ABSTRACT
This chapter examines the latter half of Stanley Kubrick's career, with especial attention to his final film, and with an ear to his idiosyncratic choices in music. There is relatively little to indicate that the music of Kubrick's first features arose from uniquely thoughtful collaborations with composers. Gerald Fried scored Kubrick's first five works, including The Killing and Paths of Glory. The audiovisual choreography the director achieved through his rhythms of narrative, editing, camerawork, and music came to define the Kubrick universe. The cinema has borrowed from classical and popular music since its first flickering days. Kubrick's deployments of pre-existing music exert a particular force, however, a tendency to assume an iconic status. Kubrick's final work, Eyes Wide Shut, gives evidence of the increasing sophistication with which the director continued to treat music. Eyes Wide Shut does have original scoring. To accompany dreams, obsessions, and long stretches of the surrealistic orgy sequence, Kubrick enlisted Jocelyn Pook.
