Stanley Kubrick Humiliated Tom Cruise during ‘Eyes Wide Shut’

The man chosen to play the lover of Alice's dreams was Gary Goba, a twenty-nine-year-old Canadian model who had never acted before. When he auditioned, he thought it was for the job of an extra who would be wearing a naval officer's uniform. Instead, in December 1997, he found himself naked on the closed set in front of an equally naked Nicole Kidman.

Over the next few days, with barely an introduction, the two strangers performed fifty or so sexual positions, with Kubrick filming from the shadows all the while. The director wanted his naked star to explore every sex act, apart from oral sex, which he dismissed as a cinematic cliche.

"We just tried to do stuff that we had never ever seen before in movies," recalled Goba. "Sometimes she would come up with an idea or I would or Stanley would." In the scene that actually made it into the movie, Nicole is lying on her back wearing a summer dress while Goba caresses her and lifts her dress over her breasts to reveal her body. "Leave [the dress] up there and have those hands continue on down, and, like, grab her tits, kiss them if you want, hands all the way down her body and end up between her legs," said the director.

Goba, trying to be sensitive to Nicole, rested his hand on her thigh, knowing that it could make little difference to Stanley, as her other leg was shielding what his hand might actually be doing from the camera anyway. "Whoa! Whoa! Whoa! Gary, you've got to get right in there!" Kubrick instructed.

"I couldn't believe it," says Goba. "I just couldn't believe it. I think he was having fun with it. It was a joke for him, but I think he went a little far for her because as the days went on, she would be like, 'Okay, cut!' Like this is getting too intimate, but he just let it go. It was like he was trying to have things done to piss her off—or the opposite. It was weird. He was laughing. He thought it was so funny."

It was as if he were enjoying the relentless humiliation of another man's wife—and the unspoken emasculation of her husband—by playing out explicit scenes that would inevitably end up on the cutting room floor.

In one scenario, Nicole had a wig glued over her private parts and Kubrick ordered Goba to perform oral sex on her. "He really wanted me to go for it," recalls Goba. "I did and he was like, 'You've got to really push in there and really move your head around,' and I'd see him laughing and she would be like, 'Oh God, Stanley!' So I was really grinding away in there, with my mouth on her patch—and there was hair in my mouth, too, and I'd be pulling one out."

As Nicole's biographer James L. Dickerson caustically observed, 'The most damning evidence against Kubrick lies in the relentless manner in which he pursued the sex scenes between Nicole and Gary Goba. He asked Nicole to do things that he knew damned well would never make it onto film. It was abusive behavior cloaked in a mantle of professional necessity."

While Nicole is not so censorious, she concedes that she only allowed herself to be used in this way for Kubrick. "He didn't exploit me. I certainly wouldn't have done it for any other director and, yes, it was a little difficult to go home to my husband afterward." It seems that when she did go home, she did not say much about the day job— as per Kubrick's standing instructions.

Only after he saw the finished movie a year or so later was Tom aware of some of the intimate scenes played out between his wife and Goba. "Yeah, who the fuck was that guy?" he later said to USA Today. (The newspaper removed the expletive.)

Vanity Fair extract of Amy Nicholson's book: Tom Cruise: Anatomy of an Actor :

Stringing Tom along with a never-ending shoot

In 1996, Tom Cruise was in the middle of a purple patch, having released Mission Impossible and Jerry Maguire within the same calendar year. As they say in the business, strike while the iron is hot. So when Cruise signed on to Kubrick’s as-yet-untitled film project, it was under the proviso that he and Kidman would spend six months filming in London, a reasonable amount of time to commit to a film by one of the most storied directors in Hollywood. It seemed like a safe move.

He and Kidman started shooting in November 1996, with Mission Impossible II scheduled for mid-’97. Kubrick had zero regard for Cruise’s conflicting schedules, however, pushing back the end date constantly, while keeping Cruise in the dark about when the shoot would actually wrap.

More than anything, Cruise’s further career ascent was waiting. Filming finally ended in June 1998, derailing and delaying the Mission Impossible II shoot, and ultimately costing Cruise and Kidman tens of millions in lost time. At a time when both were arguably at the commercial peak of their careers, they could have cranked out nine months' worth of filming each. As a result, there is also a three-year gap in Cruise’s otherwise consistent filmography — an age in Hollywood time.

As if to really drive the point home, the 15-month slog — including an unbroken run of 400 days — landed it in Guinness World Records for the longest continual movie shoot.

