After the war, Potzdorf asks Redmond to work in conjunction with the Prussian police. Redmond is to work for (and spy on) the Chevalier de Balibari, who turns out to be Redmond’s fellow countryman. Redmond reveals the ruse to Balibari, and the two decide to work together. Redmond pretends to spy for Potzdorf, but instead Redmond and Balibari hatch a plan to enable them to leave Prussia. After their departure, the two men run gambling games in the homes of the wealthy across Europe. Redmond duels with gamblers who owe money. At a spa in Belgium, Redmond meets Lady Lyndon, a beautiful, rich woman who is married to Sir Charles Lyndon. After Sir Charles’ death, Redmond marries Lady Lyndon (taking the title Barry Lyndon) much to the chagrin of her son, Lord Bullingdon.
Lady Lyndon gives birth to Barry’s son, Bryan. Barry, however, spends little time at home, preferring to be out with other women, gambling and spending Lady Lyndon’s fortune. Barry’s mother, who comes to live with them in England, encourages Barry to get a title in case anything should happen to Lady Lyndon. Barry spends a lot of money entertaining influential people in order to achieve this. Lord Bullingdon ruins Barry’s plan when he interrupts a party and explains to all the important guests how little respect he has for his stepfather. Barry retaliates physically, and the guests are horrified. Bullingdon leaves home.
Barry’s son Bryan, meanwhile, is treated very well. Barry buys him a horse for his ninth birthday. Disregarding his parents’ warnings, Bryan sneaks out to ride alone. Thrown from the horse, Bryan is paralyzed. He dies a few days later. After Bryan’s death, Barry drinks and Lady Lyndon turns to religion. Lady Lyndon unsuccessfully attempts suicide, and Graham, the Lyndons’ accountant, finds Bullingdon. When Lord Bullingdon returns, he demands satisfaction from Barry in the form of a duel. Bullingdon gets to shoot first, but his pistol malfunctions. Barry fires his own shot into the ground, hoping that Bullingdon will be satisfied. Bullingdon, however, takes a shot at Barry, hitting him in the leg. Part of Barry’s leg is amputated to save his life.
Lord Bullingdon, who is now in control of his mother’s estate, offers Barry a deal: Barry will leave England forever and end his marriage to Lady Lyndon in exchange for an annuity. If he stays in England, creditors will place him in debtors’ prison. Barry accepts the deal, leaving with his mother to return to Ireland. He never sees Lady Lyndon again.
The Shining
Jack Torrance arrives at the Overlook Hotel in Colorado to interview for the job of winter caretaker. Warned that the previous caretaker (Grady) murdered his family and committed suicide, Jack nevertheless takes the job. He will live at the hotel during the winter months with his wife Wendy and son Danny. Danny begins to have disturbing visions about the hotel. Wendy’s conversation with his pediatrician reveals that Jack has previously had trouble with alcohol and that Danny’s “imaginary” friend Tony has been visiting since Danny started at nursery school.
At the Overlook, Danny and Wendy meet Dick Hallorann, who communicates telepathically with Danny with what he calls “the shining.” He warns Danny to stay out of room 237. A month later, Jack tells Wendy he is happy at the Overlook, but he grows more agitated as time passes. Danny’s visions get worse, and he begins to believe that Jack is going to hurt him and Wendy. Jack has a disturbing nightmare, and Danny appears with bruises on his neck. Believing that Jack is responsible, Wendy takes Danny back to the family’s apartment.
Jack, who is angry at Wendy for suspecting him, goes to the Gold Room where he mysteriously finds a bartender who appears to know him and who offers him alcohol. Wendy arrives in the Gold Room to inform Jack that there might be someone else in the hotel in room 237. Going to the room to investigate, Jack finds a beautiful naked woman who becomes an old woman who appears to be decomposing.
Hallorann senses that something has gone wrong at the Overlook and travels from his summer job in Miami back to the Overlook. Danny goes into a trance, and Jack returns to the Gold Room to find a party in full swing. There he meets Grady, the previous caretaker, who informs him that Danny has used the shining to call Hallorann for help.
Wendy decides she must get Danny down to the nearest town, but Jack—whose insanity seems to be confirmed by his manuscript consisting of nothing but the line “All work and no play makes Jack a dull boy”—wants to prevent her from leaving. Menaced by Jack, she hits him with a baseball bat, and he falls down the stairs. Locking him in the pantry, she runs out to the Sno-cat but finds that it has been disabled.
