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Anybody else get that impression? She just looked different. Her body seemed different and even her hair seemed to be a different color.

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Great observation MN.

After reading a review of the film it appears the hooker who was HIV positive also wasn't the same girl who OD's at the Christmas party. The one who OD's is named MANDY and the other one who tries to seduce him at her home is named DOMINO.

What's the name of the BEAUTY QUEEN in the newspaper?

If her name is MANDY, apparently she'd also be the one who OD's at the party where the 2 other girls come up to the DOC and dangle off his arms.

Also reading another review now where it goes through the film SHOT by SHOT and apparently the DRESSING ROOM where NICOLE takes off her dress and kicks it to the side is also NOT the same ROOM where her hubby the DOC is seen preparing to leave for the party.

So something else strange is going on that one doesn't notice unless one goes through the film with a fine tooth comb while watching it.

http://idyllopuspress.com/idyllopus/film/ews_one.htm

The most important thing which must be kept in mind with Kubrick's films is there is the surface or principle story and then the internal or sub-story. In many of his films, if we're really paying attention, set elements pretty much immediately destroy the surface naturalism. One may not notice this destruction the first, second or third time one watches the film. Through constructive disorientation and disconnectedness, and sleight of hand as to where our eye focuses, Kubrick, the magician, intentionally obfuscates these elements that destroy the overt and naturalistic story line.

We are viewing the dressing room again, further in it than before, beyond the columns that had somewhat theatrically separated us from Alice, our perspective such that now we're able to see bookcases and a far door to the right that had not been previously in sight and will never be used. The dressing room now unlit, the floor lamp and tennis rackets that had been in the far left corner are replaced by several long slender objects sheathed in black casings. The black casings are tied in such a way that the shape suggests a head, neck and body, and if we know there is the party later in which attendees wear black cloaks with hoods we are perhaps reminded of the cloaks

This is Bill's version of the dressing room, which will become clear in a moment, and if we only now see the books in these cases they are likely Bill's, perhaps medical texts. But just as the (possible) newspaper on the floor of Alice's version of the dressing room perhaps refers to the "Lucky to be Alive" tabloid and its mention of Curran's seductive strip tease, these books may connect with Victor's billiard room/library in which Bill will receive the news that Victor had him followed, or the library at the Somerton "orgy" where Bill is invited to retire to a more private place by a woman seemingly directed to him by a masked Victor

Whereas Alice's shoes had lined the floor under the window before, now many pairs of Bill's black shoes do, and only when Bill moves will we see a lighter shade of shoes belonging to Alice. There is also a seeming, single gold shoe (I'm not certain of this) beside the black sheathed objects, while behind them lies what appears to be a red piece of clothing neglected on the floor in the corner. Allusions to both these articles may occur later in the film, for a gold shoe (without its second) is observed on a pizza box in Domino's apartment, and at the Rainbow shop will be a Japanese man in a red thong who is revealed as hiding behind clothing in a dressing/sitting room.

A framed picture or small mirror rests upon the sill of the window and some other articles that hadn't been there before.

A rug now overlays the carpet and hadn't been present in the previous scene. This same rug will appear later in the film in the private dressing/sitting room at the Rainbow shop (the COSTUME place).

The audience is going to assume, is perhaps intended to assume, that the first scene showed Alice dressing for the same party for which Bill is now attired, and was dissatisfied with that dress as she goes to the party in another. Or, if one hasn't paid careful attention to what Alice is wearing, one may casually, later reflect back on the first scene and believe Alice was undressing after the party. Once one realizes how different the dressing room is in both scenes, one might believe Kubrick intended the first scene to be on a different day.

One may consider that the earlier scene of Alice could possibly be the end of the night the prior year they went to the Ziegler's party, for at the party Alice asks why they are invited every year, but the sheerness of the dress Alice removes is such that it's utterly inappropriate for such a party.

It would be, however, very appropriate for the party at Somerton, and is tailored to stick in our mind for later consideration and reflection on this.

