Saturday 12:10 p.m., the Track. Human Error and/or Fate. Near disruption of the plan. In the movie Kubrick adds the suspence of things nearly being blown by people good-naturedly questioning Mike about the florist box. This doesn't happen in the book.
The First Race, Marvin Shows Up When He Should be at a Movie. Not According to plan? In the book Marvin does not rescue Johnny at the track. In the book, Marvin simply goes to the track and watches the action from the stands, like the audience. In the movie, Johnny tells Marvin to not go to the track, to go to a movie. Instead he goes to the track (and a movie, this one, Kubrick's movie). Marvin as the betrayed Pagliaccio/Canio.
Saturday 3:32, Randy's Radio Goes Dead and He Takes Up His Station. Where are we. Location. 1307-1309 West 39th St. LA. then 200 block of Flower St and 700 block of 3rd St. Bunker Hill. The Dead Radio. Comparison to the isolation of the lines down in The Shining and Jack disabling the radio. Comparison to 2001 and being out of communication with Earth during the replacement of the AE35 unit. Maternity. Pregnancy theme. Southwest. Seven.
Saturday 2:30 p.m., the Chess Club. Similarity of the chess club window shadows to the race track. 204, 42 and 4:20. Maurice is at the bar at 4:20 waiting for the 7th race. The use of 24/42. Comparison to Kubrick's use of 24/42, 242, 424 in Lolita. The Woman at Window 202 in Shot 204. She makes a peculiar appearance in shot 319. The Irish Pig/The Sweeper. Closed 7 a.m. - 9 a.m. "There are some things, my dear Fisher, which do not bear much looking into." Bill in Eyes Wide Shut is warned away from pursuing a mystery and then is threatened by the bald man following him. In The Killing, bald Maurice, warns Fisher away from asking questions. It is not a physical threat, more of a philosophical one, accompanied by a sort of parable. Maurice Cohen as philosopher/priest. Back to Pagliacci. Shot 216.
Saturday 11:40 a.m., Nikki. 11:40. 114 in Dr. Strangelove, A Clockwork Orange, and perhaps Killer's Kiss. In the book, 411 is the address of Marvin's place. Kubrick changed the number for the movie.
Saturday 12:30 p.m., Nikki at the Track. Differences between the book and film. Nikki does not die in the book. The irony of the ornamental good luck horse shoe. The cars behind Nikki. The horse shoe and The Man Between. The Man Between movie appears on screen in Killer's Kiss and I have wondered if Kubrick makes allusions to it in that film and this one. Nikki's tire will be speared by the horse shoe, and in The Man Between horse shoe shaped spikes are used to spear tires. The 8 infinity symbol and the horseshoe Omega, the 24th and final letter of the Greek alphabet. Nikki dies at precisely 4:24 and the horseshoe (Omega) is what does him in. This does not occur in the book. There is no lucky/rejected horseshoe in the book.
What Happens if We Remove the Narration for this Day? The movie wouldn't suffer despite the jumbled timeline.

Four (shots 281 - 400)

Some subjects covered:
Saturday 2:15 p.m., Jeffrey's Luggage. Maternity and Christmas. We finally see it's Christmas and it is paired with maternity here. The New Year and Rosh Hashanah and a connection to pregnancy and birth. The womb of the year. Those Sevens. A comparison of the loading zone sign with the 7 Up sign behind Randy.
Saturday About 4:20 p.m.. Primary Differences Between the Movie and Book. Johnny wears a handkerchief over his face in the book, not a clown mask. Shots 319 and 320. These are peculiar and to be compared with shots 225 and 226 in Killer's Kiss. The woman who disappears is the woman with the pompom hat who was in shot 204 at the cashier's window. The dual nature of James Mason's character in The Man Between, transgressing borders, trying to get over to the other side. The plot of that film. The nightclub scene and its use of mirrors for revealing alternate truths. The Dionysian double flute. In The Man Between East Germany acts as a kind of underworld in an Orpheus and Eurydice story.
Saturday, About 7:15 p.m., Marvin Unger's. Before and after the shooting. Comparison of Randy, Mike and Maurice with the 3 targets.
Saturday 6:25 p.m., the Motel. Johnny makes the error of almost going in the wrong cabin.
Saturday 7:29 p.m., 504 W. Olive. Sudden Fear? 504 W. 2nd street, the Mission apartments at Bunker Hill, and Joan Crawford's 1952 Sudden Fear. Jack Palance strikes his girlfriend, Gloria Graham, with a car outside these apartments due a case of mistaken identity, believing her to be his wife, Joan, instead. In The Man Between due mistaken identity a woman is kidnaped into East Germany. (James Mason is an underworld figure in this Eurydice drama, thought to be dead, then suddenly appearing again.) A kind of mistaken identity error occurs when Johnny goes to the wrong cabin door, which is almost repeated in Eyes Wide Shut with Bill almost going to the wrong door at Domino's. Anyway, Jack Palance ran over Gloria Graham at these apartments at 504. Kubrick has Johnny almost run over George by George walking into his car, then stumbling on, not recognizing that car or Johnny. This is just after the mistaken identity when Marvin, Mike and Randy had opened the door to the gangsters thinking it would instead be Johnny. Timeline. Error. Johnny is given as 15 minutes late when he arrives at Marvin's at 7:29. He is instead 29 minutes late.
Saturday 7:39 p.m., Money to Loan Pawn Shop. Location is w. 3th street. Pawn shop luggage and the missed chess move. Johnny makes the error of purchasing a decrepit bag for which the keys don't work. Lenny Bruce at the Gayety or Gaiety? Lenny Bruce is billed as playing at the Gayety. His mother ran Duffy's Gaiety and he was on the bill there with his wife in 1955 and 1956. Comparison with opening of The Day of the Fight. The Keys at the RR Crossing/The Production Code and the Play Within a Play. Johnny can be looked at as failing because the production code demanded he fail. The Horse Shoe/Omega. Sevens. That Big bad case. There is no such derelict suitcase in the book. In the book Johnny uses two perfectly good cases.
Not Fair! Not Fair! Major Departure from the Book/The Caged Bird. George doesn't kill Sherry in the book, instead she is tortured by Val and his buddies and left unconscious. George instead goes from Marvin's to the airport and there kills Johnny, believing he's running off with Sherry. Comparison of the caged bird with Lolita. Comparison of George's wounds with the wounds of the portrait/Lolita stand-in at the beginning of Lolita.
Saturday, Approaching 9:00 p.m., the Airport. How Different from the book? Very. In the book Johnny is killed by George. The loot isn't discovered. The woman and her dog. Some fun as the woman (Cecil Elliott) with her dog, that foils Johnny, appears to be a woman Kubrick photographed for LOOK magazine in 1948 with her small dog for an Art by Celebrities auction. The dog's name is Sebastian in the film (this scene isn't in the movie) and I wonder at a possible reference to Sebastian in The Tempest who points out stolen goods to Alonso. The painting of Emmett Kelly's Weary Willie that Kubrick photographed at the same art auction can be compared to the mask Johnny wears during the robbery. The flamingo and Flamingo production company. The air blowing away the money and Ariel's vanishing of the feast. Why I think there's an association to this and that Johnny is not so much frozen by the loss of the money but by sudden guilt over the deaths. Flight 465 or 40. The error. The dog in The Shining. In the Boulder apartment is a painting of a woman standing at an airport holding a dog, which should take us back to the end of this film, the woman and her dog that foils Johnny. To Colville, the painter, the woman and dog were a Madonna and child, and the dog is a child substitute certainly in The Killing. Protean shapeshifting. The link of Carson between the dogs in The Shining and The Killing. The horse/train painting that is opposite the dog painting at the Boulder apartment in The Shining. On trains and Kubrick.

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Analysis of Stanley Kubrick's 1962 Film Lolita

Table of Contents

The movie is based on the book by Vladamir Nabokov, who also worked on the script, so I concentrate a good deal on comparing the movie, the script Nabokov wrote, and his book. Dialogue from Nabokov is underlined.

One.....(1-63, about 12:18)

Some subjects/subheadings covered:
Prologue. At long last, Humbert finds Quilty. Description of the opening scene. Its forming a circle tying to the end. Comparison with The Shining and its end in which the furniture is similarly draped. Quilty as magician. Quilty as boxer perhaps refers back to Killer's Kiss and its boxer and The Day of the Fight. People as pieces of furniture and the link to Kubrick's later films. Comparing Kubrick with Nabokov. Comprehensive. The Portrait. Of Frances Puleston (Mrs. Bryan Cooke) by George Romney. Romney became enamored of a 15 year old Amy Lyon (similar name to Sue Lyon, who played Lolita.) Romney married a woman named Charlotte, just as Lolita's mother was a Charlotte. Location.Cycles. The cyclical nature of the opening and others in Kubrick's films. The "misty mid region of Weir". The Romney portrait, the statue of the Spartan Warrior and the Woman, the statue with the shoe, and the swapping of Shakespeare for the female bust. Comparing the shooting of the portrait with George in The Killing. Nabokov's priap. Charlotte as the tiger skin beneath the portrait. Adding to this--on Quilty, Nabokov and Vivian Darkbloom. Quilty and guilty. Quilty and the pen (the writer). Vivian as Quilty's co-author. As an anagram of Vladamir Nabokov. The blending of female/male, female and male alter egos (Shakespeare's bust switched with the woman's). The enlarged role of Vivian Darkbloom. Kubrick plays with the role of the author in their works, their responsibility for their creations. July 4th, Spartacus and The Shining. Lolita escapes from Humbert, with Quilty, on July 4th. Has this any relation to the July 4th Overlook Ball? The reference to Spartacus and the freeing of the slaves with Quilty emerging from under the sheet. On mazes and minotaurs. The Greek key design on the floor in which Humbert and Quilty play the game. Clare Quilty, the Chair. The morphing of Quilty. A proteus. Into the new world, an old world refugee. Overview of the arrival of Humbert in America, the confrontation of old world Europe with its child, the new world America. The monster emerges. Comparison of Quilty stirring to life from beneath the sheet with Humbert and the mummy in its bandages in The Curse of Frankenstein. Overview of Humbert's initial relationship with Lolita and Charlotte. The Great Partner Swap. The proposal of partner swapping in the dance scene compared with Eyes Wide Shut and the mention to Alice that women married in the old days so they could go to bed with whom they wanted. So, too does Humbert marry Charlotte for sake of hope of getting to bed Lolita. Don't forget me. Overview of the death of Charlotte and Humbert's rape and virtual imprisonment of Lolita. A case of the Asiatic flu. Overview of Beardsley, their travels, and Lolita's escape. The mother. Overview of the meeting with the pregnant Lolita. Lolita as Lilith, Queen of the netherworld, Queen of Sheba. Lolita as the innocent child. Comparison with Gloria in Killer's Kiss.

