The Stanley Kubrick movie Martin Scorsese called “misunderstood”
The opinion of Martin Scorsese in the realm of cinema has garnered huge attention across social media over the last few years, from his criticism of the Marvel Cinematic Universe to his advocacy for film restoration. Though his comments have garnered staunch opposition from Marvel fans, Scorsese has always been focused on preserving the art of cinema over box office numbers.
And there is perhaps no one more qualified to comment on the state of modern cinema than Scorsese. After directing his first film in 1967, the auteur made 25 films since to near unparalleled critical and commercial acclaim, receiving a Palme d’Or in 1976 for Taxi Driver and an Academy Award for The Departed in 2007.
His distinctive filmography of dramas and thrillers has included long-standing partnerships with Leonardo DiCaprio and Robert De Niro as they explore themes of explicit violence, crime, and masculinity. With his interest rooted in this darker side of cinema, it’s no surprise that Scorsese looked to directorial giant Stanley Kubrick for inspiration.
Scorsese has declared his admiration for Kubrick’s work on multiple occasions. When taking part in the 2012 Sight & Sound film poll, Scorsese named his favourite films and included Kubrick’s 1968 epic 2001: A Space Odyssey. He also cited Eyes Wide Shut as his fourth favourite film from the 1990s in an episode of Siskel & Ebert.
The latter, he thought, was a misunderstood project. The 1999 drama follows a married couple, played by Tom Cruise and Nicole Kidman, as they navigate sex, fantasy and murder. The movie was adapted from Traumnovelle by Arthur Schnitzler but placed its story in a contemporary New York City. It’s unsurprising that the film endeared itself to Scorsese, given that New York went on to serve as the backdrop for many of his films due to his upbringing in the city.
In Kubrick: The Definitive Edition, Scorsese wrote: “When Eyes Wide Shut came out a few months after Stanley Kubrick’s death in 1999, it was severely misunderstood, which came as no surprise”. The reception of Eyes Wide Shut upon its initial release was somewhat disappointing – both in its return at box office and critically. Responses were mixed. While some critics applauded its bold eroticism, others wished it had committed further to its provocative themes.
Scorsese suggests that those critics who were unimpressed by Kubrick’s work didn’t understand it: “If you go back and look at the contemporary reactions to any Kubrick picture (except the earliest ones), you’ll see that all his films were initially misunderstood. Then, after five or ten years came the realisation that 2001 or Barry Lyndon or The Shining was like nothing else before or since.”
The initial reception for The Shining was, like Eyes Wide Shut, mixed. The film even received nominations at the Razzies, an award show that celebrates the worst films of each year. But since then, it has become one of the most referenced and respected films in the horror genre.
Scorsese’s capacity to recognise, uplift and preserve cinematic art is always at the centre of his film commentary and his filmography. Taking influence from past auteurs like Kubrick but with a distinctive Scorsese style, he’s found a perfect balance between commercial appeal and artful cinema.