The fact is these are two different dressing rooms when one examines them, and by making them different, Kubrick makes us struggle to rectify the two. First he causes us to guess "why" Alice removes her dress at the film's beginning, and then when we see how different the dressing rooms are we must struggle with time and, finally, place. To look for rationalizations that can fit into a literal, everyday narrative in such an expressionist and often irrational (in terms of the physical world) manner of story-telling as Kubrick employs is really not the way to pursue Kubrick's work. There is no explaining away the differences between Alice's dressing room scene and Bill's, the change in props, by simply suggesting the first scene has occurred a year prior. For even if such a scenario seems a reasonable answer, Kubrick's films remain filled with intentional and impossible curiosities that defy realism.

The view out the window isn't even the same.

That's right. The view out the two dressing room windows isn't even the same. With Alice, the view is all skyscrapers and their lights from top to bottom. With Bill, half of the window is filled with sky. There is no explaining this

It's an intentional and dramatic mismatch between the two scenes. When we are dealing with such mismatches, as if a juxtaposition of several different realities, or the revelation of a reality in flux, and the film is not intended to be a fantasy, then we have to adopt an altogether different way of examining the movie than we would if it was undiluted realism or straight fantasy.

If the observer hasn't noticed anything is awry, there is perhaps a sense of subconscious unease if the eye has caught the differences but the brain shies from recognizing them due the appearance of realism.

Kubrick utilizes doublings and makes small but sometimes bold alterations in sets that disrupt continuity

In all his films he employs deja vu and circularity so that scenes are revisted and play out in different ways.

Two scenes, both supposedly in the same room, both seeming to refer to the same party, and yet there is such significant alteration between the two that they don't match up. There is no possible way of reconciling themi

So don't feel bad about being confused, because apparently the CONFUSION one encounters is also placed there INTENTIONALLY and on PURPOSE???

They also mention how the BLACK DRESS that Alice kicks to the side looks like it might be RIPPED or TORN.

So one also has to wonder how that may have happened. Did she make the mistake of going upstairs with a man who flirts and dances with her at that party they attend or get invited to every year?

Did someone at that party attack her???

Rape her???

Assume she was just another one of the hookers who were there???

They also point out how she's not wearing any UNDERWARE or anything else under that dress that she drops down to the floor and kicks out of the way.

So that's also kind of ODD how she's completely NUDE under it.

And how did she know to call her hubby at that exact moment when he's about to have sex with the HIV Positive hooker???

There's also an indication that the DOC might be looking out the window at someone sitting on a bench in front of his place who might have been following him.

And all of this is just stuff that's taking place during the OPENING CREDITS of the film.

So imagine how much more stuff there is HIDDEN inside of it.

And how the hell did the RUG in the DRESSING ROOM of the DOC's house get to the COSTUME shop???

And how did the MASK from the COSTUME SHOP end up on his pillow???

@Invidia said:

Great observation MN.

After reading a review of the film it appears the hooker who was HIV positive also wasn't the same girl who OD's at the Christmas party. The one who OD's is named MANDY and the other one who tries to seduce him at her home is named DOMINO.

What's the name of the BEAUTY QUEEN in the newspaper?

If her name is MANDY, apparently she'd also be the one who OD's at the party where the 2 other girls come up to the DOC and dangle off his arms.

Also reading another review now where it goes through the film SHOT by SHOT and apparently the DRESSING ROOM where NICOLE takes off her dress and kicks it to the side is also NOT the same ROOM where her hubby the DOC is seen preparing to leave for the party.

She is actually in the walk in closet while he is that little foyer/study section of his bedroom. Man, did she have a great body when they filmed this. :grin:

So don't feel bad about being confused, because apparently the CONFUSION one encounters is also placed there INTENTIONALLY and on PURPOSE???

They also mention how the BLACK DRESS that Alice kicks to the side looks like it might be RIPPED or TORN.

So one also has to wonder how that may have happened. Did she make the mistake of going upstairs with a man who flirts and dances with her at that party they attend or get invited to every year?

Did someone at that party attack her???

Rape her???

The "torn" balck dress scene was at the beginning before the party.

Assume she was just another one of the hookers who were there???