Two.....(64-166, about 44:19)

Some subjects/subheadings covered:
Humbert Arrives in Ramsdale. Locations.
Humbert Takes a Room in the Haze Household. A problem with discussing Kubrick's Lolita. The problem of Lolita's age. Films pre 1960s in which young teen girls enter a relationship with a much older man, these relationships largely accepted by the public. Celebrities of the 1950s through 1970s and the popular acceptance of older men having sex with young teens. Movie and television trope of the teen girl crazy for the older man who is seduced by her youthful enthusiasm and devotion. (James Mason was also in such a film, titled, The Seventh Veil, in which a teenage pianist falls in love with her controlling uncle. Kubrick's film as a parody of this trope. Differences between Kubrick and Nabokov in this section. Including notes on Rene Prinet's painting "Kreutzer Sonta", which Nabokov specified should be in Humbert's room. The "Kreutzer Sonata" as a story by Leo Tolstoy addressing the question of "what is love" when a woman insists marriages shouldn't be arranged but based on true love, then a husband killing his wife as he believes his wife has an affair with a violinist, but is acquitted as she was an adultress. The anamnesis or eternal return of Humbert's lost child love. The garden of Eden. The bull and the matador. Harold Haze. Lolita's mother, Charlotte, married a man much older than her. Just as we have the doubling of Humbert Humbert, Harold Haze's name holds a hidden double.
The Curse of Frankenstein. Comparing Kubrick's Frankenstien to Nabokov's. Can't, there wasn't one.Why Frankenstein? In the horror film watched we have the ambiguity of the confessed story perhaps never having occurred. The same ambiguity is in Eyes Wide Shut. Comparison of Lolita's giving birth to a stillborn child (in the book) and the death of Mary Godwin Shelley's premature child, an ordeal which partly inspired her Frankenstein horror story. HAL of 2001 and Alex of A Clockwork Orange as monster children of their creators. The monster's strangulation of Frankenstein, the strangulation of Frank Poole, the strangulation of Danny. The link between Christopher Lee, Annabel Leigh (Humbert's first love) and Edgar Allen Poe's Annabel Lee.
The Chess Game. Comparing Kubrick's chess scene to Nabokov's. Can't as there wasn't one with Nabokov.
Humbert is Photographed. Comparing Kubrick's Hula-hoop scene to Nabokov's. He is not caught unaware in the book by the camera.
The School Dance. Comparing Kubrick to Nabokov. A dance was in the screenplay but not the novel. No allusions to wife-swapping. Vivian Darkbloom was not in the screenplay. Other differences. Doubles and the Farlows. The (presumably) golden goose.
A Cozy Little Dinner for Two. Comparing Nabokov and Kubrik. Cat Woman. Charlotte as a cat woman in her leopard prints. Domino in Eyes Wide Shut. The cat woman in A Clockwork Orange. On MA and the Hand and the Quill. I go out on a limb here but that's not infrequent. Due Quilty being described as having an "Oriental" sensibility, and Charlottes remark to Lolita of "That's neither here nor there", I bring in the Japanese concept of "ma" which is the place between. A gap, an interval. More on this eventually. The sandwich and the sandwich at the beginning of the film.
Breakfast with the Divine Edgar. Comparing Nabokov and Kubrick. Two-fold natures, twists and turns. From the quill that Lolita plays with to Humbert writing in his diary. Charlotte's inverting of words in reverse order and Humbert's speaking of Poe's twisting, reversal of words, dim and mid. Lilith as a twisting away from the light. Ulalume and deja vu and fate. Eggs used also in The Shining in connection with deja vu. Din, Mid and Ma'am. Reversed words and the space between perhaps expressed in Lolita's uncharacteristic use of the world "ma'am". Wasn't a northern thing.
A Glorious Surprise. Comparing Nabokov and Kubrick. The sweets. The lamps.

Three.....(167-264, about 1:09:44)

Some subjects/subheadings covered:
A Proposal. Lolita's goodbye to Humbert is one where you know she believes she will never see him again and she's fine with that. Comparing Nabokov with Kubrick. The Mexican Screen. We see the Mexican screen, the man in the sombrero, in the hallway is doubled in a smaller picture in Lolita's room. Humbert and the teddy bear. Humbert as a "bear" through his name coming from a word meaning bear. Humbert's relationship etymologically to St. Hubert, patron saint of hunters. The theme of hunting throughout the novel and movie. (St. Hubert had a vision of aa crucifix of between antlers of a stag which brought about his belief in a swift merciful kill of hunted animals. See the end of the film and the picture of the girl on the magazine between stag antlers.) The bull and the matador. Beside the bear is a bull and matador. The Tokyo poster. Need ID on that, if it is real life. The Drome Poster. Close examination of the perplexities of the Drome poster, which appears to become an impossible collage. Comparison with the basketball poster in The Shining. The spinning dancer illusion and reversals according to dominant perspective. The two girls in The Shining and switches in dominance. The character in the sombrero on Wendy's jacket in The Shining.
A Rainy Day. Shots 198 and 199 compared to shot 73 compared to shots 110 and 111 in The Shining. A pause/interruption/break, a sense of "between". Ma. We see the same expressed perhaps in shots 225 and 226 in Killer's Kiss and shots 319 and 320 in The Killing. Perhaps in shot 105 in 2001. Notes on the icon of the Virgin Hodegetria. Shot 230 of Humbert opening the bathroom door, having just decided not to shoot Charlotte, replayed in Jack's opening the bathroom door in room 237 in The Shining. Shots 185 and 231 show us finally the impossible window which alerts us to the exterior of the house having nothing to do with the interior. The "between" of shots 236 and 237 passing us through the floor of Charlotte's bedroom to the kitchen during which we have a distortion of time, for even as Humbert makes her a drink she has somehow in a matter of seconds put on shoes and coat and run somewhere outside and been struck by the car and the police and ambulance have arrived. All this between 1:04:01 and 1:05:05. Comparing Nabokov and Kubrick. Significant changes. Taking a second look at the house. Comparing how we see the exterior of the house in the film and what it would actually look like according to what we see inside. A good half of the upper portion is gone, and the exit to the back yard is instead out the side of the house. How we are led to believe the back yard is to the rear of the house, not the side. Comparison with the impossible window in The Shining. Comparison between the bathroom scene and the bathroom scene in The Shining, Charlotte initially escaping death by drowning, but then dying in the rain. Charlotte's death (unseen) occurs during shot 237, she struck by a car. Location of the Haze House. Kubrick's film glosses over the Tudor framing style of the house, which connects it with the Enchanted Hunters Hotel. Circularity, coincidence and 242. 242 as Charlotte's house address and the room in which Lolita and Humbert stay at the Enchanted Hunters Hotel. Nabokov had it as 342 and was a believer in synchronicity. Forever. Humbert's discomfort with the idea of forever. Charlotte, God's command, Harold, fate and choice. Charlotte believes her proposal is fated. The Interruption. Lolita's candy call phone call, interrupting her mother and Humbert's lovemaking (Humbert is looking at her portrait), is replayed in Alice's interrupting Domino and Bill in Eyes Wide Shut, and is connected with HAL's "eavesdropping" on Dave and Frank in 2001. Ma. Ma as the spaces between. A reiteration of this and expansion on it. Ma and the gun and the bullets. Charlotte says the gun is empty but it is loaded after all. Ma as Poe's misty mid-region of Weir. There are 7 traveling through the wall black-outs in the film. The column. The kitchen column as shown in shot 237 anticipated by earlier "ma" or black-out shots that lead in to Charlotte's bedroom and show a similar "column". The postal box. Charlotte is hit before a T intersection, so not in front of the house. 42Q. The ambulance license plate. The Q brings in Quilty who is also Cue. In shot 42 Quilty faces Humbert's gun and says he wants to die like a champion.
Always Darkest Before the Dawn. Comparing Nabokov to Kubrick. No such scene. Kidneys and Eggs. Not in the book. Kidney etymologically combines old english words for the womb and egg . It's like Humbert consumed one of Charlotte's kidneys with this revelation of her having only one kidney and because of that not having long to live. Inundation. Fish and boats. Semiramis link? The shadow behind the curtain. Humbert's pulling the curtain to screen himself reminds of the bathroom in room 237. More on Nabokov's doubling. Nabokov did numerous doublings. Kubrick inserts here Beale's mention of his twins in Lolita's class. More on this. Humbert was perfectly capable of intercourse with Eve, but it was Lilith he longed for. On the Spartan warrior and woman statue, the version of it at Quilty's seemingly wrapped by a serpent rather than the folds of a garment. The serpent of Lilith of Michelangelo's representation of Eden. Quilty's mansion and the twisted columns. The spiral bracelet on Vivian Darkbloom, she supplanted by Charlotte in the dance. The tree arising out of the statue in Quilty's entry, in the midst of the circle. Lolita in Charlotte's edenic garden. Ties of Lilith to the storm and the sphinx. Lilith and cycles/spirals. Androgynous couples. The birth of Lolita. Nabokov gives her as born in 1939 as from a stitch in Adam's side. Charlotte and Shelly Winters.

Four.....(265-344, about 1:38:28)

Some subjects/subheadings covered:
Camp Climax. Nabokov as compared to Kubrick. The link of Camp Q (Climax in the film) with Quilty/Cue. The butterflies as a reference to Nabokov. Nabokov and his butterflies. Butterflies in the screenplay.Locations. Of the toll booth, the ferry.
She Hasn't Been Feeling Very Well. Comparing Nabokov with Kubrick. Location. I've pinned down the shots, with the exception of 286, being in the Black Hills of South Dakota. A separate post shows places found that confirm this visually. They are supposed to be in the White Mountains but in Kubrickian reversals/oppositions they are instead in the Black Hills. The Covered Wagon Resort (observed) has a PO box of 424, so an inversion of Charlotte's 242 and the room 242 at the Enchanted Hunters Hotel. Note that they travel in a station wagon.Kubrick's Deja Vu in Green Screens. Rewindings of green screen footage in the scene.
The Enchanted Hunters Hotel. The hotel shares a similar style of timber framing as will be seen in A Clockwork Orange in scenes filmed at Edgwarebury where Alex is imprisoned the attempts to commit suicide. Comparing Nabokov with Kubrick. Differences such as in the sceenplay it is a physicians and a flower convention rather than a State Police Convention. Mr. Swine. Lolita, "...Dolores, the tears and the roses" and the relationship to the poem "Dolores" by Swinburne. The Enchanted. Notes on Nabokov's 1939 novella "The Enchanter" in which a Lolita-like character appears, the story similar in many ways to Lolita. In the 1935-37 "The Gift" Nabokov had a character who said if he only had the time he'd write of a man marrying a widow in order to gain access to her young daughter. Etc. Other Nabokov novels with Lolita-like aspects.
She'll Divorce You and Strangle Me. Comparing Nabokov with Kubrick.
Just Two Normal Guys Talking. The conversation in the screenplay and film is different but much the same at the core. The emphasizing of Humbert's anxiety through his shadow, Quilty.
Slapstick with the Cot in Room 242. Comparing Nabokov with Kubrick. No bellhop or such scene in the book, but there is in the screenplay, though no slapstick. Room 239 and the Three Women.
The Game. Comparing Nabokov with Kubrick. Society's Absolution of Humbert. Some segments of society tend to absolve Humbert as Lolita is conceived of as being the aggressor (quite different from Nabokov's The Enchanter.
A Squashed Cat. Location is somewhere in highway 9N. I've not found where. Comparing Nabokov to Kubrick. The blarney stone and trips to the underworld. The blarney stone is peculiar to the movie. Cliodhna is said to have given the gift of blarney, she being a queen of banshees, spirit messengers of the underworld. Some possible puns and wordplay concerning toll, cott (Trapp in the book) etc. Humbert and Lolita's underworld trip as compared to Bill's in Eyes Wide Shut and that in The Shining. The winding roads and evergreens. Enchanted forests.
Gaslight Village Vows. Comparing Nabokov to Kubrick. Why Gaslight Village. Location. It was a theme park in the Adriondacks. The meaning of "gaslighting", mental abuse "in which false information is presented with the intent of making victims doubt their own memory, perception and insanity."

Five.....(345-405, about 2:00:25)

Some subjects/subheadings covered:
Beardsley and Painting Lolita's Toenails. The picket fence in shot 348. The painting of Elvira by Modigliani. This appears also in Eyes Wide Shut in Bill's office. The model was a woman who ran away at 15 and became a dancer. Elvira may mean white or true. Elvira was also known as Quique which reminds of Quilty's nick as Cue/Que. The position of the hands serve as an introduction to Quilty in the next scene. Real True. The Drome poster. (Note: I have not written yet in the analysis of Fritz Lang's 1945 movie Scarlet Street in which a shy unknown artist, after wondering what it would be like to be loved by a young girl, falls for a woman (rescues her from a beating by her boyfriend) who lives off him and sells his paintings as her own, taking on his identity, at the insistence of her boyfriend. In that film there is a scene in which Robinson paints her toenails and it reminds strongly of Lolita. The painting of the toenails was not in the book. Robinson murders her and pins it on the boyfriend when he learns the truth that she doesn't love him. The deception succeeds, the boyfriend is executed, and Robinson hangs himself, haunted by guilt.
The Psychologist. Comparing Nabokov and Kubrick. The Index Cards. Quilty reads from index cards. Nabokov composed his book on such. Looking at the Beardsley layout and its false 90 degree turn. Mapping the Beardlsey home which is different on the interior from the exterior. A false 90 degree turn.
The School Play - The Hunted Enchanters. A reversal so that the Enchanted Hunters becomes the Hunted Enchanters. Comparing Nabokov and Kubrick. Chess and the Queen. The Enchanted Hunters as verus the Hunted Enchanters. The Play and Semiramis. In the book Lolita ends up not being in the play but a description has the satyr removing his horns and Lolita and Semiramis leading him to the Dark Kingdom. Semiramis is the daughter of a Babylonian fish-goddess. She appears to be an incarnation of the Oedipus myth, sometimes marrying her son intentionally, sometimes unintentionally.
A Family Row. Comparing Nabokov and Kubrick. Nothing like this fight in the screenplay. There is one in the book and then they skip town without Lolita doing the play.
The Pay Telephone Call at the Esso. Comparing Nabokov and Kubrick. The curious case of Jack Brewster. Mimir and Memory in the book. The story of the man at the end of the bed in the book. The esoteric. The wordplay on Brewster in the book. Glancing Back at the failed Haze seduction dinner and dance.