Making him walk through a door 95 times

This one cannot be anything but a man trying to break down another man through power games, repetition and lack of direction — 95 takes of a brief shot where Cruise simply walks through a door. Kubrick refused to give Cruise performance notes on the set, no doubt resulting in the baffled actor wondering what he wasn’t nailing. “Tom, stick with me, I’ll make you a star," Kubrick would say, taunting the frustrated actor.

Weeks of just walking on a treadmill

“Generally, when Tom’s facing the camera, the backgrounds are rear-projected; anything that shows him from a side view was done on the streets of London," explained cinematographer Larry Smith. As Kubrick was afraid of flying to New York City, yet wanted to set the film there, the backdrops were shot in NYC and Tom walked on a treadmill in London as the imagery was beamed behind him.

“We’d then go onto our street sets and shoot Tom walking on a treadmill," Smith continues. “After setting the treadmill to a certain speed, we’d put some lighting effects on him to simulate the glow from the various storefronts that were passing by in the plates. We spent a few weeks on those shots.”

A few weeks of Tom walking aimlessly in one spot while people shoot lights in his face — sounds like the type of torture even armed forces would outlaw.

Refusing to show him dailies

“Making a movie is like stabbing in the dark,” Cruise said after filming wrapped. “If I get a sense of the overall picture, then I’m better for the film.”

This was a problem, considering Kubrick straight up refused to show the actor dailies of each day’s filming — a standard procedure in films and often a vital part of the process, as Cruise explained above.

As Nicholson outlines in her book, Tom Cruise: Anatomy Of An Actor, which details the secretive, painful shoot, “Cruise couldn’t watch and adjust his performance to find his character’s through line — a problem exacerbated by the amount of footage the director filmed. For most of the cast, who appeared only in one or two moments, they had only to match the timbre of their character’s big moment. But Cruise alone is in nearly every scene and had to spend the shoot playing a guessing game.

“Not knowing which of his mind-melting number of takes would wind up in the film, he still had to figure out how to shape a consistent character from scene to scene. Given Kubrick’s withholding direction and the exponential number of combinations that could be created from his raw footage, it’s understandable if the forever-prepared actor found himself adrift.”

Using real tensions in the Kidman/Cruise marriage as inspiration

Kubrick was so determined to force Kidman and Cruise to explore the parallels between their own fractured marriage and the one they were portraying onscreen that he held intense interview sessions with the two of them, with the proviso that they would keep the conversations secret. This led to the pair delving into the tensions in their marriage.

“Tom would hear things that he didn’t want to hear,” Kidman said of the chats. “It wasn’t like therapy, because you didn’t have anyone to say, ‘And how do you feel about that?’ It was honest, and brutally honest at times.”

Kubrick then modelled their characters’ marital bedroom on their own, even asking the two stars to sleep in the room during the shoot. As if that wasn’t unsettling enough, he made sure the couple chose the room’s curtains, kept their own clothes in the room and left personal belongings on the dresser-table, as if in real life.

Having Kidman shoot six days of sex scenes with a male model “I didn’t like playing Dr Bill," Cruise admitted within a year of the film coming out. “I didn’t like him. It was unpleasant. But I would have absolutely kicked myself if I hadn’t done this.”

While he didn’t enjoy playing his part, he also certainly didn’t enjoy Kidman playing her role, in particular almost a week’s worth of steamy and physically varied sex scenes with a male model, during which time Kubrick banned Cruise from the set, and forbid Kidman from disclosing any details from the shoot.

In the end, the entire scene lasts less than a minute — you’ve gotta wonder how many of the various angles and takes were always destined for the cutting-room floor, merely shot as a technique to drive Cruise to jealousy and resentment.

In one painful example, for just one minute of final footage where Alice makes love to a handsome naval officer—an imaginary affair that haunts Bill over the course of the film—Kubrick demanded that Kidman shoot six days of naked sex scenes with a male model. Not only did he ask the pair to pose in over 50 erotic positions, he banned Cruise from the set and forbade Kidman to assuage her husband’s tension by telling him what happened during the shoot.

Co-star Vinessa Shaw would eventually admit Kubrick had exhausted the once-indefatigable actor, confessing that compared to Cruise’s “gung ho” first months of shooting, by the end, “He was still into it, but not as energetic.”

