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 SUSAN INGRAM

Academy Awards, including for Spartacus, and who is the only composer to have
received a special Academy Award for his lifetime achievement in film music (in
1986), but rather with his o w n selection ofclassics like Richard Strauss’s Thus Spalee
Zarathustra and Johann Strauss Sohn’s Blue Danube Waltz, n o t only did it send shock
waves through the industry, it also marked an important turning‐point in Kubrick ’s
filmmaking practice. Film music scholars have come to attend to the myriad ways
in which music makes available identificatory possibilities to its listeners, and in this
contribution I explore what it does to o u r understanding of Kubrick’s approach to
Spf
soundtracks to be thrown i n t o this identificatory fray and how it helps usto tease
o u t the geo-aesthetic implications of his larger practice of adaptation. After first
charting the scholarly terrain on how music can beconceptualized asidentificatory
space, particularly but n o t exclusively in film, I then give a brief o v e r v i e w of how
Kubrick ’5films have and have n o t been heard. Finally, I read the music in Eyes Wide
Shut for its spatial and geographical components in order to demonstrate how cen‑
tral music became in Kubrick’s approach to adaptation.

I LISTEN, THEREFORE I BECOME

Anahid Kassabian’s Hearing Film: Tracking Identification in Contemporary Hollywood

Film Music was pathbreaking in its sustained demonstration of the centrality ofmu‑
sic to the process by which film audiences make their lives through their identifi‑
cations with texts. Drawing on detailed analyses by Kalinaks, Tagg and Clarida“,
and on the evidence of mood music catalogues, all of which suggest that “in
mass-market, narrativefilm music, correspondence between producer’s intention and con‑
sumer’s reading, between transmission and reception, between encoding and decoding, and
among decodings, is high”,7 Kassabian built a compelling a r g u m e n t for approaching
film music in t e r m s of competence, which she understands as: “the sleill that gener‑
ates consistency in encodings and decodings offilm music.”8 Unlike “literacy”, the i n s t i ‑
not
tutionalized acquisition of knowledge about formalized aesthetic categories and
com
therefore the prerogative of privileged elites, for whom T. W. Adorno seems to
ethn
have become synecdochic, competence, asKassabian demonstrated, “is a culturally
(196‘
acquired sleillpossessed to varying degrees in varying genres by all hearing people in a given
are e
culture”,9 and it is the skill which a c c o u n t s for film music’s centrality in s t r u c t u r ‑
undc
5 Kathryn Kalinak, The Fallen Woman and the Virtuous Wife: Musical Stereotypes in “The Informer”, mod
“Gone with the Wind" and “Laura”, i n : Film Reader 5 (1982), pp. 76‐82. the 1
6 Philip Tagg/Robert Clarida, Ten Little Title Tunes, Liverpool: Institute for Popular Music R e ‑
search Report. (n.d.).
10
7 Anahid Kassabian, Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music, N e w
II
York 2001, p. 20.
12
8 Kassabian, Hearing Film (note 7), p. 20.
9 Kassabian, Hearing Film (note 7), p. 20. 13

