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Moral Virtue or Temporal Hedonism? Subtext Within External Narrative

posted 4 years ago by Fandango (534)
16 replies | jump to latest

While Eyes Wide Shut has many potential routes that can be explored, I believe this film has a particularly interesting and seldom discussed interpretation when viewed from the subtext of its superficial narrative.

One element of background scenery that is showcased consistently throughout the film makes highly suggestive references to the Garden of Eden.

We can even view the mansion scene as a metaphor for the Garden of Eden, where we see the figure confronting Bill as a representation of Satan (red, about to engage in unbridled hedonism, a token of the temporal world); Bill, refusing to get naked, is expelled from the mansion (Garden of Eden). This alludes to Adam discovering his naked body.

When Bill returns to Alice, she recollects her dream, stating, "we were naked" and "he had to go and find clothes for them", also mentioning that "she was in a beautiful garden". This means that Bill and Alice are our Adam and Eve figures, with the mansion serving as a metaphor for the place of original sin.

The connection between eyes being wide shut and John 9:25: "Where before I was blind, now I can see" is the capacity to see what sin is and the ability to acknowledge it and choose to act accordingly—the path of spiritual development or temporal pleasure. The term fidelio/fidelity (faithfulness to your spouse) references the individual choice to feed temporal hedonism or to nourish spiritual development. Bill and Alice have chosen the former, and this is confirmed in the final dialogue.

As the audience, most of Bill's point of view is contrasted with his surroundings, which are more often than not ostentatious and exuberant. They are fitting allusions to the emptiness of materialism. When Bill enters Domino's apartment, which is presented as squalid, he is uncomfortable. The unkempt nature of the apartment serves to reflect the sordid state of Bill's soul.

The last line by Alice, says, "and you know, there is something very important that we need to do as soon as possible....fuck." What this implies is that Bill and Alice's existential and marital crisis did not lead towards spiritual development, but back toward earthly hedonism.

While their eyes are open to the world around them and to the inherent impropriety of the world, they choose to close their eyes to it, and continue on their destructive path towards pleasure (sex) and temptation (infidelity).

Their eyes are wide shut.

[–] Redsfan001 (6094) 4 years ago

Excellent post.

Unfortunately, many of the more conspiratorial minded viewers focused mostly on the secret hidden world of the rich and powerful instead of the moral compass/ fidelity aspect.

[–] Fandango (534) 4 years ago

I don't doubt that there can certainly be various interpretations to the film, and I'm not dismissing any possibility, but the morality tale points out in stark contrast.

There are many scenes, including background imagery and lighting, which hint at choice and moral decision-making. For example, notice the scenes that have a red hue (i.e., the slow shot of the office where Bill works, followed by the door into his office, which is shown with red lighting). The red here reaffirms the notion that it's associated with hedonism. Once we see him in the office, Bill calls Ms. Nathanson, implying he is thinking about infidelity again. This is again shown once he enters Domino's apartment, confronted with her roommate, he begins making advances on her. The apartment door is red. The figure that confronts Bill at the party asking him to undress, potentially implying sodomy, is also wearing red.

The bluish colors, attributed to warmth, are present at the safety point. For example, the scene where Bill returns from his escapades and visits his daughter's room. We see her sleeping on the bed, with a blue background. The important thing to note here is that on each side her bed are two lamps, one has a green picture, the other a red, and she is facing the green one. This is alluding to morality as a decision that we must make, and the fact that Helena is facing towards green implies her innocence and therefore good nature. This is again reaffirmed when Alice is teaching Helena how to count, potentially symbolizing how to choose whether or not a partner is worthy (i.e., Joe has $2.50 and Mike has $1.75, who is the better partner?). Alice here is subconsciously teaching Helena how to choose a husband based on their ability to provide material prosperity. This draws back to Alice and Bill as Adam and Eve, their original sin of infidelity, drugs, materialism, and its propagation within humanity (onto Helena). This portion can also be defended in the alternative analysis as a symbol of external facades.

Unfortunately there is too much to unpack in just one post, but I'll leave this post with that.

[–] Redsfan001 (6094) 4 years ago

I am going to have to rewatch it, my eyes were on Kidman for most of the movie to notice the subtle color background.