Jack, who has left the pantry with the help of Grady, threatens Wendy and Danny with an ax. Danny is able to escape out a window, but Wendy cannot. Jack is distracted from his attack by the sound of Hallorann arriving in a Sno-cat. Jack kills Hallorann with an ax, Danny runs into the hotel’s hedge maze, and Wendy begins to see very disturbing things as she runs through the hotel. Danny retraces his steps and leaves Jack lost in the maze. He follows his own footsteps out and is reunited with Wendy. The two of them take Hallorann’s Sno-cat to safety, and Jack freezes to death in the maze. He appears in a photograph hanging on the wall of the Overlook, one that depicts a Fourth of July party from 1921.
Eyes Wide Shut
Married couple Bill and Alice Harford attend a Christmas party at the home of Victor Ziegler, a wealthy friend and patient of Bill. At the party, Bill meets up with old friend Nick Nightingale, who plays piano in the band. Bill makes plans to see Nick perform at the Sonata Café. While Bill and Alice are apart, they flirt with other people, Alice with the older Sander Szavost and Bill with two young women, Gayle and Nuala. Bill is called away by Ziegler’s associate to help with a young naked woman who has overdosed in Ziegler’s bathroom. While Bill tries to revive Mandy, Alice and Sandor continue dancing. Mandy eventually wakes up, and Sandor tries to make plans to see Alice again. Later, back at the Harfords’ apartment, Bill and Alice begin kissing in front of their bedroom mirror.
The next day, Bill goes to his office and sees patients while Alice takes care of the Harfords’ daughter, Helena. That evening, Bill and Alice smoke pot and talk about Ziegler’s party. In the course of this conversation Bill claims that women don’t think about cheating, but Alice confesses that on vacation the previous year she was tempted by a handsome naval officer. A phone call interrupts their conversation and Bill leaves to go the house of a patient who has just died. The patient’s daughter, Marion, professes love for Bill, but their conversation is interrupted by the arrival of her fiancé. Bill leaves and meets Domino, a prostitute who invites Bill to her apartment. Their first kiss is interrupted by a call from Alice, who is wondering when Bill is coming home. He tells her it’ll be a while, but leaves Domino’s apartment anyway. Arriving at the Sonata Café, Bill meets up with Nick who is just finishing his last set of the night. Mentioning another gig in a mysterious location, Nick tells Bill he can’t bring him along. Bill knows the password, but Nick tells him he would also need a costume and mask.
Bill arrives at Rainbow Fashions and convinces the proprietor, Mr. Millich, to rent him a tuxedo, a cloak, and a mask. While they are looking for an appropriate outfit, Millich finds his teenaged daughter fooling around with two older Japanese men. Outraged, he threatens to call the police and locks the men in a room. After a long drive, Bill arrives at Somerton mansion in a taxicab. Once inside, he dons his mask and cloak and observes a ritual set to Nick’s music. At the end of the ritual, nearly naked women choose partners from the masked partygoers. One seems to know Bill, and she urges him to leave. Bill walks around the party, observing couples and threesomes engaging in sex acts, although he does not join in. Again the woman appears and urges Bill to leave, but before he can, a man leads him back to the main room where the original ritual took place. The partygoers have assembled there for a trial of sorts where Bill is unmasked and then asked to undress. Bill tries to refuse, but the tribunal insists. The mysterious woman intercedes on his behalf and Bill is allowed to leave.
Bill returns home and finds Alice having a nightmare. When he wakes her, she tells him about the dream, in which s
he had sex with the naval officer and many other men and laughed at Bill as he watched them. The next day Bill attempts, unsuccessfully, to find Nick. The hotel clerk informs him that a frightened Nick was taken away by two large men early in the morning. Bill returns the cloak and tuxedo to Mr. Millich, but finds the mask is missing. Mr. Millich, who kindly says goodbye to the Japanese men from the previous night who are just now leaving, makes it clear that his young daughter is also available for rent. Bill drives out to the mansion again, but is given a typed letter asking him to leave off his inquiries. Returning to the city, Bill briefly stops at home but returns to the office in the evening. He tries to call Marion, but hangs up when her fiancé answers. Stopping by Domino’s apartment, he finds she is not there. The woman in the apartment tells Bill Domino might not be coming back since she is HIV positive.