260

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 SUSAN INGRAM

the negotiation ofpersonal identity on the one hand, and the making and negotiation ofgroup
identity on the other.”14 In thinking about how sounds and music work to locate lis‑ Kubrick’s
teners in geopolitical space, Josh Kun’s work on aural borders pushes this process credits m a t
afurther step: Shining “l
tors along 1
In the space ofsongs themselves and in the exchange between producers and listeners, otherworld
music enables, constructs and imagines the mapping ofnew places and cartographies with music
ofpossihility; it draws maps that otherwise might n o t bepossible in the real time of strains ofa
political realities.'5 Ten lines I
What K u n looks to identify in music are “identificatory contact zones where disparate good-bye a:
identity-formations and geographies historically charted separately, are allowed to interact lyrics, Jen
with each other as well asenter into relationships whose conse The Short‑
quencesfor cultural identifica‑ on them h
tion are never predetermined.’“6 Far from merely allowing for such interactions, the
music in Kubrick ’sfilms is premised on the musical selections interacting n o t only noting the
with each other, but also with each of the other carefully selected elements in the instead on
film. In what follows, I show how difficult it can beto locate, let alone examine “Regardless
examples of these c o n t a c t zones. visual seque
sic is litera
which tend
LISTENING TO K U B R I C K Da
Perhaps unsurprisingly, Kubrick’s music has tended to be ignored in adaptation direction. i
criticism. The standard work on Kubrick adaptations is Greg Jenkins’s 1997 Stan‑ film, reple‘
ley Kubrick and the A r t ofAdaptation.17 On the basis of analyses ofLolita, The Shining provide are
and Full Metaljacleet, which attend to the changes that Kubrick made in turning For Eyes W
these three literary t e x t s i n t o cinematic a r t , Jenkins concludes with eleven points In 19.97,
characteristic of Kubrickian adaptation.18In none of these points is any mention hriclefilr
made of the way music figures in the films ‐ an odd omission given that music Dmitri 1
figures quite prominently in the analyses. Jenkins’s readings all begin with the and Gyo‘
beginning of the film in question. Of Lolita he n o t e s : “Filmed in black‐and‑ on the VI
white,
some 5891
14 Guthrie P. Ramsey,Jr., Muzing New Hoods, Making New Identities: Film, Hip-Hop Culture andjazz Bad Bad
Music, i n : Callaloo 25/1 (2002), pp. 309‐320, here: p. 309.
15 Josh D. Kun, The Aural Border, i n : TheatreJournal 51/1 (2000)
, pp. 1‐21, here: p. 6.
16 Kun, The Aural Border (note 15), p. 6. 19 Jenkins, S
17 Exciting n e w work is starting to appear on the aspects of Kubrick I am interested in here. Pez‑ 20 Jenkins, Si
z o t t a , for example, revisits Jenkins in an attempt to overcome the literary bias of his approach 21 Jenkins, SI
to adaptation. While her filmic emphasis is a welcome corrective, enriching a narratological ap‑ 22 Jenkins, SI
proach with anintertextual one means that one goes ‘frstfrom hooks tofilms, and then vice versa” 23 Jenkins, SI
Elisa Pezzotta, Stanley Kubrick: Adapting the Sublime, Jackson 2013, p. 7. Music still does n o t ; see 24 See, for ex.
precedent but is seen through afilm-studies gaze rather than aliterary-studies one. take Qiarterly
18 Greg Jenkins, Stanley Kubrick and the A r t ofAdaptation: Three Novels, Three Films, Jefferson 1997. novelle" am
pp. 150‐160. Raleigh W
Journal for

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 SUSAN INGRAM

Ain’t Good”), “When I Fall in Love”, r‘IfI Had You”, "Strangers in the Night”
and “Blame in on my Youth ”.25
man
H o w o n e should interpret these selections Hughes prefers to leave to the burgeon‑ us 3]
ing field of film music scholarship, in which treatments of Kubrick’s use of music
are beginning to abound.26
It is generally accepted that “[i]n the Anglophone world, Claudia Gorbman u n ‑
doubtedly set the gold standardfor research on the relationship between cinematic images and
musical sounds in an approach indebted to the writing ofthe French electronic composer and
film critic Michel Chion”,27 whose m a i n works, including Kubrick’s Cinema Odyssey,
she translated i n t o English. Both Chion and Gorbman have written on Eyes Wide McC
Shut,28 the former characterizing it asan homage to M a x Ophfils, whom Kubrick uses
admired tremendously, and especially to the waltz in The Earrings ofMadame de. . "29 ing 11
Gorbman, for her part, turned to Kubrick because his “strength asan auteur lay in his of E)
inspired handling ofpre-existing music.”30 Examining the latter halfofKubrick’s career, also ‘
she establishes the necessity of attending to “auteur music” to illustrate how style
to lig
With the breakdown ofthe studio system, the cinema broadened its range ofmusical
built
idioms, and old rules that had dictated music’s deployment infilm were relaxed or
Wide
broken .. and] thefilm score began to bemorefrequently considered not somuch as
dency
a layer to beadded in post‐production by the studio music department, but rather as
the r 0 .
anintegral thread in thefabric ofthefilm.“ an int
For Eyes Wide Shut she delineates four kinds of music (waltz, Pook, Ligeti and Coppc
tunes from the 19305 to 19905) that show “Kubrick’s marriages ofmusic and image would
into super-operatic moments”32 and how Kubrick used the music to s t r u c t u r e his cuts, cision
imparting to the a c t o r s “the look ofpuppets” by making the characters’ m o v e m e n t s Kubri
submit to musical rhythms.33 “For '
‘Requi
25 David Hughes, The Complete Kubrick, London 2000, p. 254.
difflcm
26 Stanley Kubrick: A Bibliography ofMaterials in the UC Berkeley Library is a tremendous resource to
help stay up-to‐date with Kubrick scholarship. It is available online athttp://www.lib.berkeley. script]
edu/MRC/kubrick.html. througi
27 John Richardson, An Eyefor Music: Popular Music and the Audiovisual Surreal, Oxford‐New York
2012, p. 20. It
28 Michel Chion, Audio‐ Vision: Sound onScreen, ed. and t r a n s . by Claudia Gorbman, N e w York 1994; [ 0 !