Sounds plausible though, and very Kubrick.

[–] Fandango (534) 4 years ago

The film certainly allows for more information to be accumulated with repeat viewings.

I would just like to add one final point about the morality tale.

There are references to rainbows throughout the film. The two models Bill encounters at the party tell him, "don't you want to go where the rainbow ends?" He then sees a rainbow sign near the costume shop.

What we know about rainbows is that they present us with the facade of colorful and happy based on the prismatic effect of water in the air splitting white light. This optimal illusion alludes to the end of moralistic and ethical superficiality, and the beginning of reality, the intimate truth about humanity.

Bill can go where the rainbow ends by sleeping with the women. Bill can attend the costume shop and seek his inner desire to satiate his sexual voyeuristic hedonism.

[–] BillySlater (4196) 3 years ago

I think you are on to something with the intentional religious subtext but don´t quite agree with your scriptural interpretation and how it relates to the film, which I will get to. One thing I also noticed and got me wondering is that we see Nick playing piano but we never hear his music, instead we hear the ominous music that sounds like what you would imagine Satanist chanting to be like, while Bill´s eyes wonder around the room watching the sexual debauchery taking place.

RE: John 9:25: "Where before I was blind, now I can see" is the capacity to see what sin is and the ability to acknowledge it and choose to act accordingly—the...´

The first part is somewhat correct but the 2nd part isn´t. If Bill and Alice have had their eyes opened, they would have lived righteously. Being unblinded in the Bible also means to be born again or "converting". You can´t have your eyes opened and live in darkness.

Those who are blinded live in darkness, those who can see live in light. This is backed up by John 8:12 "Again Jesus spoke to them, saying, “I am the light of the world. Whoever follows me will not walk in darkness, but will have the light of life.”
and 1 John 2:11 "But whoever hates his brother is in the darkness and walks in the darkness, and does not know where he is going, because the darkness has blinded his eyes."

[–] Fandango (534) 3 years ago

Thank you for your thoughtful comment!

I concede that interpreting scripture can become contentious at times. I am aware that the original verse in the bible refers to the miracle as a figuration of Jesus' divine grace, and that once touched by divinity, closing one's eyes may be difficult and/or arguably impossible.

Metaphorically, however, I contend that one can choose to remain in a state of untruth or blindness. What we may argue is whether or not Bill and Alice ever had the scales dropped from their eyes. I say there is a strong possibility that Bill's ordeal had humbled him, yet the path of Alice is less certain. Did she learn anything? What is interesting is that although Alice tells Bill they need to have sex immediately, we never see Bill's reaction, perhaps subtly implying that it was only Bill who went through the transformation. Corinthians 4:4 "Satan, who is the god of this world, has blinded the minds of the unbelievers....."

An interesting detail is that Alice is a mix between red and blonde, giving her the additional attribute of possibly representing Lilith. Just as Bill wishes to walk the path of virtue, she lures him toward sin. However, this does become a contentious point if we consider her interrupting (phone call) Bill before he commits infidelity, as this scene can be interpreted as her saving him.

The detail about Bill is curious. What I think is interesting is that, at least symbolically, Bill and Nick represent the same servant class to the upper echelon of society. For example, even though Bill is of considerable wealth, he is not part of the elite. He rents out his costume for the mansion, and instead of driving in a limousine, takes a cab. This point is made clearly following the party sequence in the beginning. At the party, those of status are wearing black, while those who are entertainers (e.g., Nick and orchestra) are in white. In the scene following the party, we see Bill in his office wearing a white coat, mirroring the white worn by the entertainers the night before.

[–] BillySlater (4196) 3 years ago

No problem, thanks for replying to replies of a 1 year old comment.

"An interesting detail is that Alice is a mix between red and blonde, giving her the additional attribute of possibly representing Lilith. Just as Bill wishes to walk the path of virtue, she lures him toward sin. However, this does become a contentious point if we consider her interrupting (phone call) Bill before he commits infidelity, as this scene can be interpreted as her saving him."

I was going to say, I wouldn´t call Bill virtuous in this film. haha.