Six.....(406-462, about 2:07:30)

Some subjects/subheadings covered:
Trip 2 Begins. Lolita's veiling of her face in 412, as if a harem girl. Locations. Easton's Beach. Black Hills Cafe would be in South Dakota. Trying to pin it down.
The Gas Station. More twists and turns. The gas station has no bathroom out of which Humbert looks and watches Lolita.Location of the gas station. Reminders of Charlotte's accident at the gas station.
The Asiatic Flu. Nabokov as compared to Kubrick. Followed! (Shots 411 and 412). Comparison of shot 411 with the Drome poster. On Lolita's veiling her face like a harem girl. The Asiatic flu. Any connection to the Tokyo poster? "Orientalism" in the film. The cold arctic/polar north in the Tokyo poster and the Badlands (they seem to be in the Badlands) almost appearing like arctic mountains of snow/ice with the filter used. Also, Lolita has her head wrapped in a hood and the girl in the poster is wearing a hooded jacket. Another hooded figure in Lolita's home at film's end when she is talking of moving to Alaska. Comparison of the hooded figures to certain figures in The Shining and Eyes Wide Shut. Humbert's arm. There's no heart attack in book or screenplay. The blow-out sounds like a gun shot. Licenses. Differences of licenses in the film.
The Hospital. Nabokov as compared to Kubrick. Location of the hospital. Daedalus and "A Portrait of the Artist as a Young Man". The Wandering Rocks chapter of Joyces' Ulysses, the labyrinth and the "asiatic bank'. The highway through the Badlands is 240 which brings back in 242. The Black Hills and the Badlands.
You Will Have to Terminate This Conversation. Nabokov as compared to Kubrick.
She Didn't, By Any Chance, Leave Any Message for Me? Nabokov as compared to Kubrick. Why we are so sympathetic with Humbert. The eyes in Kubrick. Comparing the light being shined in Humbert's eyes with similar scenes in Kubrick's films. Uncle Gustave. The peculiar uncle of Humbert's who has his tastes and who he believes to be following them. Lolita in the book tells the hospital Quilty is this Uncle Gustave. The fence. The story of Nabokov giving the story of an ape sketching bars in a cage as the inspiration for Lolita. This perhaps instead stories of photographs taken by an ape from inside a cage. Nabokov's seeming awareness of these stories as an H. Huber Clark wrote of such in to LIFE magazine in 1949. On the opposite page from that letter is a letter from Nabokov on a certain butterfly. The bars of cages as if observed in shadow throughout the film and in its picket fences.


Some subjects/subheadings covered:
The Letter.
Through City Streets, Towards Mrs. Schiller. Locations. 35 Partition Street, Rensselaer, NY. Grover Road in Watford, Hertfordshire. See separate post on "Lolita, Richmond, Virginia, and Edgar Allen Poe" on shot 464.
Mrs. Dick Schiller. Nabokov as compared to Kubrick. Nabokov and coincidence and synchronicity. The resurrection of Charlotte Haze in Lolita in the book. Quilty's presence in the scene. Lolita's glasses. Humbert's tears prefigured. Comparison of Humbert crying with a painting outside Humbert's room at Charlotte's. The ranch and the coronation ceremony. Richard Schiller's deafness, Ode to Joy, and Bill's cut thumb. Fredrich Schiller wrote the poem "Ode to Joy" used by Beethoven. How the book discreetly relates this to Humbert, Richard Schiller and his deafness. Year Conflict. The action begins in 1957 and the license on the blown-out tire shows 1957. A magazine in the Schiller home, supposedly 4 years later, is for December 1958. However, this is the one with the woman standing between the stag's antlers which I earlier connect with the patron saint of hunters, St. Hubert. That pin-up girl in the hood. The calendar reads December but I'm unable to tell a year. Once again we have Christmastime in a Kubrick film. Where are you hiding, Dolores Haze? Why are you hiding, darling? (I talk in a daze, I walk in a maze, I cannot get out, said the starling). Why Lolita's real name (Haze is a false one) will be either Mayes or Maze. The why of Dover, New Hampshire being used for Ramsdale's establishing shot in shot 67. So, was Lolita a love story. Trilling's asserted the book was about love, and Nabokov agreed with him in an interview, as well as Kubrick in a 1960 interview. What can we take at face value in this? Why might we not? In my wrap up I argue that "love story" is really about Lolita's love for Schiller, rather than Humbert's supposed love for her. Humbert and the audience take it for granted she doesn't love her husband, but she does. He is so cruel still that at first he tries to convince her to leave. She also is horribly able, in the end, after all Humbert has done to her, to extend sympathy to him when he cries. It is the tangled sympathy of a person who has been abused as a child and doesn't comprehend the truth of their own innocence, but it is still sympathy. A parting observation.

Supplemental Posts

Identifying the Portrait in Lolita and Examining its Relationship to Nabokov's "The Vane Sisters" and Oscar Wilde's The Picture of Dorian Gray

Shot 67 of Lolita and The Why of the Choice of Dover as an Establishing Shot for the Location of Ramsdale (The Story of the Caged Starling)

Location Shots 66 and 69, From Westerly to Dover and Back to Westerly

How Shot 306 in The Shining Duplicates Shot 230 in Lolita, #237 Intimately Connected with Charlotte's Death, and That Watery Death (Perhaps) Connected with Hitchcock's Psycho

Location of the Toll Gate

Location of the Ferry

Lolita Green Screen Location Shots 271-285 -- Guess What, When They're on Their Way to the Enchanted Hunters Hotel They're in South Dakota

Locations - The Black Hills Cafe and the Badlands of South Dakota Rather Than Arizona

Lolita, Richmond, Virginia, and Edgar Allan Poe, on shot 464.

Partition Street Location, Viewed Driving on the Way to the Pregnant Lo's House

The Coincidence (it is just that) of Nabokov's Ape and Kubrick's Monkey

The Showgirl as Walter Cartier's Counterpart and Her Relationship to Killer's Kiss, and influences perhaps on Lolita

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Analysis of Stanley Kubrick's 1968 Film 2001: A Space Odyssey

Table of Contents

The Dawn of Man - Shots 1 thru 105 (about 19:48)

Some subjects/subheadings covered:
The Eternal Return. Gyorgy Ligeti's "Atmospheres". Richard Strauss' "Thus Spake Zarathustra" inspired by Nietzche's. The sunrise section. Nietzche's conception of the eternal return. What did this mean for Kubrick? The Dawn of Man. The use of still photography. The hominids presented in Museum of Natural History diorama-like settings which show often a kind of vignette of brush-like vignette effects. The effect of this. The inability to largely identify the opposing bands from one another (refer to opening of Fear and Desire and the use of doubling). The repetitious use of a sunrise image, also for a seeming sunset. The Monolith and its Symbolic, Unnatural Conjunction. Ligeti's Kyrie Eleison from his Requiem. The monolith occurring with a once-reversed shot (55) of the previously used sunrise shot and clear examples of this. Return to "proper" orientation in shot 56. Comparing the foreground in shots 46 and 56 with shot 439 in The Shining, the one from behind Jack he in silhouette, as he suddenly appears after Wendy has read his writing. The impossible alignment of the sun and moon above the monolith which means it is symbolic and represents perhaps the "hour of noon" in Neitzche's writings. Sample given. Shot 105 of the thrown bone which revolves counter-clockwise ascending and then briefly is out of view and when we see it again still ascending it is now moving clockwise.

To the Moon - Shots 106 thru 222 (about 54:33)

Some subjects/subheadings covered:
The Eternal Return Waltz. Johann Strauss II's "The Blue Danube Waltz" and doubling in the choice of music from Johann and Richard. The bone becoming the satellite. The red-tipped floating pen maintains a clockwise rotation (most things change). Ancient hominids and their anxiety over vulnerability while asleep as opposed the sleeping Heywood. Notes on the reversal in spin of the space station. The pilots of the Orion and doubling. See You on the Way Back. It's morning for Heywood and Miller so this is, in effect, another "sunrise" section, as with the Dawn of Man. Differences of spin of the earth through the windows of Space Station 5. Helen, the Odyssey, and "Paris Match". Symslov named for chess player Vasily Smyslov. The conversation as chess. Smyslov and the hotel clerk in Eyes Wide Shut Smyslov as Barry's rival in Barry Lyndon. For some reason I haven't mentioned in this section the name of the furniture, Djinn, and haven't brought in yet the protean morphing theme in Kubrick's films. The Eternal Return Waltz (Again) and Aries Vistas. Karate and the refinement of fighting to an art form. Food (divorced from its origins) and the language of symbol. The stewardess revolves 180 degrees to enter the pilot cabin when instead she should have revolved 90 degrees and exited through the portal foremost to the camera. Shot 159 giving a clear view of the pilot windows at the "top" of the craft, their orientation about a 90 degree turn from the passenger area rather than a 180 degree turn. The pilots of the Aires 1b as doubles, just as in the earlier Orion shuttle. It is impossible for the pilots to have a view of the moon and the base as they do in 162 as their windows are actually pointed away at an 180 degree angle. The antrhopomorphizing of the Aries. Grave Potential for Cultural Shock and Social Disorientation. The 12 conference attendees and the last supper (continuing with the them of the Requiem Mass). The structure of the shots of the speech. Communion. Ligeti's "Lux Aeterna" (eternal light" and the communion antiphon for the requiem mass. Anamnesis and the paschal mystery. TMA, Tycho Magnetic Anomaly, relationship to "magnesia" and the philosopher's stone. The seeming 5th person in on the moonbus. The Crater, Tycho, and the Communion Cup and How We're Not Seeing What We Believe We're Seeing. Tycho and "bull's eye". Orion and the hunter. Aries and the ram of the vernal equinox golden fleece, the Reborn Sun. Relationship of the crater Tycho to the waterhole in the Dawn of Man section. Orientation confusions approaching the monolith so that shot 211 feels like 206. Monolith as the "between", a dividing line. The photographer as the first to react to the piercing sound. The impossible convergence above the monolith (we have alreasdy seen the earth was just above the lunar horizon and the sun way off to the side). The Photographer.

The Oracle - Shots 223 thru 360 (about 1:27:02)

Some subjects/subheadings covered:
Gayane and a Disorienting Introduction to the Ship. Khachaturain's Adagio from the 1942 Gayane ballet. Orion and the killing of the wild beasts. Slaying of Orion after the healing of his eyesight. Dave as the intellectual where Frank expresses concerns of the body (exercise). Their twin aspects. Gilgamesh and Enkidu. Discovery One as a nervous system (spine and skull). Flips of orientation during the exercise scene. In shot 227, not only is the camera now following behind Frank instead of preceding him at the beginning, Frank is running in the opposite direction. Furthermore, not only is Frank running in the opposite direction, Kubrick has flipped the orientation of the film horizontally. We don't notice the change because the shots of Frank open with him running in an orientation 90 degrees turned from a normal standing view. I clearly outline the process in the analysis (an easy way to keep track is by the part in Frank's hair). The Role of the Photographer in an Interview with HAL, Poole, and Dave, and a Great Big Question Concerning HAL. Who is doing the filming for the interview on the ship--which I consider as we have four different angles. The reverse image shots of the hibernators. Parallels between HAL and the photographer. The headrests and their disappearance. Changes in the shots of HAL's eye. How Dave and Frank watch slightly different versions of the interview. Happy Birthday. 236 in 2001 and 236 in The Shining. During the talk with Frank's parents, the views of the instead empty tanning bed and Dave asleep in his pod. The one shot of a nature scene on earth above Dave's pod. The 90 degree rise of the tanning bed's head and its seeming relationship to Frank's disappearance. How we have the same with Danny's disappearance in the maze in The Shining. Frank's orange sunglasses and HAL (haven't written on this, perhaps I should). Chess with Poole (Alternate Moves and Simultaneous Views). How HAL's chess game with Dave plays out, shown with descriptive images. 3 ways the chess game can play out due the language used. (Kubrick sometimes gives 3 perspectives, such as of the happenings in room 237.) Only one game results in a checkmate but all involve the 90 degree diagonal jump of the knight. The capture of Charlotte's queen in Lolita. The 2001 chess game based on Roesch vs. Willi Schlage in 1910. Considerataions on the bishop. The horizontal flip mirrorings, dualism. HAL's ability to see both sides at once, which is his error, that he expresses the chess board from Frank's POV. Sketching with Dave, an Oracle from HAL (whose Eye is not What it Seems to be) and More Chess. HAL takes after Symslov (named after a chess master) who had identically apologized for being too inquisitive before posing a question. As with Floyd, Dave replies he doesn't know what (HAL) means. The occlusion in HAL's eye. HAL's programmed nature is to be duplicitous. The flatness of Dave. How the communication "dish" is an evolution of the moon crater which was an evolution of the water hole. HAL's rotation of the AE35 unit (simulation) so it is turned at a 90 degree angle, and as it finishes the turn the target aspect disappears. Possible connection of the Alpha Echo 35 to the ECO codes that are a classification for chess opening moves. ECO A35 as a symmetrical opening move. The picture of the Tycho Magnetic Anomaly suggests chess with its suggestion of 64 squares. Frank and Dave at a 90 degree angle from one another. The growing similarity of Frank and Dave. Comparing the audience's view of Dave entering the pod in 293 with Frank's view in shot 294, nearly identical but reversed. Horizontal flip. Dave's horizontal flip in shot 310 during the EVA then return to "appropriate" orientation. AE 35 and its Maze Aspects. A Hidden Convergence and Various Aspects of Taurus. 346, an unusual shot of HAL's eye in which we see a hidden convergence, HAL's eye as the sun and a crescent above it. Taurus, the vernal equinox, and the Cretan Bull. Taurus containing the red star of Aldebaran. Taurus and Pesach Shani, the second passover. The Theme of Crises in Communication in Kubrick's Films. Comparing crises in communication in 2001 to Dr. Strangelove and The Shining and Eyes Wide Shut. The final shot before intermission is 360 so we have a full revolution. However it may instead be 361, for the final shot of the "orgy" scene in Eyes Wide Shut is 361 and is paired with the idea that there is "no turning back". So 361 would be surpassing the point of turning back. We may have the same here. We have the opportunity to move this to be shot 360 back at shot 105 when the bone, traveling upward, changes direction in seeming midshot. In other films I have handled such breaks as two shots (see shots 225 and 226 in Killer's Kiss and shots 319 and 320 in The Killing for examples).