id., The Voice in Cinema, ed. and t r a n s . by Claudia Gorbman, N e w York 1999; id., Kubrick ’sCinema
Odyssey, t r a n s . by Claudia Gorbman, London 2001; Claudia Gorbman, Ears Wide Open: Kubrick’s
34 Ch
Music, i n : Phil Powrie/Robynn Jeananne Stillwell (eds), Changing Tunes: The Use ofPre-Existing
p. 2
Music in Film, Aldershot UK 2006, pp. 3‐18.
35 Kai
29 Chion, Kubrick’s Cinema Odyssey (note 28), p. 165.
36 Kai
30 Gorbman, Ears Wide Open (note 28), p. 4.
Jan:
31 Gorbman, Ears Wide Open (note 28), p. 3.
201
32 Gorbman, Ears Wide Open (note 28), p. 7.
33 Gorbman, Ears Wide Open (note 28)a p. 8. 37 Mc'
38 Mc1

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integration ‐ and insinuation ‐giue the music its sticking power, and they malee it I ‘
unlikely that audiences will everforget his role.39 an
Kubrick is n o t unknown in European scholarship, of course, which tends to draw
on the anglophone work rather than vice versa. In the dissertation he completed Bl;
at Marburg, Stephan Sperl builds on Gerrit Bodde’s earlier study.40 The introduc‐ Ca
tion helpfully summarizes the Italian- as well as the English‐language work on the
Kubrick’s use ofmusic,41 while the body of the t e x t identifies 29 concrete “Unter‑
fun/etionen” of music in Kubrick’s films at the levels of dramaturgy, narrative and
montage, from representing movement to setting accents, replete With charts ‘2 abo
Still, g i v e n all of the scholarship that has been done on the m u S i c in Kubrick AIR
films in the past decade, the v a r i o u s interminglings of identity‐formations and her
geographies impliCit in Kubrick s muSical chOices for Eyes Wide Shut does n o t y e t pm‘
seem to have been linked back to the filmmaker s biography which is what the desi‑
geo‐aesthetic reading that follows attempts to do.

SONGS WITH A N D WITHOUT WORDS to C2

ing (

Upon cursory examination, it is apparent that a key factor in how music works with
in Eyes Wide Shut depends on whether it has lyrics or n o t . Kubrick ’spenchant for and i
drop
integrating song lyrics into the larger communicative framework ofhis films goes moth
far beyond making “harmless verbaljolees”, such as the choice of Try a Little Tender‐ BeA]
ness for the scene at the opening of Dr. Strangelove in which t w o planes refuel.“ - Bin n
The lyrics in Eyes Wide Shut function in every case to confirm and consolidate the Ricem
meaning of what is being portrayed on screen 44As c r i t i c s such as Gengaro have the W:
commented on, the n a r r a t i v e of the Ziegler ball, for example is communicated streets
through the unsung lyrics of the big-band numbers Bill and Alice a r r i v e at the and of
Zieglers to the sw1nging melody of I’m in the Moodflir Love When it comes to
an end and the band takes a break, It Had to be You sets the tone for the parallel temim
scenes in which Bill strikes up a conversation With Nightingale and the Hungar~ five in
i a n c o u n t strikes up a conversation With Alice As the latter p a i r two-step around up and
the dance-floor Chanson DAmour is playing It blends i n t o Old Fashioned Way mated
and When [ F a l l in Love asthe c o u n t becomes increasmgly amorous, but assoon as enough
39 Mchiston, The Stanley Kubrick Experience (note 36), p. 148. Sive Sile
4o Gerrit Bodde, Die Musile in den Filmen uon Stanley Kubrick, Osnabrfick 2002. in lOVC ‘
41 Stephan Sperl, Die Semantisierung def Musile imfilmisehen Werle Stanley Kubritks, Wfirzburg 2006, hear as j
. 16.
42 Sperl, Die Semantisierung der Musile (note 41), see especially 234‐235. couple g
43 Irwin Bazelon, Knowing the Store: Notes onFilm Music, New York 1975, p. 112.
44 See Whitinger/Ingram, Schnitzler, Kubrick and "Fidelio” (note 24) for an expanded reading of reveals 1']
how these musical moments in the film echo the original’s masterful intertextuality, particularl':
Mozart’s Magic Flute and Beethoven’s Fidelio.

