While the first movie I saw as a mere vehicle for entertainment, even if in some cases it was impossible not to notice a few films as a blatantly propagandistic films produced in the Reagan era (Commando, Rambo 3 the the aquila of acciaio, Just to name a few).
In the latter cases, however, noted the absurdity of situations and concepts expressed, I still consider them mere vehicles of entertainment dumber than others, but when viewed without effort, easily forgettable and in some cases, even enjoyable.
Understand what level of scientific application came the propaganda nowadays, however, has made me completely disrupt this vision;
so that now the movie apparently freer, serious and committed, look at him with an attentive eye, ready to pick up those signals are able to let me know if you have used the techniques of propaganda. If the film takes me I enjoy it, but then I see her from a distance, using an analytical thinking, careful dialogue, symbolism, evocative images and bearing in mind what I have learned so far. Recognize some of these techniques has become a factor which almost automatically, do not deny it, I often ruin the pleasure of a movie. I feel like that after 5 minutes has already figured out who the murderess that will be discovered only at the end, only that in my case, it is not to understand the plot in advance but to expose a whole range of ideas and concepts deliberately placed and cleverly disguised to blend in and take hold on the minds and on the audience. And when you understand that you fall in his arms. You are no longer seeing a work of art or even the simple passion of a filmmaker who wants to have fun and entertain, but you are before an operation well planned in order to maneuver your opinions ... And realize this fact rather nuisance.
I noticed, however, that the Internet has produced along with its wealth of information is also a new way of watching movies: many people go hunting for hidden symbolism too esoteric to mold and begin to think that the whole movie is in the hands of the occult elite who want to rule the world and that use these films to launch their subliminal messages.
This has naturally created an aura of skepticism among all those people who normally seek to analyze the facts in a rational way, and caused cinema even among those who know him because he does or has done a series of articles focusing on the ridiculousness see symbols and hidden meanings in films which are often only mere commercial transactions.
I honestly do not know if some of these films are actually handled at the level with the inclusion of occult esoteric symbols put there on purpose, is an interesting but difficult to investigate. But one thing is certain: both excited to hunt for the symbols of the occult elite, both skeptics laughing over there, they have completely lost sight of a third important aspect:
There are actually so many films made by filmmakers fully aware that they are using the techniques of the masters, they want to convey messages, propaganda, or talk about it would be impossible for them to be treated in the light of the sun.
You can not understand these films, however, without adequate preparation or adequate cultural research. While in the case of film propaganda, of course, can not be understood by those unfamiliar with the techniques used in propaganda.
In both cases, you must have a cultural basis, or do a thorough research otherwise remain only speculation as in the case of chemtrails starting to appear in many cartoons, we can not know how much is intentional, that is, put this on purpose to inoculate idea in the public or as it is simply the daily experience of graphic designers and illustrators who having become accustomed to seeing such a sky, it also automatically reproduce in their designs.
Speaking of movies that contain messages conveyed through the use of images, even color, music and many other details, we would keep to make you read a review that I consider now as the only review that never left can explain in a consistent manner documented and argued with all the necessary references, the Stanley Kubrick film Eyes Wide Shut.
I find that this analysis is of great interest because it makes you understand how a film should be analyzed and allows us to understand that without proper research on every aspect of the film, many things can escape or remain completely misunderstood.
Before leaving this interesting reading, just add a note that probably escaped the reviewer and I found the biography of Stanley Kubrick:
Of all the random choices of this film, to shoot the orgy scene in the mansion / castle symbol of power, Kubrick leased by none other than one of the residences of Rothschild. A family that is the occult power of which also speaks the film. Have fun
Eyes Wide Shut: The Magic of Power and the logic of desire
"Who do you think those were there? He was not any people. If I told you their names, and you will not tell them, but if you do not tell them you sleep more peaceful "
(Victor Ziegler, final dialogue)
"The bloody sacrifice, though more dangerous, and 'more' effective '
(A. Crowley, Magick)
"The woman runs across in the sexual life, in the sphere of reproduction and mating, reports the object of which is the male or the child."
