Eyes Wide Shut: Music From The Motion Picture
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CD Details
Performer: The Victor Silvester OrchestraPerformer: The Oscar Peterson Trio
Performer: Peter Hughes Orchestra
Edition: Music CD
Audio: English (Original Language)
Format: Soundtrack
CD Release Date: 1999-07-13
Music Label: Reprise / Wea
Product features:
- SOUNDTRACK EYES WIDE SHUT
- Musica Ricercata No. 2 - Dominic Harlan
- Jazz Suite 2 Waltz 2 - Concertgeboux Amsterdam (Reprise)
- Baby Did A Bad Bad Thing - Chris Isaak
- When I Fall In Love - The Victor Silverster Orchestra
- I Got It Bad & That Ain't Good - Oscar Peterson Trio
- Naval Officer - Jocelyn Pook
- Dream, The - Jocelyn Pook
- Masked Ball - Jocelyn Pook
- Migrations - Jocelyn Pook
- If I Had You - Roy Gerson
- Strangers In The Night - Peter Hughes Orchestra
- Blame It On My Youth - Brad Mehldau
- Grey Clouds - Dominic Harlan
- Musica Ricercata No. 2 - Dominic Harlan
Music reviews of Eyes Wide Shut: Music From The Motion Picture
Music Review: When is a soundtrack not just a soudtrack?
Rating: 5 Stars
When it's from a Stanley Kubrick film, that's when. Though it's not for everyone, the soundtrack to Kubrick's beautifully twisted final film, "Eyes Wide Shut", is a musical journey unlike any you've ever taken. Like the film itself, the "Eyes Wide Shut" soundtrack is a dreamlike experience, taking us from heaven to hell and back again. It is Dominic Harlan's riveting piano music that haunts much of the film, and, of course, every nightmarish note is here. We are quickly catapulted into that blurred reality that Tom Cruise's celluloid character spends his two evenings roaming the streets of New York in. Harlan's piano work has the same feel as Kubrick's film -- easily alternating between beautiful and frightening, real and surreal. Featured alongside Dominic Harlan's music on "Eyes Wide Shut" is the brilliant original score of Jocelyn Pook. Pook perfectly captures the film's beauty and menace in such themes as "The Dream", "Migrations" and especially (and most importantly), in the chilling theme, "Masked Ball". The masked ball scene appears midway through the movie and serves as the film's visual centerpiece and turning point. It is the moment where dreams and reality converge once and for all, setting the harrowing second act into motion. Jocelyn Pook's music in this scene -- hypnotic, frightening, and gorgeous -- does wonders for the effectiveness and power of this moment in the film, and is especially glorious when listened to through your headphones. All in all, the "Eyes Wide Shut" soundtrack is not merely a collection of recordings from an extraordinary film. It is a companion to that film, in which we trace Tom Cruise's footsteps through his two nights of dreams and reality, curiosity and jealousy, paranoia and revenge, and finally -- hopefully - truth and redemption. If you're up for the experience, it's a trip well worth taking.
Description of Eyes Wide Shut: Music From The Motion Picture
SOUNDTRACK EYES WIDE SHUTThe late director Stanley Kubrick's masterful pairing of image, song, and symphony has forever imbued an impossibly eclectic body of music with indelible psychic connotations that range from cosmic grandeur (2001's Also Sprach Zarathustra and "The Blue Danube") to cynical irony (A Clockwork Orange's use of Beethoven, Rossini, and Gene Kelly's "Singin' in the Rain"; Vera Lynn's warbling "We'll Meet Again" over Dr. Strangelove's climactic vision of apocalypse) and outright left-field loopiness (the Trashmen's "Surfin' Bird" from Full Metal Jacket); he may not have written a note of it, but it would somehow always be his. Judged against that history, Kubrick's final soundtrack, Eyes Wide Shut, may well be his most subtle and consistently surprising. Typically disparate, yet utterly evocative of the film's complexity of mood and psychosexual undercurrent, it initially glides effortlessly from old Kubrick favorite Ligeti (an excerpt and reprise of "Musica Ricercata II" rendered as a stark, minimalist dirge by pianist Dominic Harlan), through a Shostakovich waltz and Chris Isaak's edgy "Baby Did a Bad Bad Thing" to the schmaltzy ballroom sop of "When I Fall in Love." Crucially, Kubrick also commissioned original music (a rarity in his work since Strangelove) by English composer Jocelyn Pook, and her handful of compelling tracks range from Elgar-autumnal to hauntingly avant-garde, all of it becoming a piece of the director's strange, satisfying stew of classical, rock, jazz, and ostensibly banal pop. A soundtrack that evokes Kubrick's very essence: complex, satisfying, yet wholly enigmatic. --Jerry McCulley
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