25/09/14 Animals in My Head': Kubrick's Preoccupation with Bathrooms by Jeff Westerman

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'AnimalsinMyHead':
StanleyKubrick's
Preoccupationwith
Bathrooms
byJeffWesterman
'WhatinthenameofJesusH.Christareyouanimalsdoingin
myhead?'
WhenSgt.Hartman,inskivviesandabig,incongruousranger
hat,confrontsthemurderousandsuicidalPrivatePyleandthe
terrorstricken Private Joker in Full Metal Jacket, Hartman is
demandingtoknowwhat"youanimalsaredoinginmyhead,"
he'sofcourseusingthe military jargon 'head' for bathroom.
Yetthisuseofthewordallowsforthefarfunnier,scarier,and
moreliteralmeaningtocomeintoplay.
IbelieveKubrick'sworkisprimarilyconcernedwiththehavoc,
comedy,terror,andchaosunleashedbytheanimalsinhuman
heads. While humanity has landed on the moon, invented
complex technologies to organize itself, and achieved an
intelligentandsociablecoexistence,thehumananimalisstill
a creature of tense dualities, which I argue are destined to
pervert our own ambitions and accomplishments. Many
writers have commented on the depiction of the human
personality as fatally flawed in Kubrick's films: the mad
General Ripper in Dr Strangelove who exploits the flaws in a
'failsafe'nucleardeterrentsystemtoeffectmassdestruction
the computer HAL in 2001: A Space Odyssey whose own
instinct for self preservation has murderous consequences
and the Ludovico system of control that turns Alex into a
'clockworkorange'.
In these films, Kubrick critiques the notion of the perfect
system.InfactitcanbearguedthatinallofhisfilmsKubrick
shows us how perfect systems can collapse because of
human weaknesses. In a wider sense though, I argue that
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social covenants such as marriage vows, and contracts
between the individual and society can be subverted from
within by humanity's animal instincts for sex, violence and
selfishness.Kubrickbrilliantlyillustratesthesethemesinhis
films.But,underlyingtherigorofallhisscenariosthereisthe
anarchic, adolescent urge to lampoon social niceties which
surfacesinhishumor,especiallyofthetoiletvariety.Inall
the settings of his filmsspacecraft, warrooms, palaces,
bedrooms, prisonsone room always plays a prominent role,
the bathroom. This is the room in which the human pretense
ofcivilizationfallsawayandtheoneplaceinwhichoutanimal
instincts are revealed, because as Erving Goffman said. it is
the one 'backstage area' where we take off our social masks
andwheretruthisspoken.
bathroomsareperhapsthemainshieldingplacesin
AngloAmerican society because in many
households these are the only rooms in which the
solitary person can properly lock himself. And it
may be only under these guaranteed conditions
that some individuals will feel safe in manifesting
certainsituationallyimproperinvolvements.
Goffman1963,40
Lolita, was the first Kubrick film to make significant use of
bathrooms.Thefilm'sprotagonist,HumbertHumbert, is seen
inthebathroom,doorlocked,writinginhissecretdiary.Just
outsidethedoor,hisunlovedwife,Charlotte,isknockingand
calling to him, "Hum, what is it that you do in there?" What
Humbert is doing is writing the unspeakable truth that he
only married Charlotte to gain access to her teenaged
daughter,Lolita,theobjectofhisobsessivesexualdesire.As
with many of Kubrick's male protagonists, the power of
Humbert's obsession blinds him to the fact that others see
whatheistryingtokeephidden.Ashewriteshissecretdiary
in the locked bathroom, he is the model of proprietyin his
bathrobe, perched on the bathtub with the toilet right next to
him. Humbert is revealing what really ought to be flushed
away.
It is the eventual revelation of the diary which cause
Charlotte's accidental death and creates the perfect
opportunity for Humbert to be with Lolita. In the aftermath of
theaccidentHumbertlanguishesinthebathtub,nonchalantly
receiving visitors who wish to pay their respects. Here
Humbert is exercising a newfound power, he is naked his
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visitors are clothed, he is composed while they struggle to
holdbacktheiremotions.Alsoheacceptsanofferoffinancial
assistancefromthedriverofthevehiclethatkilledhiswife.By
accepting this 'reward' Humbert possesses the resources to
pursue his relationship with Lolita in an unfettered way, far
fromthepryingeyesofhiswife'sfriendsandneighbours.But
his relationship with his 'nymphette' is dishonest from the
start, because he loses the very thing he wishes most to
possessthroughhisfalsesenseofpropriety.
