Whereas before I saw the film as a simple vehicle entertainment although 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 or the 'eagle' s steelJust 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 obligation, easily forgettable and in some cases even enjoyable.
Understand what level of scientific propaganda came today, however, has made me completely upset at the sight;
so that now the film apparently free, serious and committed, I look at it with an eye, ready to pick up those signals that can 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. Recognizing some of these techniques has become a factor of almost automatic that I do not deny, I often ruin the pleasure of a movie. I feel like that after 5 minutes has already figured out who the murderess to be discovered only at the end; only that in my case, is not to understand the plot in advance but to expose a number of ideas and concepts placed deliberately and cleverly disguised to blend in and get a grip on the minds and on the audience. And when you realize 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 face to a 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: a lot of people go hunting for hidden symbolism too esoteric style and begin to think that the whole movie is in the hands of the occult elite who want to rule the world and using these films to launch their subliminal messages.
This has naturally created an aura of skepticism among all those people who usually try to rationally analyze the facts, and caused even among those who know the film 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 learn. But one thing is certain: both enthusiasts on the 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 using the techniques of which are bosses, they want to convey messages, propaganda, or talk about it would be impossible for them to deal with the sunlight.
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 made on purpose to inoculate this idea in the public or it is simply because of the daily experience of graphic designers and illustrators that being 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, I'd like to make you read a review that I consider now as the only review ever output that can explain coherently , 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 adequate research on every aspect of the film, many things can escape or be completely misunderstood.
Before leaving this interesting read, just add a note that probably escaped the reviewer and I found on the biography of Stanley Kubrick:
Among all the choices are not casual about this movie, to shoot the orgy scene in the mansion / castle symbol of power, Kubrick rented by none other than one of the residences of the Rothschilds. 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 were those guys? It was not any people. If I told you their names, and you do 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 is exhausted in the whole sex life, in the sphere of mating and reproduction, reports the object of which is the male or the son."
(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. Maybe Shining was shot by a K who dared not even broach the subject of his chest: Overlook everything 'hidden behind symbols. In Eyes Yet nothing is hidden, from the title: eyes-wide-open-closed, a title radically changed from that of the story (Traumnovelle, Double Dream, 1926), of which K is limited to keep the lattice narrative, expanding with figures (Ziegler) and situations (the magic ritual that opens the orgy) exist in Schnitzler.
Eyes that see and yet not see are those of Bill and Alice, of ordinary people; are also closed eyes struggling to reopen the "servant" Mandy like blindfolded (something that they see and have guessed) of 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 US, the same city' to which he fled, always starting from a New York "Christmas" another loser Kubrick, the boxer defeated Killer's KissBoth films tell of any pair that, by chance, comes into contact with a scary universe, dominated by violence; also the two films are linked by the presence of dummies, symbols of the "ordinary people" who sees without seeing) or with death (the ritual sacrifice of Mandy).
Eyes set time in the capital of the empire, New York. Does not allude to the power, it shows in his enigmatic brutality '. The "third level" (see what was said around the three levels of the social order in the previous chapter) was drawn with masks in abstract Shining; albeit distant, his iron presence is sensed in the orders that came in peremptory Full Metal JacketAt that place on the borders of Vietnam; Now it appears, at first at the party Ziegler, orgy and then finally in the dialogue "esplicatore" which freezes l '"blinded" Bill.
The film is composed of five parts perfectly balanced, introduced by a prologue and an epilogue concluded by both purely family. The first (the party), the third (the ceremony), and Part V (dialogue) are the places where it appears the power, while the second and fourth start with two confessions of Alice and continue with two odysseys of Bill. It is obvious that the first and the third part are a direct continuation of situations already 'all'Overlook; even the elegant musical score, made of classic, mellow songs of the American tradition, is the same as the composition of some images follows suggestively those of Golden Room.