(O. Weininger, Sex and Character)
The last film of the artist, a cherished project already in the seventies, completes the trilogy American. In particular, it binds to the first panel, Shining, Which in some respects is a replica: a family in crisis, contact with environments mysterious and powerful, the tragedy that follows. Perhaps Shining was shot by a King who would not even broach the subject of chest: Overlook everything is' hidden behind symbols. In Eyes Yet nothing is hidden, starting with the title: eyes-wide-shut, a title radically changed from that of the narrative (Traumnovelle, Double Dream, 1926), of which K is limited to keep the lattice narrative, expanding with figures (Ziegler) and situations (the magical ritual that opens the orgy) non-existent in Schnitzler.
Eyes that see and at the same time they do not see are those of Bill and Alice, the common people, are also closed eyes struggling to re-open the "servant" Mandy as those blindfolded (which they see something and they sensed) Nightingale. Eyes that if they become too "open", as in the case of the pianist and the girl are closed forever with the '"exile" (Nightingale is sent back to Seattle, the other side of the USA, the same city' to which he fled, always starting from a New York "Christmas" another loser Kubrick, the boxer defeated Killer’s Kiss: Both films tell of any pair that, by chance, comes into contact with a frightening universe, dominated by violence, also the two films are linked by the presence of dummies, symbols of the "common people" who sees without seeing) or with death (the ritual sacrifice of Mandy).
Eyes è now set in the capital of the empire, New York. Does not allude to Power, shows him in his enigmatic brutality '. The "third level" (see what has been said about the three levels of the social order in the previous chapter) was designed with abstract pictures in Shining, Albeit distant, his steely presence is sensed in the orders that came in peremptory Full Metal JacketAt that place on the borders of Vietnam, and now it appears, at first at the party Ziegler, orgy and then finally in the dialogue "esplicatore" which freezes' s "blinded" Bill.
The film consists of five parts perfectly balanced, introduced by a prologue and an epilogue concluded by both purely family. The first (the festival), the third (the ceremony) and Part V (dialogue) are the places where it appears the power, while the second and fourth begin with two confessions of Alice and continuing with two odysseys of Bill. It is obvious that the first and the third part is the direct continuation of situations already 'Overlook, even the elegant musical score, made of classic, mellow songs of the American tradition, it is the same as the composition of some images follows suggestively those of the Golden Room.
It was then noticed the masonic character and even satanic sect prevalent in left that haunted the Torrance and these characters are repeated with surprising boldness underlined. In the heart of the film, WHERE 'Bill enters the castle "enchanted" (still probably a century castle, whose ancient solemnity' alludes to the close continuity 'between the rulers of the past and the modern aristocracy that now inhabit it, beyond' of each illusory conception democratic it also refers to the sumptuous residence of PathsIn both films the castle is a place of power, and in both a party and a dialog in an elegant solver library dissolve the nodes of the story), attends a ceremony of flavor satanic while resonate solemn litanies and dark (if also felt the Overlook), a celebrant consecrates with some incense "priestesses" of pleasure (their statuesque nudity 'refers to Alice's naked body shown in the prologue: the evolution of the protagonist towards un'agognata freedom' sexual moves in that direction, as will prove 'his perverse dream) and sends them as "apostles" to spread the word among their followers, to satisfy their craving, while the magnificent soundtrack evokes the soft chanting and melisma of a religiosity' ancient and oriental flavor: in short, everything seems a caricature of Christianity, his overthrow.
The powerful part in the orgy masked and silent (in deference to the famous rule of silence and secrecy of the Order), perfectly master of himself '(unique characteristic, as was' often noted, the "master race"), often simple spectators, energetic actors elsewhere. The music, which contains the typical restless noise bands (bands present in both films Kubrick, by 2001 a Shining a Full Metal JacketWith a precise meaning already 'fully commented) doubles the mystery and hints at the secret presencetion of the emanations of the black monolith devilish in this castle.