Are you saying Alice was at the orgy?

They also point out how she's not wearing any UNDERWARE or anything else under that dress that she drops down to the floor and kicks out of the way.

I think she was just trying on dresses which is why she hadn't put on any underwear yet.

There's also an indication that the DOC might be looking out the window at someone sitting on a bench in front of his place who might have been following him.

Hmm, why would someone be following him at this point of the film?

And how the hell did the RUG in the DRESSING ROOM of the DOC's house get to the COSTUME shop???

I looked for this and did not notice any run from the costume shop at his house. Which rug?

And how did the MASK from the COSTUME SHOP end up on his pillow???

That was the creeps from the orgy following him letting him know to watch himself because he is being watched. Just like the letter indicates.

But what about that guy pimping out his daughter to those Asian DUDES? That whole thing looked like a set up to me.

Oh and yeah, the overdosed beauty queen in the newspaper clipping was indeed named Amanda. But the girl in the morgue was a strawberry blonde and Mandy at Victor's party was a RED head.

If you click onto the LINK you'll see several large photos there from the film that show her standing there by the closet and they also show the DOC standing there.

But the 2 TENNIS RACKETS and the LAMP that are there when she stands there are GONE when he stands there.

And there's also NO CHAIRS sitting there by the 2 DOUBLE COLUMNS like we see when the DOC stands there looking out the window at the guy sitting on the park bench.

And the EMPTY TABLE you can see part of that's also full of stuff when he stands there also has NOTHING on it when she stands there.

But the MAIN thing is how we see SKYSCRAPERS out the WINDOW with the partially open blinds when she stands there whereas we see a DIFFERENT SCENE that shows the SKY when he stands there.

In other words, this isn't the same room or the SAME scene we see out the window.

So one is left just as confused as to HOW and WHY this happens as one is about what you say about the girl named AMANDA having a different color hair.

In the LINK you can also CLEARLY see how THE DOC stands there on a REDDISH colored looking RUG that's NOT THERE when his wife stands there.

And I haven't read or gotten to the part of the article yet where they show the SAME RUG at the COSTUME shop.

But the other ARTICLE (that has it's own topic) also explains how the 2 girls who grab the DOC's arms at the Christmas party also talk about the END of the RAINBOW (which is also the name of the COSTUME SHOP).

So yes, the WHOLE situation sounds like a SET UP.

He's invited to that party, those 2 girls grab him and make his wife jealous, then he's called upstairs to help the girl who OD's, which also makes his wife suspect he's gone upstairs to screw them.

So did she also accept the offer of the other man to go upstairs with him as a way to try and find out what her hubby was doing?

We assume she remains downstairs dancing with him the entire time, but who knows???j

If she was also willing to leave her hubby and child for that SAILOR then maybe she also felt attracted to the other man that she's dancing with who pays more attention to her than her hubby does?

There's also several other things that TIE in what happens at that RAINBOW SHOP and at DOMINOS to the youngest daughter.

You can also read about it at the other topic where they discuss the angel costume she's wearing which we see again on the other girl at the RAINBOW COSTUME shop, and you also see the same TIGER at the TOY STORE as you see at DOMINO'S house, etc.

So there's also an implication that the DOC's daughter is going to end up like the other daughter at that COSTUME shop.

Her mother also teaches her math lessons where she learns how to chose the man who makes the most money.

Lot's of really weird stuff is going on that one doesn't notice without reading the stuff some of these reviews have noticed.

So BRAVO to you for the way that you've also noticed how the DEAD girl doesn't look like the other girl.

And HOW would the guy who tells the DOC the girl OD's again KNOW about how the place was LOCKED from the INSIDE???

COPS don't go around telling other people facts like that when they find dead bodies.

There's just so much WEIRD stuff going on ... like the MASK ending up on the PILLOW ... that we can't be sure how it got there.

For all we know his WIFE may also have had him followed and the MASK is sitting there because she also already knows where he's been and what he's been doing.

And for all we know she may also have been one of the NAKED BODIES wearing MASKS that we see at that ORGY, because her BODY also looks just like the NAKED BODIES of the other girls we see wearing MASKS at that party.

