Revisiting Tom Cruise’s ‘Eyes Wide Shut’ and ‘Magnolia’ Performances From 1999

“Eyes Wide Shut” had a blunt sales pitch: Cruise. Kidman. Kubrick.

The poster didn’t need much more. Audiences already knew plenty. At the peak of his clout, having just earned his second Oscar nomination, for “Jerry Maguire,” and publicly launched his production company with “Mission: Impossible,” Tom Cruise and his wife at the time, Nicole Kidman, ditched Hollywood to quietly make a dirty movie in England with the legendary director Stanley Kubrick. The shoot was supposed to last six to eight months. It took 15.

‘’People say: ‘You’ve lost 40, 60, 80 million dollars. You’ve lost all this money. You’ve lost all this time,” Cruise told The New York Times a year before its anticipated release. “To have a chance to work with Stanley Kubrick,” he added, “that’s worth it for me.”

Talk about risky business. The second half of 1999 would prove to be the diciest period of Cruise’s career with the release of two back-to-back films that dared him to expose his private vulnerabilities. The first, “Eyes Wide Shut,” released 25 years ago this summer, was a cerebral and slippery tale about a husband named Dr. Bill Harford who wanders Manhattan for two nights as vague vengeance upon his wife for fantasizing about another man. It was hawked as Cruise after dark — the movie star and his spouse, the ascendant Kidman, inviting people into their bedroom to see how they slept, smooched and argued.

Cruise sacrificed a year and a half of his life for what he hoped would be his major contender, the film that might finally earn him an Academy Award. But ironically, it was the other role that got him an invite to the ceremony: an outrageous supporting bit as the seduction guru Frank T.J. Mackey in Paul Thomas Anderson’s ensemble drama “Magnolia” that Cruise had shot in just three weeks. Of the two performances, it’s by far the most personally revealing.

At that time, Cruise was a promiscuous director-gatherer, rarely working with the same filmmaker twice. He aimed for heavyweights: Martin Scorsese, Oliver Stone, Rob Reiner, Ron Howard, Brian De Palma, breaking his ronin inclinations only to make “Top Gun” and “Days of Thunder” with Tony Scott. On “Thunder,” he had fallen in love with Kidman and made another film with her, too — “Far and Away” — and neither had been critically acclaimed.