Neither can escape the password to access it is not 'more' "Denmark" (Schnitzler), but "Fidelio" or work expression of the ideals of freedom and brotherhood of the lodges. The full title of the work, however, Beethoven Fidelio or The Conjugal Love (Fidelio or love coniugal): The choice of this slogan sounds so mocking, because it is connected exactly to its opposite (something similar happened with the chorus of Schiller Ninth Symphony even Beethoven A Clockwork Orange) K also reveals the illusory nature of the ideals of Freemasonry (equality and brotherhood in words, in fact a strict hierarchy that separates the elite of power from simple "soldiers" or apprentices) shows the cynicism of the sect, the distance between its theory and its practice (or rather the practice of some of his most circles' exclusive): Fidelio and 'in fact deeply moral work of an author who had taken seriously the noble ideals of the lodges and who did not approve of libertarianism (and' known the embarrassment of Beethoven in front of Mozart's Don Giovanni).
Finally, when Bill is discovered and interrogated, the configuration facing is that of a great master and two supervisors (their colors, red and blue, with white walls, renew their obsession with Kubrick for the colors of the USA flag, colors found in almost every sequence of the film) and the image that portrays the unmistakable figure above shows typical triangular Masonic enclosed in the circle of the "audience." In addition, the soundtrack now we hear the simple and left City.
SpeakingThe second piece of the collection of piano miniatures Music sought (1953) Ligeti in which two notes (F sharp ago), located at a distance of a semitone upward, drawing air sound symbolic triangles (abba) in a mysterious sound, reminiscent of the sounds' invented by the pianism of Debussy. This music still indicates the Masonic power, doubling the visual triangles into triangles sound (we find the same melodic figure, along with many other incidental music typical of the complex sound Masonic symbolism, such as Mozart's last composition, the Masonic cantata According Verkunde Our joy K623 [1791; Loudly proclaim our joy], directed by the great Salzburg on the occasion of the inauguration of the Viennese lodge Zur Hoffnung Neugekronten).
However, Bill does not understand. And 'the most' dull protagonists kubrickiani not want to evolve as Alex, Redmond, Jack or Joker, simply tempt ', in the second odyssey, to understand, without success. So 'do not even go towards disaster as Pyle who tries to change his status without having the means.
Bill is saved by Mandy: with the episode of the death of the prostitute K indicates the power of life and death exercised by the Brotherhood, it is an event that lends itself to both readings merely symbolic (the exercise of absolute power over the lives of the people common) and esoteric (practices of death as an integral part of satanic rituals aimed at strengthening of the sect and its followers).
Eyes the film is bolder than K: Mozart died 'while he was composing a Requiem, K, which, Ironically, in a sequence using just a fragment of that Requiem (Assuming that it was he who decided that musical score and it is not a sinister allusion we do not know at what point was the completeness of copy prepared by the artist shortly before his death), he could not see who made this film considered ( rightly) his masterpiece. On the sudden deaths of both hovers a mystery.
By analyzing in a more 'detailed the gloomy ceremony we note that the sequence lasts exactly 18 minutes, divided into three distinct parts: the ritual of consecration (6 minutes), the orgy (6 minutes), the interrogation as a prelude to human sacrifice ( 6 minutes): K then secretly refers to the consignee mentioned in the castle, the 666 of Revelation, Satan. The ritual seems to be inspired by the magical text more 'known of the twentieth century, Magick (1911-29) Aleister Crowley (who loved their soprannominarsi Great Beast 666): Circle in the magician conjures up evil powers, the words recited by the celebrant, properly rendered incomprehensible, assisted by Canon use of incense (substance favored by Crowley in his ceremonial), call these forces to manifest in the Circle.
"In the operations of nature are clearly evil, or that rely on the powers of evil, black or red robes are in character with the kind of ceremony" (Richard Cavendish, La magia nera, 1967), Because red robes and black are prevalent in the rite of consecration and sacrifice in the end. In the central part, dedicated to the "sexual magic" widely theorized by Crowley, the "priestesses" consecrated by the sorcerer spread among the followers of the evil energies appeared in the Circle, through erotic practices, in a sort of black eucharist. Then comes the moment of sacrifice to the gods' (remember that the sect also claimed by Jack at the Overlook substance of human sacrifice, nor can it go unnoticed that Mandy and Wendy [Torrance] two intended victims, emblems of a helpless weakness, have a very similar name).