The bathroom motif continues in Kubrick's next film, Dr
Strangelove.InanearlyscenetheHawkishGeneralTurgidson
is in the bathroom as his bikini cladsecretary, Miss Scott,
takes a call from military command. This scene finds the
generalinhismostvulnerablemomentcalledtoexercisehis
power.Intheclosestheevercametoadirectstatementabout
this, Kubrick told Joseph Gemelis, 'Confront a man in his
office with a nuclear alarm, and you have a documentary. If
thenewsreacheshiminhislivingroom,youhaveadrama.If
itcatcheshiminthelavatory,theresultisacomedy'(Gemelis
1970,309).
Later in the film, as General Jack D. Ripper, who has set the
entire catastrophe in motion, sits in the office of his base
which is under attack by U.S. forces. In the scenes with
colonel Mandrake he confronts his impending capture and
interrogation and decides to commit suicide rather than
submittotheirauthority.Ripperstepsintothebathroom,puts
atowelaroundhisneck,staresintothemirror,andclosesthe
door.Agunshotisheardamomentlater.Rippergivesuphis
life,butseekstoguaranteehisplannedoutcomethrough his
deathinthebathroom.
Bathrooms feature in Kubrick's next film 2001: A Space
Odyssey in a brief comic scene where the space bureaucrat,
Dr. Floyd, studies the intricate and intimidating instructions
posted on a 'zerogravity toilet' door. This scene again
suggestthat,nomatterhowhighaperson'sstature,everyone
hastoperformthisbasicanimalrequirement.
Attheendof2001,astronautDaveBowmanfindshimselfina
spectral room which he has reached by traveling through
many dimensions and wrinkles of the cosmos. His first
awarenessofthestatehisjourneyhaslefthiminoccurswhen
hestepsintothesuite'sluxurious,ifcoldlyemptybathroom.
He regards his reflection in a mirror there, wideeyed to see
thathehasagedconsiderably.Justashe'stakingthisin,he
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hearsanoise,andpeersoutthedoorataseatedfigure,dining
at a table across the adjacent room. Moments later, it is
revealed that this second person is yet another Bowman,
olderstill,whoseemsto sense he's being watched. He gets
upfromthetableandwalkstothebathroom,buthisyounger
self is no longer there. Knowledge is again gained, and
withheld, in a bathroom. It should be noted that this scene
occurs moments before the hopeful finale, which depicts the
rebirthofthisman,andverypossiblythatofallhumanity,ina
mysticalandpoignanttableaux.
InKubrick'snextfilm,AClockworkOrange we see the main
character, Alex, late in the story, accidentally reveal his
identitytotheverylastpersonhe'dwantitknownto.Aman
hevictimizedearlierinthefilmhasrescuedhimfromperishing
in the elements, and has given Alex refuge in his home the
veryhomeinwhichAlexhadhorriblyassaultedthemanand
hiswife,anassaultwhichledtohereventualdeath.NowAlex
is upstairs, soaking away his bruises and chill in a hot bath,
hishostjustdownstairs.Alexgraduallyrelaxes,andbeginsto
croon his signature tune, "Singin' in the Rain," which he
performed while assaulting this man and his wife. Alex is
oblivious to the import of this song in this house, but
Mr.Alexander, downstairs, practically has a seizure as he
hears the song, registering when he's heard it before. While
Alex chortles away in the bath, giving away his identity, his
former victim now becomes Alex's captor, and hatches a
scheme of revenge as sadistic as anything Alex has done in
the past. The truth again came out in a bathroom. Power
shifted,changingtherestofthestorytocome.
In 1975's Barry Lyndon , the bathroom makes one subtle
appearance.Barryhasbetrayedhiswiferepeatedly,andhas
been observed in an infidelity just a scene or two ago.