The Oracle Unfolds - Shots 361 thru 511 (about 1:56:56)

Some subjects/subheadings covered:
Atmospheres. This part is a doubling of Dave's EVA by Frank with doublings of shots that appear slightly different. Comparison to the same reduplication of a journey by Alex the new man in A Clockwork Orange and Bill after his experience at Somerton in Eyes Wide Shut. Deja vu and anamnesis. HAL's oracle and predetermination. The assurance of the fruition of the oracle by the elimination of free agents. HAL as a conscious entity, but he is without breath. Lather, Rinse, Repeat. Comparison of repeated/duplicated shots in Dave's mission and Frank's EVA. Shot 368 and the impossibility of Dave viewing this shot of Frank. This is a reduplication of the shot of Dave leaving the pod but the audience viewed that, whereas here Dave is viewing Frank leaving the pod, and it is absolutely impossible for him to view it. (I love this. It's so much fun.) The Little Things. The bar of light in the pod window. The 3 lights in the CU of Pod's eye and the 3 lights in the window behind the slain girls in The Shining. Danny's single eye and HAL's eye. The continued zoom of HAL's eye eventually shows the eye with the occlusion that is supposedly back on the ship, not the eye of HAL on this pod outside the ship. Dave Pursues Poole in Absolutely the Opposite Direction From Which He'd Disappeared. Frank's hurtling away is reminiscent of the astroid that flies past in Dave's EVA. Frank spun off to the "left" of Discovery One. Dave flies off to the "right" side. The Dreamless Sleep of the Hibernators. Again, the Eye of HAL Which is Not There. The emotional power in Dave's release of Frank's body to the void. Comparing shot 482 with shot 291--so similar as to be identical but are not. Compare with Wendy's running down the red hall in The Shining and the emergence of a new connecting hall not observed before. The color pink in this scene and the pink in the Space Station flight attendant scenes. ""See you on the way back." 486 and the new view of HAL's eye never seen before. Why is the prerecorded message staticky, cutting in and out? Comparing the Death of Poole with the Assault of Danny in The Shining. Perceptual and Conceptual Knowledge.

Jupiter and Beyond the Infinite - Shots 512 thru 597 (about 2:20:22)

Some subjects/subheadings covered:
The silent gap. The experience now shifts to being that of the viewer. The Mind's Eye. Dave goes to the end of the rainbow with, in shot 563, his eye shown in numerous colors. See, of course, Eyes Wide Shut and the invitation for Bill to go to where the rainbow ends. Iris. The floor of the bedroom is as if what was the ceiling of the Space Station where we saw the Hilton and Howard Johnson's Hotels. The ceiling becoming the floor is anticipated with the 180 degree turn of the flight attendant on the Aries. The turquoise in the background, beyond and reflected in Dave's red helmet, in shot 572, and its relationship to the titles in The Shining and the "reversing" rug in The Shining. The inversion of color. These colors seen also when Dave cut off the communication in the pod so he and Frank could speak. The peculiar reflection in the window of Dave's helmet, reversed, brings back the scene of Heywood speaking with the Russians on Space Station 5. And now is when I discuss the Djinn chairs designed by Olivier Mourge and the protean nature of Djinn. Go to Fear and Desire for Proteus as the dog and Eyes Wide Shut for the book Kubrick includes which has shapeshifting djinn. I discuss elsewhere morphing throughout Kubrick's work, such as signaled in The Shining in music titled "Polymorphia". Where the character of Symslov (named after a chess player) should be seems replaced by a monolith type object? HAL had at one point duplicated Symslov's dialogue. The monolith figure appears to be the cause of the occlusion in HAL's eye. Plato's Republic. A comparison with Bowman in 573 with Frank in shot 364. Dave confronts his elder self in the bathroom mirror just as Jack confronts the old, decaying woman in the bathroom mirror in room 237. The double wheel of the space station and the dining cart. Shot 584 establishes the room as a chess board with 64 squares on the floor. Shots 584 and 585 have the same move of a chess figure on the floor (the Rook, which is the chariot of the dining table) as observed in the shots of Danny on the "reversed" carpet of the Overlook. Though not actually reversed (he moves diagonally) this does incorporate the idea of being able to see both sides at once due the seeming reversal. Dave's shattering of the glass and Alex's drinking of the wine. The water glass of Dave's breaks on chess board square E1. This is the moment at which, back in the chess game between Frank and HAL, Frank moving his rook from F1 to E1, that HAL says, "I think you missed something." Dave now looks up and sees himself in the bed. And then the monolith appears which would be an approximation of HAL's move of the Queen two spaces to Bishop 3 (Bishop 6) with HAL seeing both points of view at once. We then see the duality on either side of the monolith, the mirrored opposites, and the monolith as the space between the opposites. This 2nd section of the film is 237 shots just as is the number of the perplexing room in The Shining.

Supplemental Posts

Examining Kubrick's Single Horizontal Flip of a Front Screen Projection Landscape in the Dawn of Man Section in 2001 and the Meaning of that Flip in Relation to the Final View of the Monolith in the Film

The Relationship Between the Chess Game in 2001, Dave's Dinner in the Room Beyond the Infinite, and Danny on the Reversed Rug in The Shining

Kubrick's 2001 and Francois Boucher's "La Tendre Pastorale"

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Analysis of Stanley Kubrick's 1971 Film A Clockwork Orange

Table of Contents

Part One - (1-92, about 16:47)

Some subjects covered/subheadings:
On the "Funeral Music for Queen Mary" and Blood as Redemption - Mary's Husband, William of Orange, and the Orange Lodge. Carlos' version of Henry Purcell's "Funeral Music for Queen Mary". Text. Redemption and judgment. On her husband, William of Orange. The Orange Institution and British unionism. The Orangemen. Possible reason why an Irishman is the "bum" and sings "Sweet Molly Malone", the suppression of Irish nationalism. The Orange on Red. The Two Shades of Red Beginning to negotiate the two shades of red in this film and other films of Kubrick's. Introducing the Milk Bar and Alex and His Droogs Military. Green Morris Dancers. Many-breasted Artemis. The Mannequin Furniture. Done by Liz Moore, based on Allen Jones art. See Djinn furnishings in 2001, people as furniture at beginning of Lolita, people as furniture at the orgy in Eyes Wide Shut. The Irish Bum - A Glimpse of Alex's Rage Which Distinguishes Him from His Peers Irishman singing of Dublin. Complaint against the world of 2001. Burgess, the Royalist, and his views. The Subway Tunnel. Comparing the location of the subway tunnel to the prison. The Casino - The Famous Theater of the Principality of Orange (Arauncio) and Theatricality in A Clockwork Orange - On "The Thieving Magpie" - A Ballet - A History of Violence as Condoned by the Big Heads. Rossini's "The Thieving Magpie". Poseidon. Dionysus, the patron god of the theater. The stages in the film. The Iron Cross and Iron Eagle. 1964 Moet and Chandon Brut Imperial Rose champagne. The fight as a dance. From Himberama to Wonderama. The casino and Tagg's Island and Dr. Leon Joseph Bronesky. Wonderama, Miracle Arc 120. 35 rather than 70 mm. Wide screen image split in two halves and rotated 90 degrees and printed next each other. Rejoining of images on screen. Lenses like binoculars. Examination of this in respect of Kubrick's horizontal flips (and 90 degree turns). Himberama in Killer's Kiss. Joyriding - The Durango - The joke in "then we headed west" - HOME - The Orange Globe - The Bookcases and the Hidden Blackboards - "Singing in the Rain" and the Secret Singer - Burgess as the Writer, Alexander. HOME and Durango's water town etymology. Designed by Paul Litchfield. The house as a theatrical stage. Yellow ball and The Shining. The Great Bird - Kilroy - The Ode to Joy and Brotherhood Kilroy was here. The phallic mask. Text of "Ode to Joy". The distortion of "Ode to Joy" to suit different agendas. Lucy. On the Blackboards and Some Correspondences Between the Milk Bar, The Tunnel, and HOME. Skybreak, Mondrian and Opening Credits, Prison and Van Gogh. Skybreak, the interior of HOME. Piet Mondrian painting sold to finance it. Comparison of Piet Mondrian and Frank Lloyd Wright's stained glass. The opening credits as perhaps also expressions of Mondrian. Van Gogh's study of Gustave Dore's prison yard painting. Circularity. The sky in the prison painting. Frank Lloyd Wright and the red bathroom in The Shining.

Part Two - (93-155, about 29:03)

Some subjects covered/subheadings:
18 A Linear North and the Cubist Blackboard - The Mural - Alex's Bedroom and HOME - Alex's Thieving of Clockworks - The Relationship of Cat Ballou to A Clockwork Orange and Use of Imagery From - The Theatrical Dancing Christs - Vampirism and Blood Religion The blue light and the concrete triangle/pyramid. The mural. Golden Age. The graffiti. Alex's bedroom. Comparing Alex's typewriter with Alexander's. The loot drawer and The Thieving Magpie. Herman Makkin's dancing Christs and the Rocking Machine penis. Alex as vampire. "Cat Ballou". Story of "Cat Ballou". "One Million Years B.C." and Hammer films. Dracula. "The Curse of Frankenstein" in "Lolita". The parting of the earth. A Pain in the Gulliver - The Golden Apartment - Beethoven's Death Portrait Alongside the "Breathing" Beethoven - The Seeming Change from a Large Bulb to a Small Bulb in Alex's Room - Mr. Deltoid and the Extra Set of Teeth. The lock, the roulette wheel and 666. The Little Things. The Parting of the Earth. Symmetries in 2001, The Shining and A Clockwork Orange. The 34 inch tall Durango as the transport to HOME. The March Through the Drug Store (Music as a Drug) - Love is Colder Than Death - The Relationship of Fahey's The Transfiguration of Blind Joe Death to A Clockwork Orange. Music at the music store. CSNY's "Deja Vu". Why the Fahey album is of particular interest. Der Rosenklavier, Love is Colder than Death, and the Chelsea drug store. Richard Strauss' "Der Rosenkavalier" (in Love is Colder than Death) and relationship to the Chelsea drug store, "Streetcar Named Desire" and the cherry red soda of "You Can't Always Get What You Want". Jimmy of the Rolling Stones' song and JIMI. The armor of Mick Jagger's "Ned Kelly" and the armor art at HOME. The William Tell Overture and the Invisible Bowman - The Rainbow Phallus Women as the Gate to a Change, as with the Rainbow Women in Eyes Wide Shut. Gillian Hills and Blow Up. The threesome in Blow Up and the threesome in A Clockwork Orange. Gillian Hill as the silent one in both. The snake in Blow Up compared to the snake in A Clockwork Orange.