Still, when gossip columnist Liz Smith wrote that the Eyes Wide Shut set was miserable, Cruise quickly fired back a letter insisting that his and Kidman’s relationship with Kubrick was “impeccable and extraordinary. […] Both Nic and I love him.” Added actor and director Todd Field, on set for six months to play the pivotal role of the piano player Nick Nightingale, “You’ve never seen two actors more completely subservient and prostrate themselves at the feet of a director.” However, Cruise’s devotion to Kubrick’s massive mystery masterpiece would prove damaging to his screen image

I do not like Tom Cruse at all, why does anyone like him?

I'm not alone in theorizing that EWS was designed to "out" the male lead.

The whole film feels like an exercise in theatricality, as though Dr. Bill is not a person but a prop. This isn’t a movie about a human possessed with distrust and jealousy—it’s a movie about distrust and jealousy that simply uses a human as its conduit. With Cruise hidden in a mask and robe, the intention is to hide his individuality in the service of a larger ritualistic machine. Even in his scene with the impossibly sweet prostitute played by Vinessa Shaw, their conversation about how much cash for which physical acts doesn’t spark with lust but limps along like the characters themselves are merely performers recognizing that this is the negotiation that is supposed to take place. “Do you suppose we should talk about money?” he asks—it’s as if their whole conversation is in air quotes.

His acting reads as terrible. It’s artificial, distant, and unrelatable. However, the terribleness of his performance translates into a tricky logic puzzle. On-screen, we’re given only one take of the 95 attempts that Cruise shot. If Kubrick was a perfectionist who demanded Cruise repeat himself 95 times on the set, and in the editing room rejected 94 of those takes, then the “terrible” take Kubrick chose must be the take that Kubrick wanted. What feels flat to the audience must have felt correct to the director, so even though it’s hard to appreciate Cruise’s performance, at least one person must have thought the chosen take was perfect: Stanley Kubrick. And for Cruise, a perfectionist himself who was determined to make his master happy, we’re forced to defend the “badness” of his performance by recognizing him as an excellent soldier following orders.

[quote]So I was really grinding away in there, with my mouth on her patch—and there was hair in my mouth, too, and I'd be pulling one out."

DL quote of the week

All this sturm und drang over a piece of celluloid merde.

Yet critics under the sway of thinking that the great Kubrick could do no wrong and Cruise, the popcorn hero, could do little right, blamed the actor for the director’s choices and groaned that “Our forever boyish star just can’t deliver.” The irony, however, is that in 45 years of filmmaking, Kubrick had never asked his actors to deliver.

As much as Cruise wanted Eyes Wide Shut to prove, yet again, that he could act, Kubrick clearly had scant interest in giving him the opportunity.

Cruise made himself vulnerable before Kubrick and his devotees, but instead of being rewarded for his emotional and financial sacrifice, audiences dismissed his performance as callow. He couldn’t even ask his by-then dead-and-buried director for support. Eyes Wide Shut’s fallout wasn’t flattering: he was blamed for the film’s failure, and the tabloids took a savage interest in his marriage, which would last only two more years.

Yet Cruise continues to defend his two years of hard work. “I didn’t like playing Dr. Bill. I didn’t like him. It was unpleasant,” admitted Cruise a year later in the only public criticism he’s ever given. “But I would have absolutely kicked myself if I hadn’t done this.”

I hope some of this is true.

It’s hard to love Cruise’s character, Dr. Bill Harford. He’s closed off and slippery, a cipher whose choices don’t make consistent sense. What personal history screenwriter Frederic Raphael had included in the original drafts—Harford’s strained relationship with his father, his guilt over his prurient interest in female anatomy—Kubrick had purged from the script, leaving Cruise to play a shallow voyager who only serves to lead the audience on an odyssey of sexual temptation.

Also on the page but deleted from the final film is Bill’s explanatory voice-over that invited the audience to understand his feelings. Worse, Kubrick deliberately shunned including the Tom Cruise charisma fans expected in his performance, raising the question of why he cast Cruise at all. Why ask the biggest star in the world to carry your film and then hide his face under a mask for 20 minutes?

Yet critics under the sway of thinking that the great Kubrick could do no wrong and Cruise, the popcorn hero, could do little right, blamed the actor for the director’s choices and groaned that “Our forever boyish star just can’t deliver.” The irony, however, is that in 45 years of filmmaking, Kubrick had never asked his actors to deliver.

As much as Cruise wanted Eyes Wide Shut to prove, yet again, that he could act, Kubrick clearly had scant interest in giving him the opportunity.