266

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 SUSAN INGRAM

for the m o s t p a r t Central European classical music45 and the work of the English
Pook, who before getting Kubrick’s call “had written musicfor avant‐garde theatre
and television, co-founded bands, released a solo album (’Deluge’, retitled ’Flood’ in the
United States) and recorded with such diverse acts as Peter Gabriel, Massive Attack, the
Cranberries and Nick Cave”46 ‐ from their wordy American counterparts. As Gorb‑
m a n notes, “the Shastakovich waltz needs to signify Old World bourgeois elegance, and
Ligeti’s angular tonality and contrasting dynamics are important to disorient and disturb.”“7
Given that Eyes Wide Shut is an adaptation by an American filmmaker living in
England ofa novella by a Central European author, it is n o t the case that there are
no connections between the film’s music and the filmmaker’s biography. Further,
given that the m a i n theme ofthe film is fidelity, that the filmmaker’s oeuvre c o n ‑
sists primarily of adaptations (Jenkins n o t e s that “Kubrick has evidenced a marked
interest in adaptation. As of1993, he has 12commercialfilms . All but thefirst two are
adapted”““), that fidelity is generally taken to be the benchmark of an adaptation’s
success and that Kubrick himself declared that adapters should be “one hundred
percentfaithful to the author’s meaning and . sacrifice none ofitfor the sake ofclimax or
effect”,49 it should be possible on the basis of the film music to say something about
why Kubrick preferred to make adaptations and to live n o t in the United States
but in England.

LOCATING CULTURAL DISSONANCE IN EYES WIDE SHUT

The music in the film n o t only signals the huge socioeconomic gulfin the U n i t ‑
ed States but also underscores its geopolitical dimension. As Herbert Gans has
shown, Eyes Wide Shut can be read asa rather straightforward Marxist analysis of
sex in society: “In Kubrick ’5view ofsociety, the upper class is served sexually by the lower

45 In full recognition of how complicated, and outdated, the t e r m Central Europe has become, and
how much of a stretch it is to include Shostakovich, I use it here in the spirit of the volumes
on cross-cultural cultural contacts that it was such a pleasure to participate in the making of,
see Susan Ingram/Markus Reisenleitner/Cornelia Szabé‐Knotik (eds), Identita‘t. Kultur. Raum:
Kulturelle Praktiken und die Ausbildung von Imagined Communities in Nordamerika und Zentraleuropa,
Vienna 2001; id., Reverberations: Representations ofModernity, Tradition and Cultural Value in-between
Central Europe and North America, Frankfurt 2002; id., Ports ofCall: Central European and North
American Cultures in Motion, Frankfurt 2003; id., Floodgates: Technologies, Cultural {Ex)Change and
the Persistence afPlace, Frankfurt 2006. There is, nonetheless, a case to be made for describing the
Shostakovich waltz in these terms. As Gorbman relates, “Although thepiece was composed in the mid‑ for
19305, it nevertheless evokes the Old World; it is morefolksy than the (Blue Danube)"; Gorbman, Ears Wide
Open (note 28), p. 7.
46 Hughes, The Complete Kubrick (note 25), p. 254. gra
47 Gorbman, Ears Wide Open (note 28), p. 13.
48 Jenkins, Stanley Kubrick (note 18), p. 2. 5o
49 Cited in Jenkins, Stanley Kubrick (note 18), p. 24. 51
52