Part Three - (156-264, about 47:18)

Some subjects covered/subheadings:
Alex Unseated as Leader - The Declaration of a Move from Infancy to Manhood. The Marina, Where Alex Viddies the Difference Between Inspiration and Thought. Comparison with 200 and Eyes Wide Shut. Bog/god, Dim/mid and Ulalume and the "misty mid region of Weir" in Lolita. Reversals. The Duke of New York Pub - The Duke of York, The Orangemen, and the Battle of the Diamond - The Diamonds - The Art at the Cat Woman's. Paintings by Cornelius Makkink, brother to Herman Makkink. "Odalisque" and Orientalism. Changes between paintings and the paintings in the film. The Rocking Machine. The Avengers. "The House that Jack Built" and the Shenley Lodge (the cat woman's house). The computer in "The House that Jack Built" much like HAL. The tiger at Shenley Lodge. The maze. The British double agent and Shenley Lodge. The concentric rings. Magical Mystery Tour and the Colored Aerial Landscape Footage in 2001. Ariel landscapes of 2001 and Dr. Strangelove and The Magical Mystery Tour. The Cat Woman and a Change of Fortune - The Paintings as Oracles and scenes from Alex's Life - The Cat Woman as Sphinx - A Comparison with Eyes Wide Shut - The Sphinx and the Chariot. In Police Custody - Alex Stripped of His Bloody Eye Cuffs - The End of the Line for Deltoid. Violence in A Clockwork Orange. The Use of the Overture and its Relationship to Concealing, Redemptive Blood.

Part Four - (265-323, about 1:07:17)

Some subjects covered/subheadings:
The Incarceration of Alex - Comparing the Prison Receiving Area with Home - Time Arrest - The White Lines of Restraint. Comparing this scene to posters for Cat Ballou in which Cat is inverted. The Hanged Man. The Prison Chapel - The Twin Blackboards of Home Merged in the Single Prison Blackboard - The Use of the Tale of Jacob and Esau - The Red Band. The change of the hymn from the one in the book to bring in again the idea of home. The Prison Library - The Necessity of the Persecutor of the Persecuted Christ - The Catechism of Revelation. The Minister of the Interior - The Pyramid and Circle in the Exercise Yard - On the Literature on the Desk in Alex's Prison Cell and That on the Desk of the Prison Governor - On Pomp and Circumstance, Othello and Lodovicio - Lodovicio the Humanist - The Theme of False Appearances and Erroneous Blame. The train and anamnesis. With "Pomp and Circumstance" and its relationship to Othello and Lodovico, and "The Thieving Magpie", we have music that concerns false appearances and erroneous blame, an unknown or deceptive agent influencing action. The Prison Governor's Office - Alex Signs for the Ludovico Treatment - On the New View as Opposed to the Old Eye for an Eye.

Part Five - (324-453. about 1:26:04)

Some subjects covered/subheadings:
Alex Transferred into the Care of the Ludovico Medical Facility. Alex Begins His Treatment With Serum-114. Alex Described as "Chosen" and Serum-114's Relationship to ChRM - 141 as a Permutation of 114, and its Commandment for Alex to Make His Suicidal Leap as Programmed in the Ludovico Cinema. The First Round at the Ludovico Cinema. The Second Meeting with Brodsky in Alex's Room at the Ludovico Facility. The Second Round of Films in the Ludovico Cinema - Comparing the First and Second Rounds of Films. The Projection Light; Overture to the Sun/Son - The Testing of Alex's Reformation into the Perfect Christian.

Part Six - (454-528, about 1:39:26)

Some subjects covered/subheadings:
Alex Revisits 18A-Linear North - The Art Work as an Oracle and Mirror of Alex's Life - What Will He Do Now; Alex Revisits the Irish Bum - The Mural as Representing the Embankment - Alex as 666; Decoding the Mural at 18A-Linear North - The Parcel and the Note Which Alex Delivers to the Clerk at the Music/Drug Store - Another Look at the William Tell Overture and its Relationship to the Mural and Embankment - Leviathan as Expressed in the Mural and Alex as 666

Part Seven - (529-595, about 2:01:03)

Some subjects covered/subheadings:
The Near Drowning of Alex - On the Symbolic Versus Literalism - 114 and its Permutations in the Timeline of the Film, Alex's Drowning During 1:41 and its Connection with the Mention of the Feeling of Drowning During 1:14; The Return to Home - On the Bodybuilder; Singing in the Rain Redux; Spaghetti and Wine for Alex; Alex Takes a Flying Leap - A Comparison of the Inspiration for Alex's Suicidal Leap with the Programming Alex Receives in the Book - Ode to Joy as a Death Song - The Suicide Scherzo, Alex' Leap, and the Dancing Christs - Bringing the "Divine Edgar" into the Mix

Part Eight - (596-678)

Some subjects covered/subheadings:
Alex Resurrected - The Hermetic Pelican and the Red Blood of the Dragon; Alex Makes the Papers Again, Prompting a Visit from His Parents - Art, Reconciliation and the Great Work - On Paisley and Basel and Basilisks - The Gift Basket; The Psychiatrist - The Duke of York Pub and the Psychiatrist - Humbert Humber's Divine Edgar's "Ulalume" and Psyche - A Comparison of the Subject of Deja Vu in A Clockwork Orange and Deja Vue in The Shining - Memory and Forgetfulness; An Understanding Between Friends - Alex's Toes Behind the White Lines - A Round of Applause

Supplemental Posts

The Relationship Between the Chess Game in 2001, Dave’s Dinner in the Room Beyond the Infinite, and Danny on the Reversed Rug in The Shining, with notes also on Clockwork Orange

Notes on the Mungojerrie Effect and the Record Store Section of A Clockwork Orange. In which I discuss some of the musicial choices and a possible relationship to other films. Also a humorous and relevant aside on T. S. Eliot's poetic cats, Mungojerrie and Rumpelteazer.

The Mystery of the Moving Glass in Tarkovsky's Stalker (Comparing Also Tarkovsky's Use of Beethoven's "Ode to Joy" with Kubrick's Use of the Same in "A Clockwork Orange)

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Analysis of Stanley Kubrick's 1975 Film Barry Lyndon

Table of Contents

One - Shots 1 thru 118, stopping when Barry leaves home.

Sections and some subjects covered:
The First Duel:
The book versus the film. Heightening the reality through the painterly effect, a comparison with 2001. Kubrick's cycles. The undulating waveform of the wall and fence.
Mrs. Barry commits her life to Barry and the memory of her dead husband: The book versus the film.
The Ribbon Game with Nora Brady: The book versus the film. Location. The rose blows. The eight of hearts. Love story.
Captain Quin, the Regimental Review and Dance: The book versus the film. The pyramid and the false Barry at the center of the scene. The Piper's Maggot Jig, the earworm and the Sarabande.
Nora Caught Between the Affections of Barry and Quin: The book versus the film. The chopping wood scene and Caliban.
The Challenge: The book versus the film.
The Second Walk Home: The book versus the film.
The Second Duel: The book versus the film. For honor or love or what?
Barry Returns Home, as His Father Did Not, Only to Leave: The book versus the film. The pursuing shadow of doom.

Two - Shots 119 thru 254, up to that time that Barry takes on the guise of Fakenham in an attempt to escape the army.

Sections and some subjects covered:
Captain Feeny: The book versus the film. The magic of misdirection. Fathers and sons and this scene as a bridge in which is past and future. (In Ryan's Daughter the actress who played Barry's mother was wife of the actor who played Capt. Feeny.) The Sea-maiden.
Barry is Recruited: Health to the Barley Mow. The book versus the film.
The Boxing Match Under the Mountain: The book versus the film. How prior events are reconstellated in this scene, and their relevance to the "Health to the Barley Mow" song. The mountain's relationship to other pyramids in Kubrick's films.
Grogan and Barry Meet Again: The book versus the film. Again, the magic of misdirection.
The Death of Grogan: The book versus the film. The kiss.
Barry Becomes a Lieutenant: The book versus th film. Expressions of love and sexuality. Eavesdropping. How this scene is similar to HAL and the chess game.

Three - Shots 255 thru 425, when Barry escapes the Prussians.

Sections and some subjects covered:
Lischen: The book versus the film. Where is this town?
Fakenham Uncovered as a Fake: The book versus the film.
Rescuing Potzdorf: The book versus the film. The violence in the army and Barry's later canings of Lord Bullingdon. The anatomy of framing. Award for a rescue as opposed to a kill.
The Minister of Police: The book versus the film. The interview with the minister of police compared with the interview with Ullman. Locations.
Barry's Confession to the Chevalier: Locations. The book versus the film. Patrick Magee, from A Clockwork Orange to Barry Lyndon.
A Prince Challenges the Chevalier: The book versus the film.

Four - Shots 426 - 493, thru the death of Sir Charles Lyndon. Intermission.
Five - Shots 494 - 636, thru when Lord Bullingdon and Barry have their public fight.
Six - Shots 637 - 714, thru Bullingdon's challenging of Barry to a duel.
Seven - Shots 715 - 789.

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Analysis of Stanley Kubrick's 1980 Film The Shining

Table of Contents

Based on Stephen King's novel.

Jack Nicholson--Jack Torrance
Shelley Duvall--Wendy Torrance
Danny Lloyd--Danny
Scatman Crothers--Dick Hallorann
Barry Nelson--Stuart Ullman
Philip Stone--Charles/Delbert Grady
Joe Turkel--Lloyd

IMDB link The Opening (shots 1-8 about 3:01)

Some subjects/subheadings covered:
As above, so below. Rorschach blots and mirror reversals. Shining in the Shining Mountains. St. Mary's lake in Glacier National Park. The island is Wild Goose Island. The road is Going-to-the-Sun road. The Vanishing Point. Credits roll. Colors of the blue credits, inverted, recall the colors of the orange/red geometric carpet at the Overlook. Tunnels and Rainbow Arches. Brief description of the east-west journey of the car on the road. VWs in the car lot of the Overlook. Red VW. First view of the Overlook, the Timberline Lodge in Oregon. Dies Irae. The music. The Day of Wrath. Judgment day. Requiem mass. Dies Irae and Berlioz' "Symphony Fantastique". Dies Irae and Faust. Walpurgis Nacht. A side trip on the trivial incidental of the helicopter and then back to thoughts on Dies Irae. Dies Irae and Rosh Hashannah. Yearly judgment and day of remembrance. Yom Ha-Zikkaron. Unetaneh Tokef and Dies Irae. Why The Shining after all. Why study the film in relationship to the music. Why study the locations. Studying the plotting of the drive on the Going-to-the-Sun road and the Continental Divide on which the Overlook appears to be symbolically situated in the film. The Yellow VW. NOTE: I would add now a section comparing to the isolation of Prospero's island in The Tempest (see Fear and Desire).

The Interview (shots 9-95 about 17:37)