Interesting observation about Bill and Nick though. Although, I never considered Bill of the same class as Nick because of his ties/friendship with Ziegler, who himself is "elite" and who is clearly part of the "secret society" for lack of a better term.
Not sure I read too much into that symbolism. I would assume Bill as a Doctor is supposed to wear a white coat and Bill and his wife were invited as guests, not as "the help".

I definitely agree there is some religious subtext going on with the garden of Eden stuff you mentioned. As to what the real interpretation is, is anyone´s guess.

"that once touched by divinity, closing one's eyes may be difficult and/or arguably impossible."

As a Christian, there are Christians who believe in the false concept of being able to lose your salvation, and it is a hotly disputed topic in Christianity. I am not one of them though.

[–] Fandango (534) 3 years ago

No problem, thanks for replying to replies of a 1 year old comment.

I enjoy the dialogue!

I was going to say, I wouldn´t call Bill virtuous in this film. haha.

You have a sharp eye for objectivity. By all practical measures, you are correct; by contrast, this is a debatable point. Although Bill is materialistic, prideful, and submissive, he is not quite on the level of Ziegler, who has no qualms about cheating on his wife upstairs while she entertains visitors downstairs. Although Bill worships mammon (i.e., frequent mention to money and status), Ziegler worships "the god of this world."

Interesting observation about Bill and Nick though. Although, I never considered Bill of the same class as Nick because of his ties/friendship with Ziegler, who himself is "elite" and who is clearly part of the "secret society" for lack of a better term.Not sure I read too much into that symbolism. I would assume Bill as a Doctor is supposed to wear a white coat and Bill and his wife were invited as guests, not as "the help".

Bill was invited to Ziegler's party the same way that Nick was invited to the orgy. The former helped Ziegler deal with a potential dead body, the latter served as a pianist. They were servants in their own right, and although Bill may be considered upper class to Nick's middle-class, both of them are far removed from the category of "elite."

As a Christian, there are Christians who believe in the false concept of being able to lose your salvation, and it is a hotly disputed topic in Christianity.

My focus was to highlight Bill and Alice's decision to eschew the path of virtue in favor of the path of darkness. Looking back, I see that perhaps inserting John 9:25 may have been unnecessary.

[–] BillySlater (4196) 3 years ago

"Bill was invited to Ziegler's party the same way that Nick was invited to the orgy. The former helped Ziegler deal with a potential dead body, the latter served as a pianist. They were servants in their own right, and although Bill may be considered upper class to Nick's middle-class, both of them are far removed from the category of "elite."

Greetings again. I wouldn´t call them "servants in their own right" though. Nick was a servant, Bill was not. Bill wasn´t invited as help, it was just happenstance that Ziegler´s mistress overdosed and Bill was asked to help. I think the movie is less about class differences and more about morality and temptation. We see Bill kind of flirting with adultery throughout the film, and indeed circumstances stop him but its never because of his own choice. He is introduced to this elite morally depraved world through Ziegler and seems to enjoy it and even goes looking for it. First it was with the "end of the rainbow" girls before Ziegler stops him by asking for his help. Then his wife calls just moments before he is about to do it with a prostitute. Later when he is caught at the mansion, he is asked to strip naked (presumably for some sexual ritual) but is saved when Mandy intervenes and asks to "redeem him".

[–] Fandango (534) 3 years ago

Billy, I wish to extend my deepest thanks for your grace and tact.

I wouldn´t call them "servants in their own right" though. Nick was a servant, Bill was not. Bill wasn´t invited as help, it was just happenstance that Ziegler´s mistress overdosed and Bill was asked to help.

Although we may noticeably observe how Bill and Nick lie on different points in the spectrum, what is salient is that they are nevertheless on the same spectrum. By spectrum, I am referring to those characteristics indicative of the typical bourgeois set-up. While Bill is upper middle class by bourgeois standards, he holds no domain in the realm of elite (e.g., Ziegler). Despite Bill's ostensibly positive relationship with Ziegler, he is unable to transcend the confines of his social class.

I think the movie is less about class differences and more about morality and temptation.