Cavendisch states that "in the modern ritual the victim is often sacrificed at the climax of the ritual," while Crowley explains, in chapter The bloody sacrificeThat: "The blood and 'life ... every living being' a storehouse of energy quantity 'variable according to the size and health of the animal. At the death of the animal this energy is liberated suddenly. So 'the animal must be killed within the Circle ... For the most' high spiritual operation must choose the victim which contains the force more 'great and pure. A male child of perfect innocence and high intelligence and 'the victim more' satisfactory and more 'suitable. "On the subject of Crowley's biographer attruibuisce assertions even more' relevant:" The supreme rite should create a special atmosphere through the death of the victim. With this ritual, you could reach the top of Magick. The best thing would be to sacrifice a young girl, possibly willing victim, 'cause if it was ill-disposed to sacrifice, could introduce a current hostile "(John Symonds The greatly Bestia, 1951 and enlarged 1958). The purpose 'of the whole ritual, a ritual that even Crowley defines secret and suitable "only for purposes important," therefore, is to emphasize the communion of the Powerful Forces of Evil with the unknown, and that communion' for them a source of constant reinforcement.
"Do what thou wilt", the famous motto of Crowley, is well suited to Ziegler and his friends. In short, if Aquino was inspired by 2001 for his satanic Temple of Set (1975; see what has been said in the chapter on Shining), K, in turn, seems to agree with him, adhering fully to the most 'widespread practices of black magic ritual in the castle everything seems to turn to the dark powers hidden behind the monolith.
Certainly Eyes also speaks of love, eroticism and marital issues (remember the full title of the Fidelio). But this issue far more 'obvious, on which and' unleashed a press embarrassed in front of the esoteric aspects of the film, and not 'the main issue. Certainly it is intertwined with the heart of the work, ie the ratio between ordinary people and modern aristocracy, and indeed K is the question of power on the ground of their sexuality.
In the dimension of "peaceful" and urban Eyes, Men of power are revealed those not within complex socio-political events (Strangelove, A Clockwork Orange, Barry Lyndon), But rather 'in their use of the bodies of others for their own pleasure. Ziegler, after which dialogues with ceremonious welcomes Bill to the party, reveals his true character in contact with the body naked and dying of Amanda. In the cold bath (still blue-red-white for bathrobe, curtains, walls) embarrassed the landlord (and 'had to "reveal" to Bill) in a hurry to get rid of that body "inefficient." Downstairs another powerful Szavost Sandor (Hungarian, in homage to the cross-cutting nature of the modern and cosmopolitan aristocracy of power) tries to steal shamelessly body of Alice (body, not surprisingly, shown in the opening sequence, indicating the center of the work, sexual desire) emphasizing the purely and subtly erotic femininity '(the explanation of marriage as the main way to the wildest sexual pleasures) while two models attempt to seduce Bill, to bring "where does the' rainbow. "
Rainbow: arco/ponte di luce; Bowman (2001And the term appears on a billboard during the second protagonist's odyssey from New York): man-arc K weaves around these words an allusion to the possible "evolution" of the Bill in the direction normal to an "increase of light" (for use a Masonic terminology), a sexuality 'free, uninhibited, ready to seize any stimulus, no brake (two gay orgy also appear: participating in the dance). Rainbow and 'in fact the name of the shop of masks in which a wretched father daughter child prostitutes (the little Lolita whispers something in the ear of Bill probably obscene, so' as Humbert in Lolita, the key sequence of the movie) and is the place that offers Bill a "bridge / bow" (bow) towards an elsewhere, a universe full realization of amoral if 'place "beyond good and evil." And 'finally again to peep the eighteenth century: the libertine culture, which is also closely linked to the Masonic, a Casanova or a De Sade. Eighteenth century are the castle and the masks of the ceremony.
A Bill will have a number of possibilities' to "evolve," but he is too influenced by the culture of weakness and conformity. In environments of the protagonist abound Christmas trees, signs of Christianity that primary responsibility of an ethics of renunciation and moderation that, for K, finally results in simple weakness and submission, if not dull mediocrity.
The story of Bill ends it in a toy store in a "gray" Christmas atmosphere, broken only by the dry, strong-willed Alice's final statement about the need 'to "fuck" infected (in reality' and in the dream) more ' Bill, from his contacts with the optical libertine of the Mighty, the woman appears lost and uncertain about their own future than all'impaurito spouse.