Cruise made himself vulnerable before Kubrick and his devotees, but instead of being rewarded for his emotional and financial sacrifice, audiences dismissed his performance as callow. He couldn’t even ask his by-then dead-and-buried director for support. Eyes Wide Shut’s fallout wasn’t flattering: he was blamed for the film’s failure, and the tabloids took a savage interest in his marriage, which would last only two more years.

Yet Cruise continues to defend his two years of hard work. “I didn’t like playing Dr. Bill. I didn’t like him. It was unpleasant,” admitted Cruise a year later in the only public criticism he’s ever given. “But I would have absolutely kicked myself if I hadn’t done this.”

Kubrick screwed over many of his actors not just Tom.

A Clockwork Orange should have made Malcolm McDowell a bigger star. Malcolm and the film were critically acclaimed, yet he never worked with Kubrick again. Sounds like Kubrick was the person with the issues, not the actors and actresses he worked with.

I can imagine how poorly Kubrick treated Ryan O'Neal, Murray Melvin and Marissa Berenson on the set of Barry Lyndon. I recall Murray mentioning something about Kubrick, "it was 57 takes plus another 20." Yes, Kubrick enjoyed torturing all his performers.

Does anyone actually like the film? When I saw it, half the theater was laughing out loud. Not in a good way.

I liked the soundtrack

I love this movie so much. It’s one of my all-time favorites.

Why R20? I found it risible. Seriously, what am I missing?

I like it as well. In the vein of Black Swan (which I hated), as long as you understand EWS as a fable or an allegory, what's not to love?

Allegory of what?

Honey, put your thinking cap (and your condom) on.

Kubrick sounds like a lunatic. I find his work impenetrable and very boring. I have never understood his appeal. Full Metal Jacket was ok, but I've no desire to watch its. second time.

I own this DVD, the unedited version (1.85:1). After reading the posts about the film's backstories, and though I haven't viewed it in years, I now see it's a treasure.

Dayum!

R24, consider me dim. Splain it to me, please.

tldnr

I hated Kubrick’s The Shining. The book was excellent and I can understand how Stephen King was not happy with how the movie turned out. I found it hilarious in spots, and not in a good way- especially in some of Shelly Duvall’s scenes. She was horribly miscast and horribly directed. And we know how the genius Kubrick treated her during the shoot.

No we don't, R29, but never mind. Nobody had to stay and put up with Kubrik's shit, if they chose to do so it was because they wanted to get something from him.

Wasn't it during the filming of this movie that Tom supposedly had the encounter with the porn actor? The porn actor someone procured to meet up with Tom and have a bout with him?

I've never liked Kubrick's films. He's a nasty human being with a nasty view of the world. His work is cold and technical.

Stephen King hated The Shining because Kubrick upstaged him.

There are some great scenes in Kubrick's The Shining.

The whole movie was over the top and ridiculous. I blame this completely on the director. I much preferred Stephen King's slow built up to horror in the written version. Kubrick is a hack and a half. Of course you remember the scenes, RED RUM, but do you remember the plot in the middle of all that hysteria? For those unfamiliar with the actual written version it must have been great schlock. The rest of us saw it for the showboating crap it was.

Wow, I thought I was the only one (literally) who hated the film version of The Shining. I laughed all the way through out. Never found it the least bit scary. Way too obvious, too manipulative. Kubrick fancied himself a brilliant auteur but was, indeed, a hack. The emperor had no clothes.

People who say Kubrick was a hack are people who know nothing about film and/or Scienos.

Gary Goba

Sorry, R37, but you don't have to be a snotty ass film major at NYU to know that Kubrick was a sick bastard with a cold heart. It comes through in all of his films. How he humiliated people he worked with, on a daily basis, is not unknown to people who admire his technical abilities. 2001 is gorgeous to look at, but it took me three viewings to finally get through the whole thing.

Eyes Wide Shut was crap.

If all films were made to please R37, we'd be watching them in dusty museums.

He put Shelley Duvall through hell when filming The Shining. The stairway sequence when she was backing up on it took like 898 takes to film. Fucking ridiculous. There’s a documentary where he’s bitching to her she’s not running fast enough or something but she bitches right back. Good for her. Brilliant director but he could be a sadistic bastard.

Great scenes, okay, r34. I’ll give you the blood- filled elevator and Here’s Johnny for examples. But Kubrick seemed to try and prove that it him as the great auteur above all else- the story , the characters, the actors themselves.

R37, what does Kubrick have to do with Scienos?

Kubrick was Jewish...I don't think he was ever part of the Clams.

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[quote]I’ll give you the blood- filled elevator...