There are definitely elements of this at play here. The evolving sets throughout the film seem to indicate a transitioning toward the darker side. This is intimated initially when Alice reads My Shadow to Helena (i.e., darkness). Later, when Bill receives the house call, it is now on a black phone which was white before. The taxi he takes is driving in the fire lane, symbolizing entry into the underworld. The scene where Bill rips the money in half can be interpreted as a subconscious desire to keep at least one foot in the old world in case things turn awry.

Whether or not Bill can be seen as moral given how his temptation was interrupted at auspicious times is an interesting point that I have not given much thought to. I suppose it is easy to get lost in the minor details which may or may seem insignificant.

As always, thank you again for entertaining these thoughts. Until next time, take care.

[–] BillySlater (4196) 3 years ago

No probs. Thanks again for your reply.
"Despite Bill's ostensibly positive relationship with Ziegler, he is unable to transcend the confines of his social class."

I feel like his social class is not really what is confining him although superficially it may appear that way. While Bill might not be elite per se, Ziegler imo is in some ways offering to bridge that gap by befriending him with invites to his house, etc. On the other hand, Nick is treated with disdain and blamed for giving out the password, both by Ziegler and the mansion people while Bill is essentially given a slap on the wrist.

My personal opinion, and this is obviously pure conjecture is that the command to strip naked at the mansion was some kind of test for Bill. A moral test to see if he would engage in a sexual ritual in front of them. If he had willingly participated in the debauchery, he would essentially become one of them but his reticence to acquiesce essentially ended any "hope" of him becoming part of the group. Then Mandy intervened. Obviously this is just my theory but thats why I feel the underlying theme of the film is more about Bill´s morality than differences in social class, and the repeated instances of Bill about to commit adultery kind of exemplify that for me.

[–] Fandango (534) 2 years ago

Apologies for the late response. While I do agree that the film can be interpreted as a story of tenuous morality, it is difficult to dismiss its class themes, or idea of people having become objects in contemporary society—expendable, disposable (e.g., Mandy, Nick).

This is reified in the final scene as Helena holds up a barbie doll, suggesting that, like her parents, she has accepted the lie of accepting herself as an object or plaything to be used and discarded.

A moral test to see if he would engage in a sexual ritual in front of them. If he had willingly participated in the debauchery, he would essentially become one of them but his reticence to acquiesce essentially ended any "hope" of him becoming part of the group.

This is an engaging point. It's interesting to note how the film is saturated with Christmas, showing ornaments and lights in practically every scene. Christmas, of course, has become associated with sloth, materialism, and pleasure (hedonism, perhaps), supplanting previous religious notions of Christmas as a time of prayer, unity, and gratitude.

At one point in the film, Bill watches Alice read How the Grinch Stole Christmas! and then in the mansion, Bill sees a man with a Grinch-like costume having sex with a woman. This blurring is reality, of what is acceptable and what isn't, is something Bill confronts throughout the remainder of the film.

And so in regard to Bill possibly not passing the test, is his reluctance to strip an expression of moral agency? I don't expect concrete answers, as the film does not provide any. It is, of course, a contemplative one.

[–] Phids (368) 2 years ago

This is an interesting thread given that I have not seen it, but wanted to know the plot and storyline. I was intrigued because I read elsewhere that the trailer for the film created one set of expectations for the film (eroticism), but many viewers were disappointed given the film's "stinging irony". I am still a little unclear about the precise nature of this irony, but based on this thread, it seems like Kubrick was sending a more profound message about the activities of the characters than the superficial message fans thought they'd get.

[–] Fandango (534) 2 years ago

One could argue that I am suffering from some extreme form of apophenia, but these elements have been explored much more deeply by people far more knowledgeable.

I do believe there is more to the story beyond the unveiling of a secret and perverted elite.

[–] Phids (368) 2 years ago

I was familiar with the term pareidolia, but not apophenia.

But even if you're ultimately incorrect, what kind of "stinging irony" do you think is present in the film?

[–] Fandango (534) 2 years ago

Although likely far from comprehensive, some that have been mentioned, are:

When Bill receives a phone call from Alice while he is with Domino, we see Alice watching Blume in Love (1973), a film about a man whose wife divorces him after he is caught cheating.

At one point in the film, Bill watches Alice read How the Grinch Stole Christmas! and then in the mansion, Bill sees a man with a Grinch-like costume having sex with a woman.