So imagine if she got HIRED by that guy she danced with (who may also have offered her LOTS of MONEY ... like maybe even a MILLION dollars ... to be at that ORGY) and then saw her hubby show up there.

And she may also have accepted the offer because of the way her ART BUSINESS had failed leaving her BANKRUPT or in DEBT???

There's just so many possibilities as to what happens that it makes one's head spin around this way and then that way not knowing what the hell to think.

It's very much like the case is with TWIN PEAKS THE RETURN, where one also doesn't understand how LAURA PALMER could have been BORN from the head of the GIANT, and then also be given birth to by SARAH PALMER at the same time. Or be Laura in TP, and then be Carrie Page in Odessa TX.

No wonder Lynch and Kubrick got along so well and admired the work of one another.

Because both of them also mess with your mind in the same kind of way.

EYES WIDE SHUT is also a bit like BLUE VELVET where we meet COOP as JEFFERY and meet LAURA DERN as SANDY, who also get OVER there heads and all mixed up in the UNDER WORLD life of the evil FRANK, the same way as the DOC and his wife get all mixed up with the EVIL ORGY crowd.

From the other article over in the other topic:

https://www.themoviedb.org/movie/345-eyes-wide-shut/discuss/5a28b0d39251410333108907

http://www.visual-memory.co.uk/amk/doc/0096.html

Being beautiful is Alice's job, as much as it is the former beauty queen and call girl Mandy's or the hooker Domino's

She's associated, more than any other character, with mirrors; we see her giving herself a critical once-over before leaving the party, and look of frank self-assessment in the medicine cabinet when she decides to get stoned. Her expression in the mirror as she watches her husband making love to her (the film's iconic image) begins as bemusement, giving way to fondness and arousal, but in the last seconds before the fade-out it becomes something more ambiguous, distracted and self-conscious; this is her moment of clearest self-recognition, an uncomfortable glimpse of what she really is.

Alice's real status is unmistakably suggested: the wife as prostitute. She's identified with the hooker Mandy through a series of parallels: they're both tall redheads with a taste for numbing drugs, we first see them both in bathrooms, and Mandy's last night "being fucked by hundreds of men" is distortedly echoed in Alice's dream. Alice is also associated with the streetwalker Domino by the purple of her sheets and Domino's dress, and by their conspicuous dressing-table mirrors

When Domino disappears, she's replaced by Sally the next day, just as in dream-logic one person may turn into another yet remain the same. In a sense, there is only one woman in the film. Lee Siegel sees the various prostitutes that Bill meets as different incarnations of his wife

insinuating that Alice is just another, higher-class whore. When we last see her in the film, in that toy store, she's surrounded by shelves full of stuffed tigers like the one on Domino's bed.

Alice is visually linked to a doomed hooker.

She's also grooming her daughter Helena (named after the most beautiful woman in history) to become a high-ticket item like herself. During the montage of their day at home, we see Helena alongside her mother in almost every shot, holding the brush while her mother gathers her hair into a ponytail, brushing her teeth at the mirror, learning to groom herself. When we overhear her doing word problems with her mother, she's learning how to calculate which boy has more money than the other.

At Bill's office, we see a photo of Helena in a purple dress, like the one worn by the girl her father paid for sex the night before.

The orgy makes the metaphor of sexual objectification visually literal. The prostitutes wear masks that render them anonymous and identical. Their nude bodies are unnaturally perfect, smooth and immaculate as mannequins, lit under a chilling white spotlight and photographed with that Kubrickian detachment that somehow desaturates them of any real eroticism.

