When this was first released I saw it with a friend who promptly re-christened it Mouth Wide Open because I nodded off pretty quickly and woke suddenly during the orgy and announced, Clearly nobody here has ever been to one. And a shocking 18 years later it is still sad to see that Kubrick’s last film doesn’t have the intended shock value, the performances are variable and it’s very difficult to understand how it could have taken 400 days to shoot what are primarily lengthy talking scenes albeit the famously nitpicking Kubrick reconstructed Greenwich Village in London because of his fear of flying. Frederic Raphael updated Schnitzler’s early 20th century Vienna-set Traumnovelle to late 1990s New York City where Alice (Nicole Kidman) confesses to wealthy doctor husband Bill (Tom Cruise) that she fantasised sexually about a Naval officer she saw one day at a hotel where they were staying. Bill then descends into a long night of soul-searching and sex as he imagines what his wife might have done had she made the choice to cheat. He helps a wealthy patron Ziegler (Sydney Pollack) save a whore who’s OD’d during sex, attends a masked orgy on Long Island (a kind of warped tribute to North by Northwest) where his former med school chum is providing musical accompaniment in a blindfold and back in the city realises he’s being followed but it’s more than an existential threat. When Ziegler tells Bill that he’s fortunate not to know the names of the very powerful people in disguise at the sex party you don’t know if it’s raising questions about the Bilderberg group or another political conspiracy at large but it seems pretty daft. Whether you view this as an ineffectual satire of marriage or a cautionary commentary about sexually transmitted disease (there’s a telling scene featuring a prostitute and HIV) or perhaps a plain silly excursion into unerotic escapades, the press at the time made hay of the fact that the married couple at its centre saw their relationship disintegrate in real life and were divorced not long afterwards. The soundtrack which is principally two ominous notes would disgrace a five year old after their first piano lesson. Inexplicable in oh so many ways and yet fascinating and strangely memorable in visual loops precisely because it’s Kubrick. And the last word uttered (by Kidman) is … not expected in such a conservative outing and thereby enhances the legend.