It was noticed then the masonic character and even satanic sect that left prevalent in persecuting Torrance; these characters are repeated underlined with surprising boldness. In the heart of the film, WHERE 'Bill enters the castle "enchanted" (still probably a century castle, whose ancient solemnity' alluding to the close continuity 'between the rulers of the past and the modern aristocracy who now inhabit it, beyond' each illusory democratic conception; it also refers to the sumptuous home of PathsIn both films the castle is the place of power and in both a party and a box solver in an elegant library dissolve the nodes of the story), attends a ceremony of satanic taste: while resonate solemn and dark litanies (if also felt Overlook), a celebrant consecrated with incense some "priestesses" of pleasure (their statuary nudity 'refers to the naked body of Alice shown in the prologue: the evolution of the protagonist towards un'agognata freedom' sexual moves in that direction, as will demonstrate 'his perverse dream) and sends them as "apostles" to spread the word among their followers, to satisfy their greed 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, its overthrow.
The powerful and silent masked orgy participate (in deference to the famous rule of silence and secrecy of the Order), perfectly masters of '(unique characteristic, as was' often noted, the "master race"), often simple viewers elsewhere energetic actors. The music, which contains the typical sound restless bands (bands present in both Kubrick film, from 2001 with Shining with Full Metal JacketWith a precise meaning already 'widely commented), doubles the mystery and alludes to the secret presenceza emanations devilish black monolith in this castle.
Neither can escape that the password to access it is not 'more' "Denmark" (Schnitzler), but "Fidelio" work or expression of the ideals of freedom and brotherhood of the lodges. The full title of the work, however, is Beethoven Fidelio oder Die Liebe Eheliche (Fidelio or & nbsp; love coniugal): The choice of this slogan sounds so mocking, as related exactly to its opposite (something similar happened with the choir 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 rigid hierarchy that separates the elite of power from simple "soldiers" or apprentices) shows the cynicism of the sect, the distance between his theory and its practice (or rather the practice of some of his most clubs' exclusive): Fidelio and 'in fact the work of a profoundly moral author who had taken seriously the noble ideals of the lodges and who did not approve of libertinism (and' known the embarrassment of Beethoven in front of Mozart's Don Giovanni).
Finally, when Bill is discovered and questioned 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 present in almost every sequence of the film) and the image that depicts an unmistakable figure above shows typical triangular Masonic enclosed in the circle of the "spectators". Also on the soundtrack now resounds the simple and left Mesto.
Speaking, The second piece of the collection of piano miniatures Music sought (1953) Ligeti in which two notes (fa and F sharp), placed 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 Debussy. This music still indicates the Masonic power, doubling the visual triangles in triangles sound (we find the same melodic figure, along with many other engraved music typical of the complex sound Masonic symbolism, such as Mozart's last composition, the Masonic cantata Laut Verkunde Unser Freude K623 [1791; Loudly proclaim our joy], directed by the great Salzburg at the opening of the Viennese lodge Zur Hoffnung Neugekronten).
But Bill does not understand. And 'the most' dull protagonists kubrickiani not want to evolve as Alex, Redmond, Jack or Joker; simply tries', in the second odyssey to understand, without success. So 'do not even go towards disaster to people like Pyle tries to change their 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; is an event that lends itself to both readings merely symbolic (the exercise of absolute power over the lives of ordinary people) and esoteric (practices of death as part of satanic rituals aimed at strengthening the sect and its followers).
Eyes the film is bolder than K: Mozart died 'while he was composing a Requiem; K, that irony is, it uses a sequence just a fragment of that Requiem (Provided that it was he who decided that musical score and it is not a sinister allusion; we do not know at what point of completeness was the copy prepared by the artist shortly before his death), he could not see made this film he considered ( rightly) his masterpiece. The sudden deaths of both hovers a mystery.
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 questioning as a prelude to human sacrifice ( 6 minutes): so secretly K alludes 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) of Aleister Crowley (who loved soprannominarsi own Great Beast 666): Circle in the magician conjures evil powers; the words recited by the celebrant, properly rendered incomprehensible, supported by Canon use of incense (substance favored by Crowley in its ceremonial), call those forces manifest in the Circle.