Masks ... serve as metaphors for women being treated like possessions

Costumed mannequins surround Bill and Milich in the back room at Rainbow Costumes

If Doctor Harford should ever need anything else," says Milich, hugging his daughter close beside the cash register, "Anything at all... it needn't be a costume." The line only reinforces the visual equation of the girl with the store's more legitimate merchandise.

as in so much of Kubrick's work, the dialogue is misdirection; the real story is being told visually. As poor Helena flits anxiously from one display to the next (already an avid little consumer) every item she fondles associates her with the women who have been exploited and destroyed by her father's circle. Helena's Christmas list includes a blue baby carriage (like the blue stroller seen twice outside Domino's apartment), an oversized teddy bear (next to a rack of tigers like the one on Domino's bed) and a Barbie doll (reminiscent of Milich's daughter) dressed in a diaphanous angel costume just like the one Helena herself wore in the film's first scene.

She herself has already become a doll, a thing to be dressed up with cute costumes and accessories. Another toy, conspicuously displayed

The subplot with Milich and his daughter is clearly echoed here, in another place of business, as the Harfords also casually pimp their own little angel out to the world of commerce.

the global American empire at the end of the American Century, is one in which the wealthy, powerful, and privileged use the rest of us like throwaway products,

the Harfords' daughter is, just as they've resigned themselves to being, fucked.

So just like the RAINBOW COSTUME owner tries to PIMP OUT his daughter to the DOC, the DOC's daughter is also being GROOMED with her math lessons to PIMP herself out to the guy who has the most money???

Here's the LINK where you can see the RUG is the SAME ONE we see when the DOC stands there preparing to leave for the party where Mandy OD's:

http://idyllopuspress.com/idyllopus/film/ews_four.htm

If you scroll all the way down to the bottom of it, you can see the RUG at the 27th PHOTO up from the BOTTOM of the page.

And under that PHOTO where you can see the RUG are several other photos of ALICE and the DOC which also show us the RUG is NOT there when ALICE stands there, but it IS there when the DOC stands there in that dressing room area.

And you also see the other young teenage girl in the COSTUME SHOP standing in front of the strings of WHITE LIGHTS that also reminds one of the other strings of WHITE LIGHTS that one sees as the DOC walks up the HUGE WINDING stair case where he finds MANDY unconscious.

So the RUG in the room where the teenager is playing with the 2 ASIAN men ties us back to the DOC in the dressing room where he prepares for the party ...

and the strings of WHITE LIGHTS at the party ties us back in with the COSTUME SHOP ...

where the teenage girl also looks like she tries to seduce the DOC.

And the MASKED MANNEQUINS in Costumes also ties in with what the DOC's about to encounter at the ORGY.

And the teenage girl at the costume shop also seems to tie back in with the DOC's younger daughter, who will probably also be on the market in another 10 years, and end up selling herself to the highest bidder in return for sex (which is usually also what happens in a traditional marriage between those of wealthy means)???

TOYS, DOLLS, MANNEQUINS, MASKS, RUGS, LIGHTS, COLORS of clothing, and the ANGEL COSTUME that we see the DOC's daughter wearing (as they leave for the party where MANDY OD's) also seem to tie her to what happens to Mandy and at that COSTUME SHOP???

Could that shop also be the same place where Alice got the ANGEL COSTUME for her daughter???

Since her ART Business failed, could she also have traded the RUG in her home for the ANGEL COSTUME???

Maybe she also got the dress that she wears to the PARTY at that COSTUME shop???

NOTE the way it's also in what's called an UMPIRE STYLE, which is also the same STYLE of dress that they use to wear back in the days when JANE AUSTEN wrote her novels as you can also see here.

http://www.janeaustengames.com/games/dressup/overview

http://www.janeaustengames.com/games/dressup/images/1495630375

https://en.wikipedia.org/wiki/Jane_Austen

Jane Austen (/ˈdʒeɪn ˈɒstɪn/; 16 December 1775 – 18 July 1817) was an English novelist known primarily for her six major novels, which interpret, critique and comment upon the British landed gentry at the end of the 18th century. Austen's plots often explore the dependence of women on marriage in the pursuit of favourable social standing and economic security

So did she kick the other dress away and then go RENT one to wear to the party at the COSTUME shop???

Life in this story also seems to be one big CIRCULAR SEXUAL CIRCUS, with the use of objects like the RUG and LIGHTS connecting the characters together, and these kind of objects also connect the situations that we see happening to them to one another ???

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