Some subjects/subheadings covered:
The Lobby, its Influences, and the Dissociation of the Lodge's Interior from its Exterior - How a Set Informs the Story in All its Particulars. The lobby and Colodrado Lounge based on the Ahwahnee Hotel at Yosemite National Park. The Stanley Hotels. Ahwahnee and Timberline's exterior designed by Gilbert Stanley Underwood. The Z embellishments. What informs the pyramidal structure of the exterior of the lobby. Pyramid shapes in A Clockwork Orange at the prison. A Note on 8 and 1/2. The man with the camera. 8 and 4. Our First Acquaintance with the Gold Room Hall and the Maze - How Flow of Action About the Set Unconsciously Constructs for the Audience a Plot of the Unseen Environment Based on Natural Expectations. On the piecemeal unveiling of the environment throughout the film. First glimpse of where the final photo will be seen. The disappearing waiter. Camera Walk. Foreshadowing, Jack Crosses the Circle Where Dick Will Later Lie Slain - How Ambient Audio Unconsciously Constructs and Complements Environment. The Impossible Window. The pictures of Mount Hood's south flank. Mirror Lake. Morrisseau's "The Great Mother" and Wendy. Mapping the lobby and our realization the interior is unassociated with the exterior and even the interior as an impossible window looks outside from a wall on the other side of which is a hall. Lunch with Danny, Wendy and Catcher in the Rye. The apartment at Boulder. The red doubling Wendy's sleeve. The two reds of the book and union suit (compare to the two reds in A Clockwork Orange). Wile E. Coyote and the Roadrunner. (I need to insert a section on the Catcher in the Rye and its possible relationship instead to a movie, The Smallest Show on Earth in which Peter Sellers starred as a projectionist). Sound of the train. The alabaster bull beside the Q tips. Oh, and about the Cartoon. Description of the "Stop! Look! And Hasten!" cartoon in which Wile E. Coyote is struct by a train. Introducing Bill Watson, a Man with Precious Few Words on the Situation. Norval Morrisseau's "The Flock of Loons" which will later be seen elsewhere. Difference between Kubrick's and King's Watson. The bird statuette. Quirks of Ullman. Comparison with the prison governor in A Clockwork Orange. The Story of the Winter of 1970. The Two Type of Photographs in the Hotel. The archival photos of meetings as opposed to the more eerie ones with unidentifiable shapes or seeming peculiar scenes. Notes on Ullman's Desk and Inconsistencies. Notes on the Timings of the Sha Sounds. There are distinct "sha" sounds occasionally, the first made when Jack crossed over where Dick will later be slain. The timings of the sounds. Danny's First Shining of the Girls and the Bloody Elevator. Description of figures on Danny's door. (Dopey may refer back to the boxer in Killer's Kiss who describes himself as such after being knocked out. He also vaguely anticipates Danny's sneaking up on room 237. Woodstock, the bird whose speech was communicated with symbols and chicken scratch. Mute characters. Comparison of bathroom window with Ullman's office window. The story of Charles Grady giving people "second thoughts". The flyfot decoration on the Ahwahnee elevators on which the Overlook's are based. The girls not exact twins. What isn't destiny, wat isn't a foregone conclusion, what prevents history from repeating itself? The bleedover of the elevator scene into Danny's room. The Rainbow in Danny's Room and His Black-Out Compared to A Clockwork Orange and the Invitation to the End of the Rainbow in Eyes Wide Shut. The rainbow and the flood. Lyacon's slaughter of his child followed by Zeu's flood. The rainbow and the eye. Iris, iridos. Lily. The fleur-de-lis in Kubrick's other films. The eyes on Alex's shirt cuffs. Alex's period of black unconsciousness compared to Danny's. Bill's removing of something from a woman's eye in Eyes Wide Shut. Repetitive motifs. The Awakening of Jacob. The music concerns Jacob's terrifying dream of angels ascending and descending the ladder. (An addition I need to sometime make is the seeming anticipation of the peculiar bear/boar-like creature toward the film's end in Dannny's pillow, which is seen when Wendy is ascending flights of stairs looking for Danny and thus recalls Jacob's dream on his pillow of angels ascending and descending a ladder. I've already noted the creature embodies reversals/opposites.) Jacob's twin and a meaning of Esau. "When this one falls, the other one rises" and perspective dominance. 42. See other films for Kubrick's use of 42. Jacob's pillow and "mental vision" and "mirror". Carson City. The movie played on the TV while Wendy speaks to Jack. Trains and the movie. Description of the movie. Its relationship to the scene. Kubrick's use of trains in other films. The painting of the horse and railroad by Alex Colville and the problem of destiny. The Second Interview - Susan Sontag's Illness as metaphor - Young Jethro and the Maze - The Works of Ina Seidel and the Third Reich. Danny's room. The move of the duck. Danny relates in reverse order what happened in the bathroom. Mapping the apartment. The why of Sontag's book. This interview as a "twin" to Jack's interview. "The Clew and the maze. 42 and "The House of Brede". "The Wish Child" by Seidel who authored "Das Labyrinth". Problem in timeline of when Jack stopped drinking. On the Two Union or Liberty Suits and the Two Necklaces. Wendy wears two red union suits, one over the other, and two gold necklaces. Doublings. (See The Killing for information on the dog painting on the wall and how it references The Killing.)

Closing Day (shots 96-163 about 34:09)

Some subjects/subheadings covered:
The Second and First Ascents Compared. This ascent is impossibly from an opposite direction, they are moving west to east instead of east to west. Mapping the two ascents. The Triple Arches (see Eyes Wide Shut). The Continental Divide. Compare the road's illusory entering the hotel directly with the same effect in Lolita as they approach the Enchanted Hunters Hotel. (An underworld journey, much as in Lolita.) Carson City's Tunnel and the Lodge and the Highway Tunnel in the Opening. The dual tunnels. On "Dies Irae" of the Opening, the Story of the Sacrifice of Isaac, and the Rainbow. Dies Irae, Rosh Hashanah and the story of Abraham. Abraham's faith usually defines his actions as righteous submission. The questioning of righteous submission. The substitute ram. The shofar as drowning out the accuser. The question of the problem of complete subjection to any higher authority. Lunch with Playgirl in the Lobby. The ladders. 8:30, 8 and 1/2 and 8 and 4. Playgirl anticipating the later invitation of the girls for Danny to play with them. Anticipating Jack's all work and no play. The Joke of the Luggage. A Possible Connection of the Luggage with Rosh Hashanah. Comparison of the VW and its incapability of carrying that massive amount of luggage with Johnny's briefcase in The Killing which can't carry two million dollars, but the duffel bag secreted in it can. Relationship of this to the New Year and the January Playgirl. The Colorado Lounge and Seeming Illogical Traffic Flow of the Numerous Departing Employees - Confounding Orientation with 90 Degree Turns. The false impression of going from the lobby to the Colorado Lounge on the elevator. Lobby level of the Colorado Lounge. Danny not yet "collected". The driftwood on the long table. Moving of furniture for cleaning. The bison headdress and the Minotaur. Map of the lounge. The Game Room, the Monarch Ski Poster and the Minotaur. The Colorado flag. The dart game. The girls between the bucking bronco poster and the "Monarch" poster of the seeming skier. Legeti's "Lontano". 1912 National Western Stock Show poster displays a platform between the two trans of the Denver Union Station. (The January show was a disaster that year due to winter storms, A poster for La Maison de la Glisse. Dante's Inferno and the 7th circle of hell and the Mintoaur reached by a mountainous region and a valley through which runs a river of blood. Buffalo heads decorating the original Timberline. The Blackboards. Comparison with use of blackboards in A Clockwork Orange. Suite 3 and the Moving Shower Curtain. A sense of discordance in the timeline. Map of the suite. Why the elevation of the suite? Moving shower curtain that anticipates room 237. The Moving Shower Curtain as Confirmation of Intended Movement of Other Objects Rather tHan Just Normal Continuity Errors. The Introduction to the Famous Hedge Maze - Our First View of How the Maze Doesn't Belong There and How the Studio Set is Entirely Different from the Aerial Views. The studio Overlook is fashioned after the Timberline front, leaving out the central pyramid. Some argue the maze must belong in the back but it belongs neither front nor back. Some differences of the studio exterior. The rear view of the real Timberline. The mazelike formation of the ski trails in front of the Timberline. Disequilibrium with the viewer in trying to reconcile the studio Overlook with the repeated views of the Timberline. The change of direction, 90 degree turn with shots 110 and 111 that incorporates a break as described in shots 225 and 226 of Killer's Kiss, shots 319 and 320 of The Killing, and certain black-out/inbetween shots of Lolita. On the Indigenous Theme Containing Multiple Levels of Inference and its Connection to Jacob and Esau. First, there would have been no Indian attacks to repel in 1907-1909... The Snowcat and the Sphinx. The Gold Room and the Unwinding Hours as Referring ot the Labyrinth Thread. Mapping the Gold Room and the red bathroom. The Kitchen as Maze. How we step into locker C3 instead of C4. Reversals. Danny's distaste for lamb. Joke of the lamb. Error in time. Shining in the Story Room - How the Calumet Baking Powder Triggers the Jacob's Ladder Shining State The problem of the C1 locker making the C2 locker impossible. Mapping the kitchen. Tony the Tiger. Link back to the shining in the bathroom possibly through a Jacob's ladder association. (In some ways Dick, the Calumet headdress behind him, reminds of the black feather woman in Eyes Wide Shut and her role of giving warning to Bill.) The Ghost Ship, The Flying Dutchman, and Individuals in Exile. More discontinuity with the clocks. The Flying Dutchman ghost ship doomed to wander the sea until Judgment Day. There is Nothing in Room 237.

Remembrance and Repetition in Kubrick's The Shining

Some subjects/subheadings covered:
Word play and gematria in Kubrick's films. The dart board in the game room and room 237. Remembrance, ZKR, anamnesis and 237. (These ideas link back to Dies Irae, Rosh Hashannah and Yom Ha-Zikkaron). The shining and doubling.

A Month Later (shots 164-181 about 40:27)

Some subjects/subheadings covered:
The Problematic Gold Room Halls and the Lodge in General, and the Problem of Radiant Heat as Versus Forced Air Heat. The morning sun on the lodge provides a compass orientation. Trying to fix dates in the film (this would be supposedly around November 30th). Kubrick's continual reassertion of the set anomalies with showing the real Timberline repeatedly. The audience assumes a certain path to the Gold Room from the lobby via the hall but this too is impossible. Danny's Circuit of the Colorado Lounge Area. Difference in Danny's clothing from what he will be wearing in the maze, this clothing matching with what he will be wearing during the circuit through the halls off the Colorado lounge. Domestic Bliss, Breakfast in Bed - Jack's Shining of the Hotel Experienced as Deja Vu. Notes on this hall and the hall in which Danny will see the girls. The vending machine. The mirroring of Jack. The Stovington eagle. Comparing Jack's breakfast of eggs to Humbert's in Lolita. The Adler Typewriter, its Beginning Change of Color - Playing Ball on the Navajo Rainbow Painting - The Function of the Rainbow as the Doorway Between the Rational Modern World in which Language Articulates but is Also a Barrier, and a Primordial World where Mortals Consorted Directly with Deity, and a Proto-language of Symbol and Archetype United All - Jack as the Giant and its Link with the Tour of the Grounds on Closing Day - Wendy and Danny Take their own Camera Walk outside Which Shows Some Changes from Closing Day. ADLER and the eagle or ADLER and ladders. The color of Alexander's typewriter in A Clockwork Orange also changes. The cigarettes (Jack is never shown smoking). The bison head now seen in the lounge. Comparison of Wendy and Danny's approach of the maze with the maze on Closing Day. "March of the Swiss Soldiers" from the "William Tell Overture" and A Clockwork Orange. Keep America clean game. The move of the map of the maze. Direction of shadows shift after the entrance in the maze. Mapping Danny and Wendy's trip into the maze. Danny's Big Wheel on the Circle in the Lobby where Dick will Later Lie Slain - Jack Loses His Ball - The Lobby Driftwood - Jack as a Veritable Omniscient Presence Overlooks the World Maze as Wendy and Danny Enter its Heart - Differences in the Mazes and What They Tell Us About Some of the Peculiarities Experienced Around the Hotel. On the 90 degree shifts.

A Brief Look at Close Encounters Through the Eyes of The Shining

Tuesday (shots 182-208 about 45:59)

Some subjects/subheadings covered:
Wendy Slicing the Mountaintop and the Carson City Avalanche - Wendy's Apron - News of the Disappearance of Susan Robertson and the Coming Blizzard. The alignment of the stripes in Wendy's Apron with the tracks outside the Timberline. The 24 year old Susan Robertson. Dining with giants.Danny's Circuit of the Floor Above the Colorado Lounge - The Unobserved Open Door Opposite Room 237 - The Ghost Doorknobs - Danny's Third Shining of the Girls - The False Illusions of the Lodge Blend with the Artificiality of the Movie Set - A Floor of Largely Impossible Rooms. The picture and the seeming resemblance to Danny. The plastic sheeting. Kubrick has us so focused on Danny's approaching room 237 we don't see the door of room 236 that has opened beyond. Mapping the floor. Jack Finally at Work - Many Changes in the Colorado Lounge and Some Comparisons with Clockwork Orange - The New Rule. The disappearance of the driftwood as well as other items. Comparing the disappearance of objects to a scene in Eyes Wide Shut. The Fibonacci Sequence in Bartok's "Music for Strings, Percussion and Celeste" and its Relationship to the Maze. Revisiting, for a Moment, Jack at His Typewriter as Wendy Exits (and What I think is the Base Story). How Wendy's "Cutting Off the Mountain Top" and the Disappearance of the Chair and Table are Related and Commented upon by Kubrick in Jack's Notebook. Yeah, I know this will seem completely whacked out.

Thursday (Shots 209-211 about 46:50)

Some subjects/subheadings covered:
Jack Shines in the Colorado Lounge as Wendy and Danny Play Outside. Shining, Doubling and the Use of Ligeti's "Lontano".

Saturday (Shots 212-245 about 51:14)

Some subjects/subheadings covered:
White-out and Jack in the Colorado Lounge, Jack's New Rule and the Snowstorm. Lines Down, the Hotel Cut Off From the Outside World - Word Play Around Ice Cream and its Relationship to CRM-114 - The Hotel and All the Notices on Cleanliness. Eye scream. The good luck horse shoe. Wendy's cactus jacket. More possibilities on keeping America clean. The Radio Call to the Forest Rangers - On Flags and Maps - The Last of the "Sha" Sounds. The poster and the spinning dancer illusion. Shifting and dominant perspectives. Isolation. The Mirror Flip of the Time from 11:40 to 6:10 - The Open Cabinet Opposite the Time Cards Foreshadows the Cabinet in which Danny Will Later Hide - Danny Confronted by the Shining of the Murder of the Girls - The Ceiling Lamps of the Staff Area - The Peculiar Double Knob Suspended in Space. Comparison with 2001.The three lights. Call Us. As Above, So Below, Jacob's Ladder and the Sabbath - On Cycles Represented in ShV and KDK - The Relationship of the Poster in the Switchboard Room to the Girls.