"In the operations of nature unequivocally evil, or that rely on the powers of evil, black or red robes are in character with the type of ceremony" (Richard Cavendish, Black magic, 1967); Indeed red robes and black are prevalent in the rite of consecration and sacrifice in the final. In the central part, devoted to "sex 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 claimed the Overlook from Jack in the substance of the human sacrifices; nor can 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: "Blood and 'life ... every living thing and' a storehouse of energy quantity 'variable according to size and the health of the animal. On the death of the animal this energy is liberated suddenly. So 'the animal must be killed within the Circle ... For the more' high spiritual operation is necessary to choose the victim which contains the power more 'great and pure. Boy of perfect innocence and high intelligence and 'the victim more' satisfactory and more 'suitable. "The argument biographer Crowley attruibuisce assertions even more' relevant:" The supreme rite should create a special atmosphere through the death of the victim. With this rite could reach the summit of Magick. The best thing would be to sacrifice a girl, possibly willing victim, 'cause if it was ill-disposed to sacrifice, could introduce a current hostile "(John Symonds, The Great Beast, In 1951, then expanded in 1958). The purpose 'of the whole ritual, rite that even Crowley defines secret and suitable "only for purposes important", therefore, is to emphasize the communion of the unknown with Powerful Forces of Evil, and that communion' for them a source of constant reinforcement.
"Do what you want", the famous motto of Crowley, is well suited to Ziegler and his friends. In short, if Aquino was inspired 2001 for his satanic Temple of Set (1975; see what was said in the chapter on Shining), K, in turn, seems to agree with him, adhering completely to the most 'widespread practices of black magic ritual in the castle everything seems to turn to the dark powers hidden behind the & nbsp; monolith.
Certainly Eyes also speaks of love, eroticism and marital issues (remember the full title of the Fidelio). But this issue much more 'obvious, that later' unleashed a print embarrassed in front of the esoteric aspects of the film, not 'the main issue. Certainly it is intertwined with the heart of the work, or the relationship between ordinary people and modern aristocracy, and indeed K is the issue of power on the ground of their own sexuality.
In the dimension "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 the bodies of others for their own pleasure. Ziegler, after which the dialogues ceremonious welcomes Bill to the party, reveals his true character in contact with the body of Amanda naked and dying. In the cold bath (still blue-red-white for bathrobe, curtains, walls) the embarrassed host (and 'had to "reveal" to Bill) in a hurry to get rid of that body "inefficient." Downstairs another powerful, Sandor Szavost (Hungarian, in homage to the cross-cutting nature of modern and cosmopolitan aristocracy of power) attempt to blatantly steal the body of Alice (body, not surprisingly, shown in the opening sequence, indicating the center of the work, the sex drive) enhancing the purely and subtly erotic femininity '(the explanation of marriage as a royal road to the wildest sexual pleasures) while two models attempt to seduce Bill, to bring "where does the' rainbow ".
Rainbow: arch / bridge of light; Bowman (2001; the term appears on a billboard during the second protagonist's odyssey from New York): man-bow; around these words K weaves an allusion to possible "evolution" of the Bill in the normal direction of an "increase of light" (to use terminology Masonic), a sexuality 'free, uninhibited, ready to seize any stimulus, no brake (also appear in the orgy two homosexuals: participating in the dance). Rainbow and 'in fact the name of the shop of masks in which a wretched father prostitutes baby daughter (the little Lolita whispers something in the ear of Bill probably obscene, so' as Humbert in Lolita, the key sequence of the film) and is the place that gives Bill a "bridge / arch" (bow) to another place, a world of complete realization of amoral if 'place "beyond good and evil." And 'finally even 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 many opportunities' 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 restraint 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 final affirmation of Alice around the need 'to "fuck" infected (in reality' in the dream) more ' Bill, from his contacts with the optical libertine of the Mighty, the woman appears lost and uncertain about its future than all'impaurito spouse.