Bill walks the streets of Greenwich Village but notices he is being followed. Facing down the man, Bill ducks into a café. He reads a story in the newspaper about Amanda Curran, an ex–beauty queen who overdosed and is in critical condition. Thinking she is the woman who offered herself in his place at the orgy, Bill goes to the hospital and poses as her doctor. Informed by the receptionist that Amanda Curran died that afternoon, Bill is taken to the morgue to see the body. As he’s leaving, he receives a call asking him to come to Ziegler’s house. There, Ziegler explains that he was at the orgy and that the ad hoc trial was staged to get him to leave. He also tells Bill that the woman who interceded on his behalf was in fact Mandy from Ziegler’s Christmas party. Ziegler assures Bill that she left the party safely and that her death really was a drug overdose.
Bill returns home to find the mask on the pillow next to Alice. He breaks down crying and wants to confess everything to her. The next morning, they take their daughter Christmas shopping at F.A.O. Schwarz. While Helena looks at toys, the Harfords decide that the events of the last few days—and even the last few years—do not tell the full story, but they should be grateful to have survived their adventures. Alice adds that they should “fuck” as soon as possible.
Appendix C
Soundtracks and Track Lists
Note: Wherever possible, tracks are listed as they are appear on album or CD covers, even when the information is erroneous. If the information originated from a vinyl record album, side listings (A and B or 1st and 2nd) have been retained.
Commercial Availability of Soundtracks
The soundtracks to Kubrick’s first feature films—Fear and Desire, Killer’s Kiss, The Killing, and Paths of Glory—were not released to the public. The first Kubrick film to have a commercially available soundtrack was Spartacus. The album—which featured only some of the cues in the film—was released in 1960 on the Decca label. The Lolita soundtrack followed in 1962. In addition to an album of music, there was also a pop single released on 45. For Dr. Strangelove, Kubrick released a 45 rpm single; side A was the Laurie Johnson Orchestra playing the Theme from Dr. Strangelove, and the B side featured a song called “Love That Bomb.”1 The film also re-popularized the World War II–era tune made famous by English singer Vera Lynn, “We’ll Meet Again.”
The initial soundtrack offering from MGM for the film 2001: A Space Odyssey featured the preexistent classical excerpts that Kubrick used in the film, omitting Ligeti’s Aventures, including a longer cue from his Lux Aeterna, and substituting a different version of Also Sprach Zarathustra than was heard in the film. It received many favorable reviews including four stars from Billboard magazine.2 It was commercially successful, certified platinum (selling over one million units), and it introduced many people to the works of Richard Strauss and Györgi Ligeti. Film Score Monthly said of the soundtrack: “Its legacy in pop culture is nearly incalculable.”3 For the week ending 19 April 1969, the top two albums on the Billboard Classical LP list were Wendy Carlos’s Switched on Bach at number one (twenty-one weeks on the chart), and the soundtrack to 2001: A Space Odyssey in the second position (thirty-six weeks on the chart). At number seventeen on the same list was Selections from 2001: A Space Odyssey, which was a compilation of music from the Philadelphia Orchestra and the New York Philharmonic (thirty-five weeks on the chart).4 The latter album was produced to capitalize on the great commercial success of the 2001 soundtrack.
In a 1996 re-release of the score (TCM/Rhino), the version of Also Sprach Zarathustra used by Kubrick (conducted by von Karajan) was included, as was Ligeti’s Aventures, which had been altered for the film. There are also four supplemental tracks on the re-release: the version of Zarathustra on the original soundtrack album, Lux Aeterna in its entirety (as it appeared on the original MGM release), the unaltered version of Aventures, and Douglas Rain’s performance of HAL’s dialogue (see complete track list below).
The score to A Clockwork Orange featured the work of Wendy Carlos, whose previous album Switched on Bach went platinum and won three Grammy Awards in 1970. The Clockwork Orange soundtrack was also very popular, going gold and reaching number two on the Billboard Classical LP chart on 1 July 1972. It was ninety-seven on the Top LPs list the same week.5 In March of 1972, both the score for A Clockwork Orange and 2001: A Space Odyssey charted together, with 2001 in the fourth position and A Clockwork Orange at eighteen.6 The soundtrack’s highest position on the Billboard Top 100 was at number thirty-four.
