User:Raza Maryam/sandbox

Adaptation[edit] Arthur Schnitzler's 1926 novella Dream Story is set around Vienna shortly after the turn of the century. The main characters are a couple named Fridolin and Albertina; their home is a typical suburban middle-class home, not the film's posh urban apartment. While Fridolin and Albertina, the protagonist couple of Dream Story, are sometimes implied to be Jewish, there is nothing in the novella which justifies this assumption. However, Kubrick's co-screenwriter, Frederic Raphael, in an introduction to a Penguin Classics edition of Dream Story, writes "Fridolin is not declared to be a Jew, but his feelings of cowardice, for failing to challenge his aggressor, echo the uneasiness of Austrian Jews in the face of Gentile provocation." Raphael (who is also Jewish) wanted to keep the Jewish background of the protagonists, but Kubrick insisted that they should be "vanilla" Americans, without any details that would arouse any presumptions. "Freud, Schnitzler, and Eyes Wide Shut," in Depth of field: Stanley Kubrick, film, and the uses of history (2006), pp. 255–279. The director added that Bill should be a "Harrison Ford-ish goy"

Another departure from the novella in the balance of sexual deviance between husband and wife. Critic Randy Rasmussen suggests that the character of Bill is fundamentally more naïve, strait-laced, less disclosing and more unconscious of his vindictive motives than his counterpart, Fridolin. The film's argument over whether he has fantasies over female patients and whether women have sexual fantasies is simply absent from the novella, where both husband and wife assume the other has fantasies. In the film, Bill's estrangement from Alice revolves around her confessing a recent fantasy to him; in the novella, both exchange their respective fantasies.

Other manifestations of this are that in the novella, the husband long suspected that his patient (Marion) was infatuated with him, while in the film it is a complete surprise and he seems shocked. He is also more overwhelmed by the orgy in the film than in the novella. Fridolin is socially bolder but less sexual with the prostitute (Mizzi in the novella, Domino in the film). Fridolin is also conscious of looking old in the novella, though he hardly does in the film.

The scene of the orgy was altered significantly; it has been argued that the dramatic climax of the novella is actually Albertina's dream, and the film has shifted the focus to Bill's visit to the secret society's orgy, whose content is more shocking in the film. Albertina's dream in the novella is dramtized in a village square where Fridolin is meant to be crucified so long as he resists the temptation to react to Albertina's spurring infidelity. In the novella, the party (which is sparsely attended) uses "Denmark" as the password for entrance; that is significant in that Albertina had her infatuation with her soldier in Denmark. The film's password is "Fidelio", from the Latin word for "faithful", and which is the title of Beethoven's only opera (Fidelio, or Married Love). In early drafts of the screenplay, the password was "Fidelio Rainbow". Jonathan Rosenbaum noted that both passwords echo elements of one member of the couple's behaviour, though in opposite ways. The party in the novella consists mostly of nude ballroom dancing. The woman who "redeems" Fridolin at the party, saving him from punishment, is costumed as a nun, and most of the characters at the party are dressed as nuns or monks; Fridolin himself used a monk costume. This aspect was retained in the film's original screenplay, but was deleted in the filmed version.

Zeigler pillow setting