On the contrary, in the environments of Power signs "Christians", if present, are placed in a marginal position, while appearing more "clues": the feast of Ziegler takes place in a blaze of "Light", in which the stars abound (you 'already' told of their character Masonic Full Metal Jacket); the home of the powerful advisor and prostitute appear masks (allusions orgy as well as the duplicity of Power, its rules of anonymity and silence).
In conclusion Eyes tells, in its way, the eternal struggle between Freemasonry and Christianity understood as strengths and weaknesses (in line with the entire work of the author).
After the first festival, in a homely atmosphere of boredom and disinterest, the couple try to exorcise the daily dullness smoking marijuana; under the influence of the grass lose control (another sign of their mediocrity ') and Alice confesses that she was attracted to a military seen only once, to the point of being willing to let Bill and the child to the man. Alice is not about love, dimension totally absent in the unmistakable cinema K; love is just a wound that weakens an avoidable loss of control that can not 'be of interest to the author.
On the contrary Alice speaks of total fierce physical attraction, not unlike that which animates the wild orgy pairs. The Bill silly now "sees", intuits something not imagined: the femininity 'and' pure sexuality ', obsessive search for mating; its tranquility 'and' shock, his pride wounded for him Alice will not be & nbsp; lower than before. Nor is it a case that the object of desire of Alice is a military (not 'in that Schnitzler), a warrior symbol of superior strength & nbsp; (The "second level" of which you and 'said, commenting Full Metal Jacket).
Bill began his first odyssey (the strong bond with 2001 and 'emphasized by the presence on the opening credits of the waltz the Suite for Jazz Orchestra No. 2  Shostakovich, a kind of blood and mocking caricature of Strauss waltzes so 'as the perfect "dance space" spaceships contrasts with the lost, wandering messy land of the protagonist); wants revenge and has now the opportunity ': the dissatisfied Marion, the daughter of the director died, attacks him in the room where he lay lifeless body of his father, but Bill does not dare, can not get out of their size. Marion and her boyfriend, two characters lifeless, constitute a doubling of Bill and Alice; even physically resemble. 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; embarrassed leaves and flees.
The prostitute and 'a more obvious target, but also with her Bill leaves after hearing his wife's voice on the phone. Meanwhile, in the path leading from the prostitute Marion, Bill has crossed a "herd" of violent boys who has insulted and called "fagot" are the droogs Alex and marines of Animal establishing the distance between them and the tormented weak protagonist. Eyes costituisce also a kind of meeting place of all the figures of cinema Kubrick; in this sense it is truly a work summary.
The third leg of the odyssey and 'the Sonata Café. In local Bill Nightingale is the friend 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, nestled in a deep red, the color of blood, is the logical preamble to the atmosphere prevailing in the cloistered halls of the castle. Nightingale, a servant of the powerful, speaks with deference and mobile shelve suddenly playful tones of the ongoing conversation with Bill to stiffen in an attitude of "obedience".
The fourth stage and 'the Rainbow, place the arc and the rain, the "light" and uninhibited pleasure: two perverts, cheerful Japanese leaders also symbolic of a race allowed to share power the US, taking advantage of a tantalizing Lolita after paying the fare to the father. Everything is on sale in the universe USA: money, sort of neo-pagan deities, is the element that establishes the distinction between aristocracy venal and ordinary people. Bill, after all, also means account in English; and during his odysseys 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 pay; Milich, the father of Lolita, in the second meeting with Bill is explicit: "do not just sell costumes," he says, alluding to the young; the same protagonist is identified as an intruder in the ceremony because of its relative "poverty" (the taxi, the costume for 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 junior 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 his sexuality, his innate desire to mate. Alice lives in the boredom of a sexless universe family; mother of the family feels useless, having already '"completed" its primary function. In contrast, all other female figures appear more 'life as "professionals" of love: the two models, Amanda / Mandy (the name and' anything but random), Domino and Sally, the Lolita Rainbow, the " priestesses "are an active model of femininity which Alice feels a burning nostalgia. Universe Kubrick the woman, certainly marginal, is connected solely with the eroticism and playback. K seems to share the vision of women present in a famous and "uncomfortable" wise, Sex and Character (1903), 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 of women's emancipation is liquidated no half measures ("Man more 'down and' infinitely superior to woman more 'elected ").