In contrast, in environments of Power signs "Christians", if present, are placed in a marginal position, while others appear "clues": the feast of Ziegler takes place in a blaze of "Light," which abound in the stars (they and 'already' told of their character Masonic Full Metal Jacket), In the house of the mighty counselor and the prostitute appear masks (allusions orgy as well as the duplicity of Power, with its rules of anonymity and silence).
In short Eyes tells, in his own way, the eternal conflict between Freemasonry and Christianity understood as strengths and weaknesses (in line with the entire work of the author).
After the first holiday in a homely atmosphere of boredom and disinterest, spouses try to exorcise the greyness of daily smoking marijuana, under the influence of the grass lose control (another sign of their mediocrity ') and Alice confesses that she had been attracted to a military seen only once, to the point of being willing to let Bill and the child for the man. Alice is not about love, dimension totally absent in the unmistakable cinema K; love is just a wound that weakens a regrettable loss of control that can not 'be of interest to the author.
On the contrary Alice speaks of the total, fierce physical attraction, not unlike that which animates the wild orgy pairs. The Bill silly now "see", he felt something he never imagined: the femininity 'and' pure sexuality ', obsessive search for the coupling, its tranquility' and 'shock, his pride wounded by Alice he will no longer be that of before. Nor is it a coincidence that the object of desire of Alice is a military (and not 'in such Schnitzler), a warrior symbol of superior force (the' second level 'and that you' said, commenting on Full Metal Jacket).
Bill began his first odyssey (the strong relationship with 2001 and 'underlined by the presence on the headlines of the waltz from Suite for Jazz Orchestra No. 2  Shostakovich, a kind of blood and mocking caricature of Strauss waltzes so 'as the perfect "dance space" of the spacecraft is opposed to the lost, messy roam the Earth's protagonist) wants revenge and has now the opportunity' : the unmet Marion, daughter of the director died, the axle into the room where he lay lifeless body of his father, but Bill does not dare, she can not get out of their size. Marion and her boyfriend, two characters lifeless, represent a doubling of Bill and Alice, even physically resemble each other. In a room reminiscent of the one in which Bowman dies and is reborn (eighteenth-century furnishings in both), in front of the lifeless body of Nathanson, certainly a powerful (they say the house elegant and severe, the presence of masks, the marginality 'signs Christmas), Bill does not "born again" does not evolve; leaves embarrassed and runs away.
The prostitute and 'a more obvious target, but also with Bill abandons her after hearing his wife's voice on the phone. Meanwhile, in the path that leads from the prostitute Marion, Bill has crossed a "flock" of violent boys who insulted him and called "fagot" are the droogs Alex and marines of Animal establish that the distance between them and the troubled weak protagonist. Eyes costituisce also a kind of meeting place of all the figures Kubrick film and in this sense it is truly a work summary.
The third leg of the odyssey and 'the Sonata Café. In the room your friend is Bill Nightingale who plays the role of unwitting messenger of the Mighty, similar to that of Lloyd Overlook (again confirms the physical resemblance of the two actors). The restaurant, set in a deep red, the color of blood, is the logical preamble to the atmosphere prevailing in the cloistered halls of the castle. Nightingale, the servant of rulers, speaks with deference to the phone aside and suddenly the playful tone of the conversation going with Bill to stiffen in an attitude of "obedience."
The fourth stage and 'the Rainbow, place the arc and rain, "light" and uninhibited pleasure, two perverts, cheerful Japanese leaders also symbolic of a kind permitted to share the power of the U.S., taking advantage of a tantalizing Lolita after paying the fare to his father. Everything is on sale in the U.S. in the universe: money, a sort of neo-pagan deity, is the element that determines the distinction between venal aristocracy and ordinary people. Bill, after all, also means account in English, and during his odyssey squanders large sums to get what he wants. The value of people is measured in dollars: the powerful Ziegler recognizes the skill of a specialist at which 'was in care, even by the account balance that had to be paid; Milich, the father of Lolita, in the second meeting with Bill is explicit "I do not just sell costumes," he says, alluding to the young, and the same protagonist is identified as an intruder in the ceremony because of its relative "poverty" (taxi, costume hire). However, even in the fourth stage the attitude of Bill and 'moralistic rather than' fit nell'orgetta vaguely pedophile, anticipation "poor" (but the Japanese are still secondary partners of Power; their country 'was completely destroyed by the Americans in War and then rebuilt under their control) of the solemn ceremony of sexual magic, call the police, nor hearken unto whispers lustful girl.
