"Schnitzler as a Space of Central European Cultural Identity"

I found this while poking around the 'net and thought it might be informative to read. 
It compares the two adaptations with their original sources and critiques the
Anglo-American reception of the works.  It is rather interesting that both play and film
were done around the same time and stared Nicole Kidman, and cover some of the same
ground--but in different ways.  It was published in the online journal Spaces of Identity, hosted by York University.

http://www.yorku.ca/soi/Vol_3/_PDF/Ingram.pdf

 Alternative link: https://dl.dropbox.com/u/79658366/Ingram%20TBR%20%26%20EWS.pdf

Excerpt from the article:

     Stanley Kubrick’s much anticipated cinematic spectacle Eyes Wide Shut (an adaptation of Schnitzler’s 1926 Traumnovelle) was released in the summer following his death on March 7, 1999 (at age 70, of a massive heart attack), a few days after he had delivered the final print to Warner Bros. and a few weeks after David Hare’s The Blue Room (an adaptation of Schnitzler’s play Der Reigen) had closed after phenomenally successful runs in London’s West End and on Broadway. Unlike previous film and stage adaptations of Schnitzler’s works, such as Max Olphus’s nostalgic Liebelei (1933) and La Ronde (1950) or Tom Stoppard’s more hard-boiled Dalliance and Undiscovered Country (1986), these two adaptations recouped some of the shocking impact that Schnitzler’s originals had on their audiences, in no small part due to the scintillating presence of Australian actress Nicole Kidman, who starred in both. This article explores how Central Europe came in the case of these two turn-of-the-millennium Schnitzler adaptations to signify sex in the English-speaking entertainment industry’s imagination (Ingram 7-8).