Uhm, the blood-filled elevator was only in the PREVIEW that played for a full YEAR before the film was released! It is not in the film. It played for so long before "The Shining" actually opened that people would loudly BOO when it came up on the screen. Yes, I remember it well...

Tom and Nic were the Clams, not Stanley. The Clams hate Stanley for fucking with their god Tommy.

Lolita is a film I never get tired of watching.

r47 excuse the soiled sock

Face it. Stanley Kubrick's "Eye Wide Shut" doesn't hold a candle to Stanley Kramer's "The 5000 Fingers of Dr T".

Ugly guy revenge

R47, R48, Mmmmm, I'm lonely!

R10 Why didn't he out Nicole Flopman too?

R17

The one who had a reason to kill Kubrick over "Clockwork Orange" was Adrienne Corri.

You've seen the film?

He made her act out the rape scene over and over and over until she finally refused another take.

Here's a quote from the IMBD:

Snapped at Stanley Kubrick, who is famous for doing a great deal of takes for every scene, while doing the rape scene with Malcolm McDowell and his "droogs" in A Clockwork Orange (1971). The scene required for her to be completely nude, and Stanley's continuous calls for another take made her boil over in the end. She resented Kubrick for years after the incident.

R47 Probably because Sue Lyon and James Mason were Oscar worthy.

The piano player was Tom’sboyfruend requiredby Tom to be there during most of the long shoot.

Kubrick's daughter Vivian is a scientologist. Many people think they wanted Tom to do EWS because they wanted to lure Kubrick into becoming a clam. Didn't work for him but they got his daughter.

"Vivian Kubrick, 56, is one of two children born to the directing genius and Christiane Harlan, a young German actress he met on the set of 1957's Paths of Glory. While Kubrick had been married twice before, he and Harlan never tied the knot — though they stayed together 40 years until his death in 1999. The couple's first child together, Anya, was one year older than Vivian. When Anya died in 2009 of cancer, Vivian did not attend the funeral — this despite the fact that the pair were all but inseparable growing up.

By then, however, Vivian had been deeply enmeshed in Scientology for well over a decade, according to family members who have spoken with the media. A talented musician and orchestrator, Vivian had composed the music to her father's Full Metal Jacket in 1987. Kubrick, who was grooming her to follow in his filmmaking footsteps, had wanted his daughter to compose the score to 1999's Eyes Wide Shut, too — but by then Vivian had begun the process of disconnection from her family.

"At the last moment she said she wouldn’t,” Kubrick’s widow Christiane told The Guardian in 2009, as noted by Scientology watchdog site The Underground Bunker. “They had a huge fight. He was very unhappy. He wrote her a 40-page letter trying to win her back. He begged her endlessly to come home from California. I’m glad he didn’t live to see what happened.” Kubrick died in March 1999, just months before the Tom Cruise-Nicole Kidman film opened.

In 2010, Vivian's half-sister Katharina Kubrick told the Daily Beast that Vivian had cut off all communication to the family. Katharina went on to recount the time Vivian showed up to her father's 1999 funeral accompanied by a Scientology handler. "The person sat on a bed, saying nothing, while Vivian complained of back pain that she said had been caused 10,000 years ago,” according to the report.

When she failed to show up in 2009 to Anya's funeral, the family had all but lost hope. "She has completely changed as a person," Katharina said. "And it’s just very sad. We’re not allowed to contact her. Something happened to her. She has been changed forever."

To the family's shock, after years of no contact with Vivian, someone spotted her in a video of a 2013 anti-government rally held in Dallas, her hometown, led by the conspiracy-obsessed conservative radio host Alex Jones.

According to Hollywood Interrupted's Mark Ebner, Vivian was policing the GoFundMe page vigilantly since its Friday launch, "blocking anyone who simply asks if the money could possibly go to legitimate [psychiatric] health care" — practices which the organization has openly and aggressively derided as barbaric and corrupt since its founding in 1954. In Los Angeles, the church runs Psychiatry: An Industry of Death, a permanent museum devoted to the topic located on Sunset Boulevard in Hollywood.

Ebner also points out that the GoFundMe page was listed as emanating from Clearwater, Fla., headquarters of the Church of Scientology.

"That raised a red flag," Ebner tells THR. "I don't think Vivian even knew Shelley. It seems rather opportunistic to raise money for this very sick, if not psychotic woman, out of the spiritual mecca, Clearwater, for a woman she doesn't know. I knew there was no chance there would be any money earmarked for mental health. It's doctrine. The motives are disingenuous at best."