Subsequently, we watch as Barry enters his wife's private
chambers, where she is having a soak in the bathtub. Barry
walksovertoherwithalookofgreatcontrition,kneelsbythe
tub,andapologizestoher,with seemingly full sincerity. She
sadly listens, and accepts a tender kiss from him. But
however sincere his apology at this moment, and his
humbling of himself before her, he soon inevitably reverts to
hisloutishways.Theonetrueexpression of his love for his
wife in the entire movie, though, takes place in that special
roomofrooms.
Whatever subtlety prevailed in the use of bathrooms up
untilBarryLyndonisnowabandonedwithavengeanceinthe
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last three films of Kubrick's career. By now, even he must
haveknownthatthepatternwascleartohisaudience,andhe
beginstounderlineitboldly.
1980'sTheShining,alongwithexploringseveralotherheavily
freighted symbols (mirrors, doubles, eyes, doors, certain
colors),runsamok in bathrooms. If ever it was unclear that
this room is the crucible of change, power, and truth for
Kubrick,TheShiningputsthespotlightonitasneverbefore.
Itsfirstappearancecomesearly:DannyTorrance,theyoung
boy gifted with "the shining," or ESP, is standing before the
bathroom sink at home, staring at himself in the mirror (like
Gen.RipperandDaveBowmanbeforehim).Avisioncomes
tohimofthedangerintheOverlookHotel,whereheandhis
parents are about to spend an isolated winter as caretakers.
Dannyseesariver(torrents?)ofbloodpouringforthfroman
elevator we later come to know is in the hotel. This flash of
insight is so powerful that he passes out, necessitating a
doctor'shousecall.
Laterintheprologue,whilegettingatourofthehotelfromits
manager, Jack and Wendy, Danny's parents, end up in the
shabby caretaker's quarters where they will live. Their walk
through of the apartment, dismaying as it is, ends with them
standinginthebathroom,forcingasmile,andJackdeclaring
the rooms "homey." Faced with the truth of their lot, the
couple lie to themselves in the room associated with
revelation,"overlooking"whatisplaintosee.
The bathroom gets deadly serious in its next appearance,
when Jack , later in the snowbound winter, investigates
Danny'sreportofa"crazywoman"inoneofthehotelrooms,
whotriedtostrangletheboy.Thehotelisstirringtolife,andit
reaches out to Jack in Room 237's bathroom, where his
ghostlyencountertakestheformofabeautifulnakedwoman,
whorisesupoutofthetub,seductiveinadecidelyaloofway.
But she's not what she seems, and, as Jack kisses her, his
glance into the mirror behind her shows him that she has
become the decomposing corpse of an old woman. She
laughs long and loud at her practical joke, following Jack as
he backs away from her in terror. First he was seduced and
trickedinthebathroom,thenshownthetruefaceofthehotel,
laughing at him. And, to cap it all, Jack lies to Wendy
afterwards, telling her he found no one in Room 237! The
truth of what Jack saw convinced him to lie, to again
"overlook"theevidence,becauseofhisoverwhelmingdesire
toremaininthehotelatallcost.
25/09/14 Animals in My Head': Kubrick's Preoccupation with Bathrooms by Jeff Westerman
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Another crucial scene, perhaps the ultimate sequence of the
movie,bringsusintothebathroomyetagain.Thistime,Jack
encountersabutler,Grady,whomayormaynotbetheformer
caretaker, who killed his family and himself some years
before. He spills a drink on Jack in the grand ballroom, and
guideshimintothebloodredmen'sroomtocleanhimup.In
the course of their increasingly unnerving conversation,
Gradytransformsfromanobsequiousvaletintotheveryvoice
ofthehotel.HefillsJackinontheimportantfactthatbothof
themhave"alwaysbeenhere,"thattheyhavepredetermined
roles to play in the service of the hotel's wishes, and
inadvertently reveals that they each comprehend only what
the hotel wants them to. Hearing these "orders from The
House," Jack gradually shifts from cocky and certain to
childishlyreceptive,asGradyinstructshimtokillhisfamily,or
"correct" them, as he so delicately, horribly puts it. By the
timetheirbathroomdiscussionisover,weknowmorethanwe
everwantedtoabout Grady, the hotel, Jack's total surrender
toitssway,andthelikelyoutcomeofthestory,ifJack'snew
found assignment is not prevented. The dynamics of this
scene are simply exquisite, as the masks come off, true
characteremerges,andthehotel'scoredesiresarerevealed.