The orgy shows the protagonist still puzzled and frightened: he merely watching. The rite, lest we forget, takes place in the days of Christmas and is designed as a celebration spilled as a provocative ritual sex and blood that can 'be addressed only to powers underworld. The sentimental and consumerist Christmas traditions reacts the sect, celebrating its strength of prevarication, its ability 'to steal the souls of others. The order of the master turned to Bill to strip 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 you save fortuitously.
Start the fourth part. At home Alice tells her husband her perverse dream: the narrative takes on the tone of a second confession. She now lies outside the traditional marital fidelity: the dream has tasted the thrill with horror and pleasure of an orgy Group, a pleasure that has to rediscover the essence more 'intimate of her femininity, now buried in a dull marriage. The parallel with the real orgy and 'amazing (it is already' said the connection between the very similar images of naked Alice and "priestesses" orgy; after all these, women who have discovered the pure sexuality their true essence , are the secret goal of the transformation taking place in the protagonist): the couple, as you see, they walk the same path (the one in a dream reality, the other in a realistic dream) that, as mentioned, produces different outcomes.
Bill, again upset, began his second odyssey in search of explanations. Discovers, 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 traces the night before (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 US flag); back to the villa while we hear the famous piano piece by Ligeti: even now the music Masonic triangle results in visual fact because 'while Bill contemplates scared the building, his face and' pigeonholed into an image not by chance tripartite.
Then and 'round the Marion, but the attempt died at birth because' the phone meets the boyfriend of her. At home the prostitute Domino finds a second girl, Sally tells him about AIDS: freedom 'sexual seems to have a cost and a risk; Once again Bill escapes. Obsessed by jealousy the protagonist seems to be derided even by luminous signs such Verona Restaurant (ovvero la città di Romeo e Giulietta) e, nel vicino negozio di indumenti intimi, A Hint of Lace (un suggerimento di pizzo). Intanto qualcuno lo sorveglia; il giornale parla di lui (il titolo recita "Lucky to be alive”); nel bar dove si rifugia risuona il Rex Tremendae from Requiem di Mozart, complicata allusione al potere massonico (Mozart era un importante affiliato), al destino pericoloso che grava ormai su Bill, alla morte di Mandy, perfino forse alla morte di K. L’odissea si conclude di fronte al cadavere della ragazza, ai suoi occhi definitivamente chiusi.
La quinta parte, il dialogo tra il potente e l’uomo comune, è magnifica: in questo accecante finale l’apparente protagonista viene ridotto a figura marginale mentre un presunto personaggio del fondale si rivela il personaggio chiave, confermando che il vero Potere si cela nell’ombra, in un discreto “silenzio”, ed esce allo scoperto, con evidente fastidio, solo se obbligato da circostanze impreviste (come già era successo nella sequenza del bagno della prima parte). In una sala elegante, piena di antichi libri e dominata da un biliardo il cui panno rosso evoca il sangue (in Eyes il rosso è il colore dominante, diretta emanazione della cascata di sangue dell’Overlook; rossi sono la porta di casa della prostituta, alcune pareti del Rainbow, gli interni del Sonata cafe’, la veste del cerimoniere e il pavimento della sala dell’orgia; né possono mancare, nella decisiva stanza del finale dialogo rivelatore, il blu e il bianco), uno spavaldo Ziegler tenta dapprima di “depistare” Bill mediante un’edulcorata storiella e un atteggiamento paternalista; non riuscendovi, egli accantona i toni amichevoli e forbiti e passa a quelli spicci e volgari di chi e’ abituato a disporre della vita altrui. L’umanitarismo di Bill (simile a quello che ingenuamente animava il colonnello Dax nella simile sequenza conclusiva di Paths) è appena tollerato dal crudo Ziegler, come una menzogna diffusa tra la gente comune, alla quale bisogna prestare qualche attenzione.