Monday (shots 246-253 about 56:59)

Some subjects/subheadings covered:
The Summer of 42 and Room 242 at the Enchanted Hunters Hotel - MICKEY MOUSE. Plot of the Summer of 42 film. No electrical cord to television. Younger male and older woman anticipates Jack's kiss with the decaying old woman in room 237. Mickey Mouse sweater. Mickey Mouse and Full Metal Jacket. Jack's Single Conversation with Danny - The Red Car on the Window Sill as a Presage of Dick's Snowcat. Jack's seeming smile in the mirror while his face seems blank. The missing painting. Change of the lamp. Comparing this bathroom with the one in Boulder. "Music for Strings, Percussion and Celeste" as also used in the maze scene and when Danny approaches room 237.

Wednesday, Part One (shots 254-299 about 1:09:47)

Some subjects/subheadings covered:
Danny in the Room 237 Hall on Wednesday - The Yellow Ball - The Seeming Carpet Reversal. Kubrick's care in instructing what lights were to be left on when filming the exteriors of the Timberline. The flipping of the yellow and blue vehicles physically plays out blue being yellow inversed and vice versa. I already noted in the opening section that the titles inverted became the colors of this rug. Lets Make it Clear How the Carpet Trick Works. Kubrick Has Used it Before, in 2001. The carpet does not reverse. Danny simply moves on the rug. Because of the way it is filmed this is easy to miss. We have the same in shots 584 and 585 in 2001 on the checkerboard of the white illumined floor. When Dave dines, we have a similar shift between these shots. In the case of 2001 there will likely be a chess relationship as in shot 584 the floor is shown as having 64 squares. The green light of the stairway door and Vivian's documentary. Examples of 90 degree turns in the movie. Danny's Apollo Sweater and its Relationship to His Big Wheel - The Use of Polymorphism in The Shining and Kubrick's Work in General. Examining polymorphism in Kubrick's films we need to go all the way back to Fear and Desire and Proteus then work our way forward and see how this is in all his work. Paroketh, QshTh, The Abyss, Thus Spake Zarathustra. Danny Enters Room 237 While His Mother Works in the Basement Checking the Boiler - The Choking Poster, the Pyramid and its Vanishing Point Eye, and Look There's Danny Choking or Screaming in Room 237 Right Before Our Very Eyes. The blending of the person in the painting into the switch on the boiler (morphing) and its movement. An addition should be made here on The Smallest Show on Earth in which Peter Sellers stars as a projectionist at a deteriorating theater next an old train track. The two film projectors and the projection room actually reminds a good deal of this one. The projectors are funky and Sellers has to be constantly on guard to keep they from getting out of control and melting down the film. Eventually one night he gets drunk and fails his job. Jack Dreams. The completely illogical path Wendy takes running to help Jack. Disappearing furniture. Jack's Eyes Open to Lloyd the Bartender - The Jack Daniels (What's in a Name) - White Man's Burden - Perpetually Five Months on the Wagon. When Jack is viewed from left rear of the bartender, the bartender's sleeve gives the appearance of doubling Jack. Comparison with Wendy and a smilar effect when she is having lunch with Danny in Boulder. The inability to reconcile the timelines of Wendy's relation of the story of Danny's injury and alcoholism, and Jack's story of the injury. The Judgment of Danny. Which Room Was it?

Wednesday, Part Two (shots 300-403 about 1:35:43)

Some subjects/subheadings covered:
Dick, in Miami, is Brought into the Situation - Ground Zero and the Trapezoidal Pyramids. "Bishop" and the lighthouse resembling a Bishop in chess. The 10 tower. The television cuts itself on so what is Dick actually watching. The images of the women on Dick's walls. The television the same as at Boulder and in Suite 3. The melding of 3 experiences--Dick's, Danny's and Jack's--so we are not sure whose experience we are watching. For instance, what if Jack's experience is someone else's vision and Jack saw nothing? Comparisons with Eyes Wide Shut, its Maze, the Hedge Maze at Somerton, 237 as the Verona Restaurant, 236 and the Hospital, ZRK - The Themes of Re-education (Correction) in Full Metal Jacket, A Clockwork Orange and The Shining, and the Mystery of Free Will or Predetermination. Room 237, its Television and Carpet - 2001 and Room 237 - Resemblances of the Bathroom to Other Rooms in the Film - Beldam as the Crone, and Bedlam, an Insane Person. Comparing the bathroom with the center of the maze and the bathroom in Boulder. (One should also compare to the bathroom in Lolita for the shot of Jack opening the door is a replay from that.) The seeming Rorschach-like images of birds caused by the lamplight. Also the opening scene of the film with the mountains and the mirroring in the lake. A matter again of dominant perspective. Jack in Dick's Miami Home - Other Links Between the Miami Home in the Lodge. The protean morphing of Jack so that he appears in Dick's home. Dick's dark "sun room". Summer and winter opposites. Jack Has Seen Nothing - Danny Foresees the Redrom Which He Will Himself Later Write - A Permutation of Nothing, AIN, Into a Confrontation with Self, ANI. The key. The moving lamp. The Hanged Man. Jack Encounters the Masquerade as Dick Calls the Forest Rangers. The "Mist Fantasy" painting by James Edward Hervey MacDonald. I don't mention it in the analysis but we should look back to the "misty mid regions of Weir" in Lolita. Also the canoes will recall the La Maison de la Glisse canoe poster in the game room. Midnight, The Stars and You - The Women with the White Feather Headdress and the Gold Dress - The Hand Print, The Advocaat and Carson City - The Old Woman from Room 237 in the Gold Room. The "bread crumb" and the white flecks on the carpet before the murdered girls. Decorative balloons recall Danny's door. The collision with "Grady" due the woman. The staining Advocaat made of eggs and the eggs Jack ate while he spoke of his deja vu. The handprint in Carson city. The Red Bathroom - Comparing the Gold Room and the Red Bathroom to the Lobby. The entrance to the red bathroom have compose a 90 degree turn so the bathroom actually fits over the Gold Room. The advocat. Eggs in Lolita and deja vu and reversals. About that Frank Lloyd Wright Inspired Bathroom. Biltmore-Bowman. The Frank Lloyd Wright logo. The ax murders at Taliesin East. The Gold Room and the Arizona Biltmore. The Two Gradys, Charles and Delbert. Danny's Not There. Repeat of the Rorschach style bird images via the lamplight in Suite 3, as had in room 237. The burn hole in the carpet. Disabling of the Ham Radio - Yet Another Different Facade of the Lodge.

8 a.m. (shots 405-507 about 1:54:18)

Some subjects/subheadings covered:
Before 8:20 - The Puzzle of Which Jack is at the Typewriter and/or When. Wong direction of the morning sun entering the plane's window. Difference in clothing. Jack now in this morning shot wears the same clothing he either wore in the Tuesday section or the sweater of the Thursday and Saturday sections. This is impossible. Why do we never see Jack smoking? Shots 208, 214 and 408 and their relationship to 8 and 1/2. Dick Calls Durkin - Something Missing at the Airport - Mighty Angelo, the World's Strongest Flea. The cartoon "To Itch his Own". The moving box. Dick Takes to the Road and Seems to Not Be the Only One in the Car, Which is a Matador Model - The Red VW - HAL and Charlie - The Tunnel is Open - A Restaging of the Kitchen Scene at the Boulder Apartment. Time anomalies. All Work and No Play Makes Jack a Dull Boy in Context of Deja Vu and Repeating Patterns. 42 and All Work and No Play Makes Jack a Dull Boy - The Dart Board and its Rings as a Representation of IHVH (72) and the Worlds of Atziluth, Biiah, Yetzirah and Assiah. It may seem out there to consider counting the key strokes but we have this also in Fear and Desire with a rephrasing from The Tempest being 64 words, which refers to a section of The Tempest in which Shakespeare, in connection with a chess game, gave a section of dialogue that was composed of 64 words. The idea of all work and no play is oft repeated in Kubrick's films, by the way. It's not peculiar to this one. Jack's Dark Silhouette the Same as was in Dick's Car. Spooky! Seriously. This is done beautifully. Dick and Jack become doubles. Photos in the Colorado Lounge. Jack Falls Down and Breaks his Crown. Beautifully acted. Wendy Stores Jack in the C1 Story Room - As with the Ham Radio, the Snowcat Has Been Disabled. Polymorphia plays as Wendy pulls Jack into the storeroom. The two switchboxes beside C1 have become only one. Usually a disappearance is accompanied by a 90 degree turn (right angle) and that is satisfied here by the metal box (freezer) having been moved 90 degrees. The same rug as was in the entrance to the red bathroom is in the hall off the exit/entrance used for the rest of the film.

4 p.m. (shots 508-661 about 2:20:45 beg last shot)

Some subjects/subheadings covered:
Jack Released from the Story Room - The Double Lock and the Blending of C1 and C1. The bags of Holly Salt. Jacob and Essau. The wrestling with the angel. Passover. Dick in the Snowcat - The Green Man. The morphing of Dick with a tree here takes us back to Jack morphing into a plant in Dick's Miami home. It happened! Go back to the 2nd Wednesday section where Jack leaves room 237. Redrum. Jack Attacks - Kubrick Comments on Jack's Blood Marking the Door with Penderecki's Passover Canon - Implications of Resurrection Conferred by the Music. Dick Reaches the Hotel - Snowcat Before the Pyramid of Snow - The Cabinet in Which Danny Hides - Change of Orientation of the Kitchen to the Hotel's Layout - The Murder of Dick - The Problem of the Pillar. Via Dick's arrival at the Timberline being shown we know that the maze is supposed to be in the "front" as Kubrick provides a shot approaching the front of the Timberline and not just the studio set, then shows Dick driving up to the studio set. The peculiar doubling even of the cabinet in which Danny hides. If Jack has just escaped from the C1 room, why is he hobbling past it rather than simply away from it? The ash receptacle by the pillar behind which Jack hides moves. First it is behind (he can't hide behind if it is still there). Then it moves 90 degrees to the side when Dick enters the lobby. Then afterwards it is moved back behind the pillar again. The Beast and a Prime Reason Why it is So Disturbing. The music concerns the entombment and resurrection of Christ, but we have a matter of perspective here (perhaps like the dominant perspective of illusions) so that many instead hear it as horrific. The pied cow painting has the rail of the bannister move across it so that it brings back in the horse and track and train painting back at the Boulder apartment. The "beast". Its face a combination of a frown and a smile so the dual perspective is disconcerting. I don't note in the analysis but though many assume it is giving head, its body is positioned too high and the man's trousers are done up. Jack Pursues Danny into the Maze, the Entrance of Which Has Shifted. 90 degrees. Great Party, Isn't It - The Continental Divide as the Great Divide as the Great Party. Dick Disappears Amidst Skeletons and Cobwebs. Danny, in the Heart of the Maze, Covers His Tracks. The Red Hall and the Bloody Elevator. The Reversed Elevator Doors. Jack in the Heart of the Maze. Shot 630 shows what seems to be an ALPh in the snow at the heart of the maze. As above, so below. Wendy and Danny, Reunited, Flee the Hotel. Jack's Clenched Fist and the July 4 1921 Overlook Ball Photo. Danny is shown falling while still within the maze, shot 645, but in shot 647 he is on the ground outside of it at the entrance. Compare shot 659 to Humbert arriving at Quilty's at the beginning of Lolita and Quilty throwing aside the sheet that had covered him in a chair (he is as no more than a piece of furniture, morphing), saying he's Spartacus and asking if Humbert has come to free the slaves.


The Alex Colville Painting That Doesn't Appear in "The Shining" But is Written All Over It. On the yellow VW.

Stanley Kubrick, Anamnesis, and His Use of Railroad Imagery

How Shot 306 in The Shining Duplicates Shot 230 in Lolita, #237 Intimately Connected with Charlotte's Death, and That Watery Death (Perhaps) Connected with Hitchcock's Psycho

The Clenched Fist of Jack Torrance

In Which Kubrick Tricks Us Into Not Noticing the Door Which Has Opened (in the blog section of the website and will open in a new window)

How the Kubrick Carpet Trick Works (in the blog section of the website and will open in a new window)

The Relationship Between the Chess Game in 2001, Dave’s Dinner in the Room Beyond the Infinite, and Danny on the Reversed Rug in The Shining

The July 4th 1921 Ball Photo

That Thing in the Elevator in The Shining

Management of Psychic Space with the The Elevator, the Two Girls and Danny's Room

Possible Influence of the 1969 "Traumnovelle film on The Shining

The Shining and L'Inhumaine?