(Andnotice,justforthenuancedpleasureofit,hownotonly
doGradyandJackexchangetheiroriginalpositionsofpower
here,buttheirbodiesactuallymirrorthisshift.Gradystartsoff
looking distinctly shorter than Jack, who's all macho
posturingtoGrady'sservileflutterings.Butbytheendofthe
scene,asGrady'strueintentionsemerge,heappears,through
brilliant camera work and angles of lighting, to eventually
toweroveranowspeechlessJack).Repeatedviewings only
revealmoredetails,andit'sstunningtonotehowmanythings
arehappeningatonceinthatred,redbathroom.
And there's still one more crucial bathroom scene to come,
taking things completely over the top. This final example
occurswhenJackcomesafterhisfamilywithanaxe,benton
fulfillingthehotel'swishes.Wendydashesintothebathroom
in the caretaker's apartment with Danny, as Jack chops his
waythroughtheouterdoortotheirrooms.Shehelps Danny
escape through the bathroom's tiny window, and he slides
safely down a mountainous snow drift, like an image from a
fairy tale. But she can't fit through the window herself, and,
picking up a large kitchen knife, she despairingly braces for
Jack'sonslaught.Heisnowanuttermaniac,ahusbandand
fathernolonger.Heisalltheanimalsinhisownheadnow,all
thehotel'sanimals,too,grabbingafterthepoweroverlifeand
death. He begins to smash the bathroom door with his axe,
25/09/14 Animals in My Head': Kubrick's Preoccupation with Bathrooms by Jeff Westerman
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clearly enjoying his work, confident he'll kill Wendy
momentarily.But,thereinthebathroom,cornered,shehasa
lifesavingflashofinspiration,andcutsJack'shandbadlyas
he reaches through the broken door panels to unlock the
door.Heisthwarted,realizingshewill cut him every time he
tries to enter the room. And just at that moment, before he
resumeshis attack, a noise in the distance distracts him, the
arrival of Halloran, Danny's wouldbe rescuer, and he
withdraws to investigate. On the verge of wielding ultimate
power, Jack falters, and Wendy discovers strength in herself
she never needed to call on before. It all just happened to
havetakenplaceinabathroom...
And how can those scenes possibly be topped, either as
brilliantdrama,orintheiruseassymbolism?
Kubrick's solution comes in the previously mentioned FULL
METALJACKET,inwhichthelowly(andaptlynamed)Private
Pyleusurpstheauthorityofhisbullyingsergeantinthemost
decisive way by shooting him dead. In the bathroom. As
Gen. Ripper achieved the ultimate victory in DR.
STRANGELOVE (or so he thought), by committing suicide
andkeepinghisvitalsecretssafe,soPvt.Pylerelieveshimself
of both Sgt. Hartman, his hated tormentor, and the madness
hisbootcamplifehasplungedhiminto.Hecanseenoother
way out, feels powerless, and still he finally achieves a
measureofpowerthroughthesatisfactionofkillingHartman,
before taking his own life. In Pyle's limited perspective,
perhaps, he has staged a coup by killing his sergeant. No
matter that there are scores of candidates ready to step into
Hartman'sshoesPylehasdoneawaywithhistormentor(the
animalinhishead).AndHartmandies asserting his earlier
authority,staringPyledown,stillridiculinghim,and ordering
him to surrender his weapon. Hartman is confident he can
tametheanimalsinhis"head"anddefusethesituation.And,
shouldhefail,he'squitewillingtosacrificehisownlifetrying,
believingthatcommandandcontrolmustbemaintainedatall
cost. He gives up his life to an underling for the sake of
preserving the greater power, his "beloved Corps." To his
way of thinking, he has won a more important victory than
saving his own hide he's thrown himself on the proverbial
grenadetosavetheplatoon.AndPyle,havingdestroyedthe
personificationofallhisownmisery,isreadytopullthetrigger
onhimself.Henotonlyknocksauthorityoffitspedestal,but
chooses his own form of justice for himself, denying his
enemies any further control over his life by ending it
immediately.