THR made several attempts to question Vivian about her Scientology connections following its initial interview with her. She has not responded to any of them, nor has the Church of Scientology nor GoFundMe responded to a request to comment for this story."

R56 Wow

[quote] Vivian Kubrick, 56, is one of two children born to the directing genius and Christiane Harlan, a young German actress he met on the set of 1957's Paths of Glory.

I didn't know that. She played the humiliated German woman forced to sing for the French soldiers at the end of the film. The only female in the whole movie.

R53 Didn't know that, thanks for posting. I saw Clockwork Orange when I was 19 and was very shocked at the treatment of women in the film (the rape scene, and another violent scene inolving a stage, at the beginning). While a movie is "pretend" (sure), it didn't seem very pretend to me, and I figured the person directing this had to be sick. Brilliant movie for sure, but disgusting methods also.

Yeah, the rape scene in ACO was really disturbing to my young mind. I remember wanting to jack off to it, but couldn't. Maybe it was her real feeling of being violated that made it seem so real.

I was 15

[quote] Maybe it was her real feeling of being violated that made it seem so real.

In an interview she commented she told McDowell just before they began filming that day that he was about to see proof she was a natural redhead.

R61 😧

Love Dr. Strangelove and Lolita, otherwise I usually can't stand Kubrick movies. I rolled my eyes through most of A Clockwork Orange because it seemed like it was trying too hard to be shocking and weird. It was like a bunch of pretentious, artsy shit (she gets bludgeoned with a giant penis sculpture! Classical music! WACKY!) thrown together to make fanboys think it was deeper than it really was. The Ludovico Technique and all the other psychological stuff was interesting, but a lot of the scenes felt repetitive and went on too long.

I loved parts of 2001: A Space Odyssey. Then it got to the end where it's like 20 minutes of flashing colors and facial expressions and pissed me off.

Of course, you can't say this without having someone jump down your throat and tell you the only reason you didn't like the movies was because you're too stupid.

I agree about the final part of 2001. On the other hand I'm a big fan of Heywood Floyd and his sparring with the Russians.

Gary Goba is 6’1”, that’s what really hurt Tammy.

Gary Goba is hot af. How do I get him in me?

Stanley Kubrick may have been a genius but he was also sadistic shit. I saw a documentary about the man who was his personal assistant for over 30 years on Netflix a few nights ago and he treated that man like shit. He got away with it because the assistant felt honored to be working with a genius.

Kubricks daughter was a Scientologist and I believe they were not in contact and possibly because of the effect of her being a Scieno. Maybe Kubrick enjoyed fucking with a Scieno. Kubrick was certainly a mysterious and enigmatic man. I really enjoyed that documentary that was all about all the different theories about the meaning of The Shining. It was as much about The Shining as it was also about conspiracy theory and critical analysis. I would have to look it up the title, it was Room something other. I don't have time to look now. Have a good day all.

Don’t like or particularly rate either of them ( yeah I have watched the alleged Kubrick classics, thanks). The film was rubbish and Cruise should have told him to fuck off.

I think the film is mesmerizing - extremely hypnotic. Thought this since the day I saw it in an old, beautifully and classically decorated opera-house-turned-movie-theater when it was released in '99. Bought the DVD and have been watching it periodically ever since - it makes me zone out EVERY time. Not even exaggerating when I called it "hypnotic"...

A deep, dark, alluring dream.

R9 Because he was a great actor and was also hella sexy in the 90s. Sadly, he's short, but everyone looks at least 6'0" on screen, so....

I was 20 When I saw A ClockWork Orange and I hadn’t seen many disturbing films in my youth. When the rape scene took place I was horrified and walked out. It stayed with me for awhile, too.

Kubrick certainly was a sadist.

Kidman is really good in that film, within the limitations of the role. I remember one review (in New York magazine?) noted she outacts Cruise in every scene they share.

[quoteUhm, the blood-filled elevator was only in the PREVIEW that played for a full YEAR before the film was released! It is not in the film.

Uhm, I'm not even a fan of the film and I know that's b.s. The first time, Danny sees a vision of it in the mirror, when he was talking to Tony, towards the beginning of the film.

The second time, Wendy actually sees it while she's running around the hotel, towards the end of the film.

OP, you've brightened my day!

Fucked up the quote thing. Damn! ^

Kubrick knew tommyboy was bi and had fun with it....Stanley was a hoot.

^bi ????