Ma infine l’uomo si spazientisce, chiarisce che Mandy era solo una “puttana” (c’è un’eco del disprezzo di Grady per Hallorann, il “cuoco negro”) e quasi minaccia Bill, ricordandogli che ora corre un grave pericolo, avendo scoperto le cerimonie segrete di uomini, i cui nomi, se rivelati, turberebbero i suoi sonni. E’ evidente che il padrone di casa allude alle moderne aristocrazie, agli uomini del gotha del potere politico, finanziario, industriale e militare. Minimizza infine la morte/omicidio della giovane, senza piu’ troppo nascondere le responsabilita’ della setta; d’altronde il protagonista, esempio di quella “gente qualsiasi” citata con sufficienza da Ziegler, a questo punto preferisce non approfondire: egli ora non chiede di meglio che di essere ingannato e di tutto dimenticare; accetta dunque di buon grado le agnostiche (dunque anticristiane, semmai ci fosse bisogno di un’ulteriore conferma) e generiche parole conclusive di Ziegler: “E’ morta una. Succede ogni giorno. La vita continua fino a quando non continua più. Ma questo tu lo sai, no?”. Con esse appare la fragile transitorietà dell’esistenza ed allora tutto, anche la hobbesiana logica sopraffatoria che regola le umane cose, sembra farsi più tollerabile. Il crudele e “vittorioso” Victor Ziegler in fondo è assai più sapiente dell’ingenuo Bill.
Ancora una volta uno scettico, imperturbabile e amorale nichilismo sembra animare e risolvere coerentemente la kubrickiana visione del mondo.
A casa Bill trova l’ultimo avvertimento: la maschera, forse dimenticata al castello, sul suo cuscino; l’Ordine minaccia cosi’ la sua famiglia e gli impone il silenzio. Le immagini “rubate” a una dimensione “altra” devono essere cancellate dalla sua memoria; i suoi occhi devono tornare ad essere “wide shut”. Il protagonista, come ultimo gesto, spegne l’inutile albero di Natale: la logica cristiana è una vuota favola, la sua “luce” e’ fuorviante e allontana dalla verità; si può cancellare.
Nell’epilogo, in un colorato (sempre rosso, blu e bianco) negozio di giocattoli popolato da “gente qualsiasi” in cerca di regali natalizi, in una dimensione di banale quotidianita’, i coniugi Harford tirano un primo bilancio: Bill non chiede di meglio che di rientrare totalmente in quella rassicurante dimensione, Alice appare più indecisa; la sua richiesta di puro sesso” (non di amore) sembra indirizzarsi verso una riscoperta della propria femminilità e un uso più spregiudicato del proprio corpo.
Per finire ancora due noterelle, le stesse che chiudevano la trattazione di Shining. In Eyes il maestro insiste nel propinarci la pubblicità di sigarette (un’insegna ripresa con insistenza in prossimità del Sonata Café) già comparsa all’Overlook; perché macchiare così un film perfetto? Più stimolante, come sempre, un possibile ammiccamento “lunare”: durante la seconda odissea, nella strada della prostituta compare un grande cartello intitolato Bowman e raffigurante un’immagine lunare; nella stessa inquadratura appare anche The Lotto Store, un negozio vicino alla casa di Domino: certamente Bowman, l’oltreuomo, rappresenta una meta verso la quale l’innocuo Bill, sorta di moderno e grigio Papageno, non riesce a incamminarsi e ad “evolvere”; uscendo pero’ dall’ovvio riferimento alla vicenda filmica, 2001 e la luna vengono collegate al gioco (il lotto), alla simulazione (la casa della prostituta) e in definitiva al Potere (tra l’altro era intenzione di K girare questa “trasposizione” di Schnitzler subito dopo il film spaziale). Eyes Wide Shut: il titolo stesso, velata allusione alla cieca credulita’ della gente comune, si riferisce forse anche all’impresa lunare?
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