25/09/14 Animals in My Head': Kubrick's Preoccupation with Bathrooms by Jeff Westerman
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Thisscene,seeminglyasimple,ifshocking,denouementtoa
tensionwhichhasbuiltfor45excruciatingminutes,isactually
quitecomplex.Theinnerworkings,asthewheelsturnin the
mindsofthesetwomen,passovertheirfacesthroughoutthe
scene, shifting and shading their dance of death. Hartman,
whenherealizeshe'sgoingtohavetoputhislifeonthelineto
stop Pyle, smiles to himself in a strangely elated way, before
he speaks his final sentences. He seems to be pleased,
recognizingthatFateisallowinghimagreatmomentinwhich
to distinguish himself as a valorous Marine. And Pyle, too,
smiles,atthesamemomentofrealizationhehasengagedhis
enemyheadon,andtheyarebothnowconsciouslystepping
forward to play out their ultimate roles. It's a smile of
recognition which passes between them, rank against rank,
life against life, authority versus individual will. One man will
onlygiveuphispowerbydying,andtheothercanonlygainit
through killing. Their illusions are stronger than even their
willstolive,ashasbeenplayedoutsomewhereineveryone
ofKubrick'sfilms.Butnevermorebluntlythaninthiscase.
Then, finally, after a 12year wait, EYES WIDE SHUT came
along.Oneearlyrumorhaditthat:"Theshootingofacrucial
scene in a bathroom has been going on for 3 weeks." Well,
surprise!Whenatlastthehappyopeningdayrolledaround,it
was overshadowed with sadness at the death of Kubrick the
man.Butheleftusintopform.
Therefore, it didn't take long for this film to get right into the
next bathroom! In fact, within the opening sequence, as Bill
and Alice Harford are getting ready to go out to a formal
Christmas party, we visit them momentarily in the bathroom.
Characteristically,eventhistinysceneisvitallyimportant,asit
revealsonecentraltruthabouttheirmarriage,whichisthatBill
takeshiswifeforgranted.Weseethisasshe'ssittingonthe
toilet (no mincing around it this time), and he's looking at
himselfinthemirror.Sheaskshowshelooks,how'sherhair,
and,withoutevenglancingather,hesays"Perfect."Sheduly
notes,"You'renotevenlookingatit."Thesetupfortheentire
filmhasjusttakenplace.
Then,only8minutesintothepicture,thefirstcruciblearrives.
Bill, a doctor, has been summoned by the host of the party,
Victor Ziegler, to an urgent situation taking place in the
bathroom.Ziegler(onlynowzippinguphispantswhat has
he been doing in the minutes between sending for Bill, and
Bill's arrival?!) is waiting for him, in the company of a
comatose woman sprawled naked in a bloodred easy chair.
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She has overdosed. It emerges that Ziegler could care less
about her condition he simply wants this potentially
embarrassing situation dealt with. Bill manages to wake her,
examine her briefly, and give her a pompous warning about
thedangersofherdrughabit.Zieglercanbarelycontainhis
impatience to get her out of there so he can return to his
party. But first, he realizes he's in a compromising position,
andmustenlistBill'ssilenceaboutwhat'shappened.Hetells
Bill he hopes that "this is just between us," and Bill blithely
says,"Ofcourse."Noscruplesrequired,notinthebathroom.
But, like the ripples expanding across water from a dropped
stone, the implications of this scene course throughout the
restofthestory.WeseeenoughaboutZieglerheretoassess
hispersonalevil,andtheparty'ssettingrevealshisfabulous
wealth and power. He makes his first offer of a
Mephistophelean bargain to Bill here, as he will again, late in
thefilm.Bill,forhispart,isacallowsocialclimber, ambitious
enoughtocopewiththesituationwithoutbreakinghisstride.