The A Clockwork Orange soundtrack presents both the synthesized cues that Carlos created—Henry Purcell’s Funeral Music for Queen Mary and Beethoven’s Ninth Symphony—and traditional orchestral versions of other classical cues. There are also a few songs that are heard in the film, and there is an excerpt from Carlos’s original composition, Timesteps. The success of the soundtrack to A Clockwork Orange, which spent thirty-one weeks on the Billboard Top 100,7 inspired Wendy Carlos to revisit the material; three months after the soundtrack to A Clockwork Orange debuted, Carlos released Walter Carlos’ Clockwork Orange, a collection of music that was intended for the film but which was not finished or had not been used by Kubrick. This album spent nine weeks on the Billboard chart.8 Carlos issued a re-mastered edition of this album, now called A Clockwork Orange: Wendy Carlos’s Complete Original Score, in 1998.
The soundtracks to the later films that featured preexistent music, Barry Lyndon, The Shining, Full Metal Jacket, and Eyes Wide Shut, were all commercially available, although none of them experienced the same kind of success as the scores for 2001 and A Clockwork Orange. The soundtrack to The Shining was commercially available only for a very short time; the album was pulled soon after its release over copyright problems and has not been available since 1980.
In recent years, there have been two compilation soundtracks commercially available featuring music from Kubrick’s films, including cues from Day of the Fight, Fear and Desire, Killer’s Kiss, The Killing, and Paths of Glory. The first of these compilations was called Dr. Strangelove: Music from the Films of Stanley Kubrick. It was recorded by the Prague Philharmonic Orchestra and released in May of 1999 by Silva America, a couple of months before Eyes Wide Shut premiered (and a couple of months after the death of Stanley Kubrick). This is the track list from that compilation:
Dr. Strangelove: Music from the Films of Stanley Kubrick (1999, Silva America)
Also Sprach Zarathustra (Richard Strauss)—2001: A Space Odyssey
Main Title (Alex North)—Spartacus
Ode to Joy (Ludwig van Beethoven)—A Clockwork Orange
Women of Ireland (Traditional)—Barry Lyndon
Sarabande (G. F. Handel)—Barry Lyndon
Themes (Abigail Mead)—Full Metal Jacket
Surfin’ Bird (Frazier, White, Harris, Wilson)—Full Metal Jacket
Main Title/The Robbery (Gerald Fried)—The Killing
Murder ’Mongst the Mannikins (Gerald Fried)—Killer’s Kiss
A Meditation on War (Gerald Fried)—Fear and Desire
Madness (Gerald Fried)—Fear and Desire
The Patrol (Gerald Fried)—Paths of Glory
March of the Gloved Gladiators (Gerald Fried)
—Day of the Fight
Main Theme (Wendy Carlos, Rachel Elkind)—The Shining
Midnight, the Stars and You (Campbell, Connelly, Woods)—The Shining
Love Theme (Bob Harris, arr. Grau)—Lolita
On the Beautiful Blue Danube (Johann Strauss)—2001: A Space Odyssey
The Bomb Run (Laurie Johnson)—Dr. Strangelove
We’ll Meet Again (Charles and Parker)—Dr. Strangelove
There was also another compilation released at the end of 1999 called Eyes Wide Shut: Music from Stanley Kubrick Movies. It was recorded by and released by Golden Stars Holland. This album omits any tracks from Gerald Fried and instead includes, among other things, extra cues for Eyes Wide Shut, a different clip from Beethoven’s Ninth, and Elgar’s Pomp and Circumstance (both from A Clockwork Orange).
Eyes Wide Shut: Music from Stanley Kubrick Movies (1999, Golden Stars Holland)
When I Fall in Love (Young/Heyman), The Hollywood Star Orchestra—Eyes Wide Shut
The Second Waltz from “Jazz Suite” (Shostakovich), Amsterdam Studio Orchestra—Eyes Wide Shut
Strangers in the Night (Kaempfert/Singleton/Snyder), The Hollywood Star Orchestra—Eyes Wide Shut
2nd Movement from Symphony No. 9 (Beethoven), Prager Festival Orchestra—A Clockwork Orange
Pomp and Circumstance March, Op. 39 (Elgar), Radio Symphony Orchestra Bratislava—A Clockwork Orange
Tain’t What You Do (It’s the Way That Cha Do It) (Young/Oliver), Ella Fitzgerald—Lolita
Listening to Stanley Kubrick Page 35
