If Eyes Wide Shut is about the Illuminati, it makes sense that Kubrick would utilize Christmas lights to "illuminate" his film.
In addition to relocating the story from Vienna in the 1900s to New York City in the 1990s, Kubrick changed the time-frame of Schnitzler's story from Mardi Gras to Christmas. One critic believed Kubrick did this because of the rejuvenating symbolism of Christmas. Others have noted that Christmas lights allow Kubrick to employ some of his distinct methods of shooting including using source location lighting, as he did in Barry Lyndon. The New York Times noted that the film "gives an otherworldly radiance and personality to Christmas lights", and critic Randy Rasmussen noted that "colorful Christmas lights ... illuminate almost every location in the film." Harper's film critic, Lee Siegel, believes the film's recurring motif is the Christmas tree, because it symbolizes the way that "Compared with the everyday reality of sex and emotion, our fantasies of gratification are, yes, pompous and solemn in the extreme ... For desire is like Christmas: it always promises more than it delivers." Author Tim Kreider noted that the "Satanic" mansion-party at Somerton is the only set in the film without a Christmas tree, stating "Almost every set is suffused with the dreamlike, hazy glow of colored lights and tinsel ... Eyes Wide Shut, though it was released in summer, was the Christmas movie of 1999." Noting that Kubrick has shown viewers the dark side of Christmas consumerism, Louise Kaplan stated that the film illustrates ways that the "material reality of money" is shown replacing the spiritual values of Christmas, charity and compassion. While virtually every scene has a Christmas tree, there is "no Christmas music or cheery Christmas spirit." Critic Alonso Duralde, in his book Have Yourself a Movie Little Christmas, categorized the film as a "Christmas movie for grownups" (as he also did with Bergman's Fanny and Alexander and The Lion in Winter), arguing that "Christmas weaves its way through the film from start to finish". Source.
Feeling a little poorly on Saturday evening, I went to bed and watched the movie, Passengers....One thing, though, that I did find interesting was the inclusion of The Shining’s Gold Room.
I supposed it was done on purpose, as an homage to Stanley Kubrick, a fact that was confirmed yesterday when I happened across a post on the subject at Twilight Language. The post also brings up the odd coincidence that Michael Sheen’s (Arthur, the android bartender on the Avalon) father earns a living as a looky-likey for Jack Nicholson.
Via Twitter, I bemoaned to Alex Fulton at Crypto-Kubrology Twitter that "modern Cryptokubrology is frustrating when Shining scenes are in new films w/out sync-reasoning."You can see this post-Kubrick/Shining mentioning in Stand By Me, a 1986 film based on a Stephen King story, as was The Shining (1980). In Stand By Me there is a scene when the boys' total change adds up to $2.37.
To which Fulton replied that "modern films w/ 237s inserted… hard not to assume the filmmakers just being clever. Pre-Shining 237s are where it gets weird."
Fans of Cryptokubrology realize what postal mailbox number is the focus of The Shop Around the Corner. Of course, it is P. O. Box 237.
In the Good Old Summertime is a 1949 Technicolor musical film directed by Robert Z. Leonard. It stars Judy Garland, Van Johnson and S.Z. Sakall. The film is a musical adaptation of the 1940 film, The Shop Around the Corner.
Veronica Fisher (Judy Garland) enters Oberkugen's music shop, looking for work. Although Otto Oberkugen (S. Z. Sakall) is reluctant to take on more staff, she wins a job by persuading a wealthy matron, through her singing and musical expertise, to buy a harp at almost $25 over Oberkugen's list price. Neither she nor Andrew Larkin (Van Johnson), the shop's senior salesman, suspects that they are each other's anonymous pen pal. They bicker constantly at work although becoming increasingly attracted to each other.
Andrew Delby Larkin (Van Johnson): Oh, Veronica, I love you so! Won't you open box 237 and take me out of my envelope?
Veronica Fisher (Judy Garland): Box 23- Box 237! You mean... You?
Here's where it begins to get synchrocinematically intriguing.
So what is the Rainbow? And how does it relate to The Shining? For one the Rainbow's proprietor Milich resembles Jack Nicholson, with a similar hairline and expressive acting style. He’s even wearing a bathrobe and plaid flannel shirt. Perhaps Milich is an analog to Jack after 20 years or so as entertainment director of the Overlook Hotel. Like the Overlook, the Rainbow teleports in and out of reality, seems to grow in size once entered, and offers impossible vistas. The Rainbow is also a site of sexual depravity, with Milich’s daughter being the pedophiles’ target much like Danny. The Rainbow, like a hotel, is also a rental business. For a price, one can temporarily access realities greater than afforded one’s basic financial situation. For Cruise, the Rainbow’s costume rental allows him, if only for a moment, into the secret lair of the elite, just like Jack’s five-month tenure at the Overlook allows him to act like king of the mountain in a grand, fantastical palace. At the end of the night, Milich absolves Cruise of his debt by tearing up his receipt, but what has been seen cannot be unseen, as his missing mask will surely remind him when uncovered. Source.