As he told Alice earlier in the party sequence, "This is what
you get for making housecalls." Having now made the
ultimate housecall, Bill's appetite for privilege has been
whetted,andhebeginstoactouthisbeliefthathe'ssomehow
privy to the inner sanctum to a greater degree than ever
before.Believingandactingonthis,hisbehaviorresultsinan
abrupt reality check from Ziegler later on, when his
subsequent partycrashing at a much riskier party gets him
put firmly back into his assigned social rank. Bill comes to
understandthatkeepingZiegler'ssecretinnowayentitleshim
tomoveabovehisstationthattheprivilegeofmakinghouse
calls is in itself the reward he's expected to content himself
with.
Thealphamalewilltakehimintohisconfidenceonlywhenhe
needs to, and Bill will definitely be invited to next year's
Christmasparty,butanyfurtherassumptionhemakeswillget
himslappeddownposthaste.Yetthesceneinthebathroom
hasunleashedBill'syearningstomoveincircles beyond his
reach. This is because Bill, like so many men in Kubrick's
work, is dangerously oblivious to how those coveted circles
reallywork,andwhatthetruepriceofadmissionis.Andhe's
equallyobliviousofhisowndeepestmotives,usinghisbland
behaviortohidefromevenhimselftheurgencyofhisdesires,
andhiswillingnesstojeopardizeallheholdsdearjusttoclimb
anotherrunginthesocialladder.(LikeJackintheOverlook
Hotel, easily ignoring the horror of what he's being urged to
dotohisfamily,becausehe'ssohungrilyeyeingthedesired
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prize).Billisquiteripeforcorruption.It'scomeslowlytohim,
through money, his success, his charisma, and he's already
poisedtotakethenextstepforward(ordownward),asshown
by his total lack of outrage over what he finds in Ziegler's
bathroom.AndZieglerknewjustwhotocallforhelp,among
hismanyminions.Billthinkshe'sendearedhimselftoZiegler,
buttoZieglerhe'sjustanotherservant.And,allthewhile,the
realcenterofhis life, his family, is slipping away from him at
thesamepacewithwhichheseeksadventureandrecognition
awayfromit.Becausehe'ssooutoftouchwithhisowninner
drives,he'sincapableofcommunicatinghisconfusiontothe
one honest person in his whole sorry existence his wife
Alice.
JustasJackTorrance,the permanent and lowly caretaker, is
flattered into a sense of his own importance by the
manipulationsofGradyintheOverlook'smen'sroom,soBill
Harford is seduced by the belief that he's been taken into
Ziegler'sconfidence,andisabletoignorethetruesliminessof
the setting involved. While Bill feels closer to the center of
power through the bargain made in Ziegler's upholstered
bathroom,andgreedilyanticipatesnewandguiltfreeliberties,
he's merely played the mark to a craftier and vastly more
experiencedconman.
Itwouldappearthat,witheachsuccessivebathroomepisode,
Kubricketchedtheimportanceofthatroomwithgreaterclarity
and directness. Here is the place where all ambition,
pretension, and vanity are cast into stark relief against the
realityofthephysicalbodiesweinhabit,growoldin,diein.No
matter how highflown humanity's grand designs are, people
areultimatelyseducedandfooledbythem.Thesehighlyun
glamorousplumbingfacilitiesarethelastchanceavailableto
remind us of natural laws, actual humanity, perhaps the
integrity of the animals we humans still simply are, and often
resent being. Once we cross into the realm of living in our
heads, we've cut ourselves off from the wisdom and
knowledge our bodies ground us in. If we only live in our
heads, and begin to lose the fear of the consequences our
bodies may experience due to our minds running riot, we're
certain to be smacked down by the brick wall of physical
reality. And there's hardly a more incontrovertible proof of
human existence than the necessary activities attended to in
thebathroom.Absolutelynopretenseispossiblesittingona
toilet.Wecanconquertheanimalsinourheadsonlysolong
aswerememberexactlywhatweareanimalsinthe"head."
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References
Gelmis, J. (1970) The Film Director as Superstar. New
York:Doubleday.
Goffman, E. (1963) Behavior in Public Places: Notes on the
social Organization of Gatherings. New York: Free Press of
Glencoe.
(JeffWesterman:Email:ZephyrJW@roadrunner.com)