268
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 SUSAN INGRAM

Asian clients ‐ foreigners who pay for sex or prostitute themselves ‐ are typically with I
orientalized exceptions; Kubrick does n o t seem to have been able to bring himself ritual a
to portray a Balkan beauty asaffluent or asexual, or Asians asupstanding, n o n ‑ in theé
sex-crazed citizens. Conversely, Bill and Alice are Americans who are shown as on the
getting sex without paying for i t , to the accompaniment of Baby Dial a Bad, Bad up cho
Thing. much
Bill and Alice are n o t , however, comparable characters because, as Gans gest, a
notes, Kubrick ’5 class society is highly gendered: “Men have the wealth, power, and filmic
theirprofessions, and women exist mainly to service and serve them.”53 Again, the spatial opulen
component of this comparison is revealing. Whereas the other characters in the overge
film are associated With specific, class‐locatable environments ‐ for example, Alice viewer
and Ziegler in the ritzy dwellings they live in or go o u t to p a r t y a t , Domino Kubric
and Nightingale in their working environments ‐, Bill is notably mobile, zipping flash h
around t o w n in a cab, cruising the streets, driving his S U V o u t to the mansion, hospitz
and transgressing class (among other) boundaries at almost every t u r n . Gans reads and in
Bill’s attending the orgy asan attempt to “live above his sexual station”, a “serious presun
enough crime to elicit a death threat”,“ but if one considers the musical and geograph‑ disloca
ical dimensions of his visit to the t w o coffee shops, then the death threat Bill
receives after showing up uninvited at the orgy seems to adequately reflect the aprob]
severity of the dilemma he is presented asfacing. ofthefi
A listing of the film’s music‐tracks reveals that these coffee shop scenes to suffei
o c c u r back-to-back musically: handle
stereot‘
18. I Want a Boyfor Christmas (The Del- Vets) ‐ Radio song at Gillespie’s where
lations
Bill wants to get info on Nick.
the eff:
19. Requiem K626, Rex Tremendae (RIAS Kammerchor Berlin Radio Symphony cial clii
Orchestra / W A . Mozart) ‐ Music at Sharky’s. her refi
party, 5
Gillespie’s is the American-style diner where Bill flashes his I . D . to the waitress to
sordid
find o u t Nightingale’s whereabouts after the orgy; Sharky’s is the European-style
trysts, ‘
café where he reads about Mandy’s death in the newspaper. What these t w o coffee
was pai
shops represent is the class leap Bill has made. In finishing his medical degree and
for the
marrying Alice, he has gone from ahomophobic (but all the m o r e homoerotic for
dy’s he]
it) American underclass to a misogynistic European elite. What a choice, but one
to ques
that Kubrick w a s intimately acquainted with, asit reflects the trajectory of his
beauty,
o w n career.
having
H o w did avisually and politically savvy young turk from the Bronx end
j o i n his
up making movies in St. Albans, a place associated in the film’s musical language
suggest

53 Gans, Kubrick’s Marxist Finale (note 50), p. 62. 55 Gorl

54 Gans, Kubrick’s Marxist Finale (note 50), p. 62. 56 Gans

270

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 SUSAN INGRAM

and care sphere is thus juxtaposed to an American‐coded illicit entertainment

sphere, and fidelity presented as the only way for American Bill to negotiate his
upward social mobility without losing face.

TOPIAS
Thus, the deployment of European, English and American musical selections in
Stanley Kubrick’s final film Eyes Wide Shut reveals the important gee-aesthetic
dimension of Gans’s rhetorical query ‐ “What, after all, are people’s eyes wide shut
about i a n the class system, as well as their exploitation by the rich and powerful?”57 I f ,
asK u n suggests, audiotopias are “sonic spaces (feffective utopian longings where several
sites normally deemed incompatible are brought together n o t only in the space ofa particular
piece ofmusic itselfi but in the production ofsocial space and mapping (if-geographical spaces
that music maleespossible as well”,58 this consideration of the music in Kubrick’s Eyes
Wide Shut reveals it to be a cinematopia. On the one hand, it maps the longings
of an American filmmaker for the security and purity of an idealized European
cultural realm, while nevertheless recognizing its problematic gender and class
hierarchies, and, on the other, it reveals his View of England asa dreamworld of
exotic possibility capable of transcending the transatlantic divide.

57 Gans, Kubrick’s Marxist Finale (note 50), p. 62.

58 Kun, The Aural Border (note 15), p. 6.

272
 Layout und Cover: Nikola Stevanovié (Belgrad, Serbien)
Druck und Bindung: Interpress (Budapest, Ungarn)

Auf dem Umschlag:

Schmuckbild aus der Mappe Unsere Meister der Tonkunst, herausgegeben v o m
Wiener M'ainnergesangverein aus Anlass des ,,Deutschen Singerbundesfests“,
Wien 1928. Archiv des Instituts fiir Analyse, Theorie und Geschichte der Musik

Wuniversitét
fiir musik und
darstellende
kunst wien

Christian Glanz und Anita Mayer-Hirzberger (Hg):

Musi/e und Erinnern. Festschriftffir Cornelia Szabé-Knotik.
Wien: H O L L I T Z E R Wissenschaftsverlag, 2014.

© H O L L I T Z E R Wissenschaftsverlag, Wien 2014

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