The Real Horror of The Shining : The Misogyny of the Audience for Wendy Torrance

The Shining, The Birds, and The Summer of 42

The Possible Dialogue Between Kubrick's The Shining and Tarkovsky's Solaris (On the Rolling Ball)

The Maps

Maps of the Overlook Hotel (in the blog section of the website and will open in a new window)

The Locations

I had thought it fun to study the locations of the shots on the Going-to-the-Sun road in Glacier National Park in particular, and below are posts showing shots from Google Street View of the locations. All of the below are in the blog portion of the website.

Repurposed shots from Google Maps street view pinpointing the locations of the opening shots on Going-to-the-sun-road are in the following posts:
St. Mary's Lake
Serpentine Bends
Crossing the Field
Helicopter Takes a Pass
Entering the west tunnel
Exiting the West Tunnel
The East Tunnel (not used in the film)
After the West Tunnel
Last Shot of Glacier Park in the Opening.

Though the Overlook is in Colorado, these opening shots, along with the Closing Day shots, pinpoint a kind of psychological place for the lodge as being on the Continental Divide. The final crossfades to the lodge occur before it. In the opening, the VW travels east to west and the final crossfade out to the lodge occurs east of the Continental Divide. In the Closing Day section, the VW travels west to east on the road and the final crossfade to the lodge occurs west of the Continental Divide. Kubrick often gives us several perspectives of a scene. Such as with there being several perspectives for the "shining" in Room 237. Such as the several mazes. We have the set maze outside the Overlook, we have the map for the maze (different from the set maze), we have the model maze (different from the set maze), and then finally he shows us the "world maze" in which the left mirrors the right side. This is a double labrys--the labyrinth--and we may find the same with the VW approaching the Overlook from either side of the Continental Divide.

Repurposed shots from Google Maps street view pinpointing the location of the Boulder apartment.

Repurposed shots from Google Maps street view pinpointing the locations of the ascent.

Repurposed shots from Google Maps street view showing the view down the mountain and the maze of ski slopes before the Timberline.

Repurposed shots from Google Maps street view of the Miami Channel 10 radio station and where the Stapleton airport was once located and the Westminster/Boulder exit from Denver that Dick passes by on his way to the Overlook.

Repurposed shot from Google Maps street view showing the exterior of a snow-drenched Timberline/Overlook.

Repurposed shots from Google Maps street view showing Dick's travels up the mountain to the Overlook. Through sheer luck I believe I may have been able to pinpoint the location in which the Snowcat is shown in a pristine winter wonderland that hardly seems real, but is.

Repurposed shots from Google Maps street view showing a couple supplemental, pretty shots of the Timberline area.

Return to the top of the page.

Analysis of Stanley Kubrick's 1999 Film Eyes Wide Shut

Table of Contents

Based on Arthur Schnitzler's 1926 novella Traumnovelle.

Tom Cruise--Bill Harford
Nicole Kidman--Alice Harford
Sidney Pollack--Victor Ziegler
Marie Richardson--Marion
Julienne Davis--Mandy
Rade Serbedzija--Milich
Todd Field--Nick Nightingale
Vanessa Shaw--Domino
Fay Masterson--Sally
IMDB link

Part One

Some subjects covered/subheadings:
The First Waltz Two - The First Echelon - Differences Between the First Dressing Room Scene and the Second - Foreshadowing the Black Cloaks - The Mirrors - The Different Views Out the Dressing Room Window - Shanah as Expressed in the Scene - The Dance Before the Dance; The Ziegler's Party - View of a Hidden 237 - The Story of Helen of Troy - Cupid and Psyche - Ziegler, Sharky's and Rainbow Costume Rental - The Festival of Lights and the Christmas Season - Alice's Failed Art Gallery, Temperance and Gemini, and Sandor's Offer of Help - The Invitation to the End of the Rainbow, Sagittarius, QShTh and Fidelio - A Possible for CRM-114 - An Initiation - The Switch from the Twisted Lamp Column and Red Phone to the Drug Paraphernalia and a Different Lamp, and Rahab and ShNI - An Understanding - The Paintings Switch (1-57, about 20:26)

Part Two

Some subjects covered/subheadings:
What's Beneath the Wrapping, Reading Between the Lines, A Day in the Life of Bill at His Office and Alice with Helena - On Troubadours, The Language of Love, and the Secret in Alice's Bandaid Box; The Naval Officer - The Peculiar Nature of Alice's Argument with Bill - The Futility of Attempting to Psychoanalyze a Movie Character - The Laughter of Alice; Marion Nathanson - Nephilim and the Gibborim, the Heros of Old - The Disappearing Sculpture - Dr. Carl Thomas As a Double of Bill (58-163, about 45:27)

Part Three

Some subjects covered/subheadings:
Bill's First Pass Down the Hidden Rainbow Street - The Mexican Restaurant - Nipped in the Bud - Flying Burrito - The Pink Pussycat; Bill's Second Pass Down the Hidden Rainbow Street - Sevens - The Yale Bullies Accost Bill, Replaying Earlier Symbols and Events - Mourning Becomes Electra? The Lost Pleiade; Bill's Third Pass through the Neighborhood - Domino - The Lotto Store and Domino's Apartment - Blume in Love and Alice's Interruption of Bill's Escapade; Eyes Wide Shut and DePalma's Hi, Mom - Comparison of Hi, Mom with 2001 - The Two Apartments - Comparison of the Theater of Be Black, Baby with Bill's Ordeal at Somerton (164-194, about 54:47)

Part Four

Some subjects covered/subheadings:
Bill's Fourth Pass Through the Neighborhood - The Sonata Jazz Cafe - Comparison with the Happenings at the Sonata with the Duke of York in A Clockwork Orange - The Marquee and Possible References to Gayle and Nuala - Night Train - All Exits are Final - Fidelio - St. Nick, Nike or Old Nick? - Shining Eyes; Bill's Fifth Pass Through the Neighborhood - Rainbow Fashions as Victor's Second Floor Gallery of Bronze Renaissance Statues - "Looks Like Live" Mannequins (Detailing Their Movements) - The Two Versions of the Dressing Room Closet at the Harford Apartment as Expressed in the Rainbow Office Where is Also the Harford's Rug - The Myth of the Rainbow, Flood, the Nephilim and the Mighty Men of Old (195-259, about 1:08:39)

Part Five

Some subjects covered/subheadings:
Somerton - The 7M96 Cab - The Doorkeepers - Someton as the Fabled Classical Labyrinths of Troy and Jericho - Exterior and Interior Locations - The Dressing Room Mirrors, the Screen, and the Donning of the Mask - Masks as Submerging Ego so the Deity Represented May Manifest - The Mask and Carnival - The Dionysian Aspect - Fish - The Association of the Labyrinth's Ariadne with Dionysus - Bill Literally Enters the Spotlight - The Bauta Figure - Movement of Participants Echoing the Mannequins in their Continually Being out of their Designated Order - Relationship of the Library to the Private Rainbow Office and Dressing Room - Switching - Abigail - Another Look at Sandor, the Hungarian - Ricercar - Freedom; Alice's Dream - Another Change of Location of Paintings - Differences Between Alice's Dream in the Screenplay and the Film - An Examination of Alice's Dream in the Screenplay and how it Relates to the Film - The Shekinah and the Desire to Unity - On the Garden of Eden, Noah, Dionysus and the Naval Officer - Carnival and the Flood - The State of Affairs as Bill Begins the Next phase of His Journey (260-360 and 361-378, about 1:38:32)

Part Six

Some subjects covered/subheadings:
The Second Visit to Sonata Jazz Leads to Gillespie's Cafe - University Place, Ones and Unity - Auto Repair and the Cab - The Mysterious Package - The Doubled Top Hat - The Doubled Guitar - 7 and Netzach, Victory - Visit to Gillespie's - To be Perfectly Honest (Not); The Hotel Jaso(n) which will Later be the Verona Restaurant at 237 - 110 University Place - The Envelope - The Missing "N" and 5 0 - The Story of Nick's Check Out - To be Perfectly Honest (Back at you, Bill); The Second Visit to the Rainbow Costume Shop - The 7M96 Cab and its Dent - Bowman - Ace and 111 - The Mysterious Package - The Missing Mask - Milich's Daughter as One Who is Costumed; The Second Visit to Somerton - Aleph - The Musica Ricercata, BQR, and Unity - The Two Gates and the Twisted and the Nontwisted Gate Pulls (379-435, about 1:51:57)

Part Seven

Some subjects covered/subheadings:
Math with Carlos - The Watch Dog - Joe's Problem - Revisiting Marion Nathanson; The Return to Domino's - The Voice Beyond the Block - The Return of the Mysterious Package - Choosing Between the Two Doors - The Battered Christmas Tree - The Rainbow - To Be Perfectly Honest; Bill Followed - Nicon House on Worship Street Just Down from Tabernacle Street - Diamond House - Vitali - Abandoned by Cab 7M96 - The Encounter - Verona Restaurant at 237 and its Relationship to Nike and Ariadne - The Bow in Sharky's/The Rainbow - Lucky to be Alive - The OD of Amanda Curran, Lover of Fashion Designer Leon Vitali; The Morgue - 236 - The #10 Locker (436-497, about 2:10:24)

Part Eight

Some subjects covered/subheadings:
Return to Ziegler's Mansion - The Billiards/Pool Room and its Relationship to the Lou Nathanson Household - The Problem of Victor's Story of the Locked Apartment; The Mask on the Pillow and How it Comes to be There in the Spatial/Psychic Logic of the Film - Bill and Alice's Apartment and the Shifting Position of the Bedroom( 498-566, about 2:27:40)

Part Nine

Some subjects covered/subheadings:
Helena Expects to go Christmas Shopping; The Magic Circle; Eyes Wide Shut as a Process of Awakening Through the Initiatory, Inward Journey Aspects of the Maze; The Oracle; Helena's Exit (567-586)

Supplemental Posts

Discreet Connections Between the Nathanson Apartment and the Billiard Room Scene (and a Question of Filming Location)

The Impossible Relationship of the Harford Bedroom to the Apartment, and Why it Matters

The Film's Internal Logic for the Discovery of the Mask on the Pillow

Possible Influence of the 1969 "Traumnovelle film on The Shining

What Happened at the Masked Ball of the 1969 Traumnovelle vs. Eyes Wide Shut

Traumnovelle, Eyes Wide Shut and the Vehmic Judges

The Sonata Cafe, Madame Jojo's, Number 10, the Rainbow and Downing Street

Stanley Kubrick, Anamnesis, and His Use of Railroad Imagery

The Relationship Between Bill's Tearing the Hundred Dollar Bill in Half to the Torn News Article of the Beauty Queen

Location Posts

Locations. All the below posts are on my blog and show locations in the present as compared with the film. I don't think anyone ever looks at these and they were lots of fun to research and do.

San Remo - Revisiting "Eyes Wide Shut"

Victor's Mansion - Revisiting "Eyes Wide Shut"

Lutton Hoo (Real Site of Victor's Party) - Revisiting "Eyes Wide Shut" - Google Maps Redux

The Flatiron Building - Revisiting "Eyes Wide Shut" - Google Maps Redux

3rd and Sullivan - Revisiting "Eyes Wide Shut"

The Pink Pussycat - Revisiting "Eyes Wide Shut"

The Back Fence - Revisiting "Eyes Wide Shut"

Possible Inspiration for the Facade of Domino's Building and Next Door the Rainbow - Revisiting "Eyes Wide Shut" - Google Maps Redux

The Sonata Cafe, Madame Jojo's, Number 10, the Rainbow and Downing Street

Possible Inspiration for the Rainbow - Revisiting "Eyes Wide Shut" - Google Maps Redux

The Road to Jericho and Oyster Bay - Revisiting "Eyes Wide Shut"

Mentmore, Elveden and Highclere Gates - Revisiting "Eyes Wide Shut" - Google Maps Redux

University Place and Beyond - Revisiting "Eyes Wide Shut" - Google Maps Redux

Possible Inspiration for the Jason Hotel - Revisiting "Eyes Wide Shut" - Google Maps Redux

Leaving Domino's the Second Time - Revisiting "Eyes Wide Shut" - Google Maps Redux

Followed by the Bald Man - Revisiting "Eyes Wide Shut" - Google Maps Redux

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