The long gallery of female figures focuses on the woman in relation to her sexuality, her innate desire to mate. Alice lives in a sexless universe boredom of family, mother of the family feels useless, having already '"completed" its primary function. In contrast, all other female figures appear more 'vital because "professionals" of love: the two models, Amanda / Mandy (the name and' anything but random), Domino, and Sally, the Lolita of the Rainbow, the " priestesses "are an active model of femininity which Alice feels a burning nostalgia. Kubrick woman in the universe, certainly marginal, is connected only with the eroticism and reproduction. K seems to share the vision of women present in a famous and "uncomfortable" wise, Sex and Character (1903), by Otto Weininger, text outdated deeply, in which the essence of the woman and 'defined only in relation to his sexuality ("The embrace and' the maximum value of the woman, that she wants to see happen anytime, anywhere" , "the woman and 'the representative of the idea of promiscuity' in general ') and in which all illusions" progressive "inherent in the movement for the emancipation of women is being liquidated no half measures (" The Man more' low and 'infinitely superior to woman more 'elected ").
The orgy shows the protagonist still puzzled and frightened: he merely watch. The ritual, lest we forget, takes place in the days of Christmas and is designed as a celebration turned upside down, as a provocative ritual sex and blood that can 'only be addressed to infernal powers. The sentimental and consumerist Christmas customs sect reacts, celebrating the strength of his prevarication, its ability 'to steal the souls of others. The order of the master turned to Bill to strip a prelude to a ritual murder with which to punish the intruder, so bring him back 'to the rule of silence by closing his eyes forever. Bill is saved fortunately.
Start the fourth part. At home, Alice tells her husband on his perverse dream: the narrative takes on the tones of a second confession. She now lies outside the traditional marital fidelity: the dream has tasted the thrill with horror and pleasure orgy Group, a pleasure that has to rediscover the essence of more 'intimate of her femininity, now buried in a dull marriage. The parallel with the orgy and 'surprising (it is already' said the connection between the very similar images of Alice naked and "priestesses" of the orgy, at the bottom of the latter, women who have discovered their true sexuality in the pure essence , are the secret goal of the transformation taking place in the protagonist): the couple, as you can see, they walk the same path (the one in a dream reality, the other in a realistic dream) that, as has been said, it produces different outcomes.
Bill, once again shocked, he began his second odyssey in search of an explanation. He discovered without difficulty ', that two men beat Nightingale: these are the two overseers-warriors of the Order, as two were the guardians of the Overlook. The protagonist retraces the steps of the previous night (the circular structure of the film is reminiscent of A Clockwork Orange): Milich back to where he finds the Japanese and Lolita (always reappear the obsessive colors of the American flag), back to the villa while we hear the famous piano piece by Ligeti: even now the musical triangle Masonic results in visual fact because 'while Bill contemplates Scared the building, his face and 'pigeonholed into an image not randomly tripartite.
And then 'turn to Marion, but the attempt dies at birth because' answers the phone with her boyfriend. A house of the prostitute Domino finds a second girl, Sally, who speaks of AIDS: the freedom to 'sex seems to have a cost and a risk once again Bill escapes. Obsessed with jealousy the protagonist seems to be derided even by luminous signs which Verona Restaurant (Ie, the city of Romeo and Juliet) and in the neighboring shop undergarments, A Hint of Lace (a hint of lace). Meanwhile someone is watching him, the newspaper speaks of him (the title reads “Lucky to be alive "), takes refuge in the bar where we hear the Rex Tremendae from Requiem Mozart's complicated allusion to the Masonic power (Mozart was a major affiliate), Fate dangerous burden on Bill now, the death of Mandy, perhaps even to the death of K. The odyssey ends in front of the corpse of the girl, her eyes finally closed.
The fifth part, the dialogue between the powerful and the common man, is magnificent: in this final blinding the apparent protagonist is reduced to a marginal figure as alleged character of the seabed proves to be the key figure, confirming that the real power lies in the shadows, in a discreet "silence", and goes out into the open, with obvious annoyance, only if required by unforeseen circumstances (as had happened in the bathroom of the first part of the sequence). In an elegant room full of old books and dominated by a pool where the red cloth evokes the blood (in Eyes red is the dominant color, direct emanation of the Overlook cascade of blood, red are the door to the prostitute's house, some of the walls of the Rainbow, the interior of the Sonata cafe ', as the master of ceremonies and the floor of the room orgy , and not to miss, in the decisive final room of the detector box, blue and white), one bold Ziegler first attempts to "throw off" Bill through un'edulcorata story and a paternalistic attitude, not succeeding, he dismisses the tone friendly and forbiti and passes those brisk and vulgar to those who are 'used to dispose of the lives of others. Humanitarianism Bill (similar to what we naively animated Colonel Dax in the final sequence of similar Paths) Is barely tolerated by the raw Ziegler, as a lie spread among the common people, to which we must pay some attention.
But the man finally gets impatient, makes it clear that Mandy was just a "whore" (there is an echo of disdain for Hallorann Grady, the "black cook") and Bill almost threat, reminding him that now is in serious danger, having discovered the secret ceremonies of men, Whose names if revealed, would disturb his sleep. It 'clear that the master of the house alludes to the modern aristocracies, To the men of the power elite political, financial, industrial and military. Minimizes eventually death / murder of the young, no more 'too hide the responsibility' of the sect, moreover, the protagonist, an example of the "ordinary people" mentioned with disdain by Ziegler, prefers not to elaborate on this point: he now does not ask better than to be deceived and forget everything; therefore willingly accepts the agnostic (and therefore anti-Christian, if ever there was a need for further confirmation) and generic concluding words of Ziegler: "It 'a dead. It happens every day. Life goes on until it does not continue any more. But you know this, right? ". With them is the fragile transience of existence and then everything, even the Hobbesian logic sopraffatoria governing human affairs, it seems to be more tolerable. The cruel and "Victorious" Victor Ziegler in the background is much wiser than ingenuous Bill.
Once again, a skeptic, unflappable and amoral nihilism seems to animate and consistently solve the Kubrick vision of the world.
At home, Bill is the last warning: the mask, perhaps forgotten the castle, on his pillow, the Order threat so 'his family and imposes silence. The images "stolen" to an "other" dimension should be erased from his memory, his eyes should go back to being "wide shut". The protagonist, as a last gesture, turn off the useless Christmas tree: the Christian logic is an empty fable, its' light 'and' misleading and away from the truth, you can delete it.
In the epilogue, in a colorful (always red, blue and white) toy store populated by "ordinary people" in search of Christmas presents, in a dimension of banal everyday life ', Mr and Mrs Harford pull an initial assessment: Bill does not seek to better than to fall completely reassuring in that dimension, Alice seems more indecisive, its demand for pure sex "(not love) seems to lead to a rediscovery of her femininity and a more open-minded of their own body.
Finally two more noterelle, the same that closed the discussion of Shining. In Eyes the teacher insists on pouring the advertising of cigarettes (a sign resumed persistently close to the Sonata Café) already appeared Overlook, because stain such a perfect movie? More challenging, as always, a possible nod "moon" during the second odyssey, the prostitute in the street you see a large sign titled Bowman and an image depicting lunar also appears in the same shot The Lotto Store, A shop near the house of Domino certainly Bowman, the Superman, is a goal towards which the Bill harmless, sort of modern gray and Papageno fails to set out and to "evolve" out, however, 'the obvious reference to the story of the film, 2001 and the moon are connected to the game (a lot), to simulation (the house of the prostitute) and ultimately to the power (among other K was going to turn this "transposition" of Schnitzler immediately after the film space). Eyes Wide Shut: The title itself, veiled allusion to the blind credulity 'of the common people, it refers to the company perhaps even lunar?