‘Never, ever go near power. Don’t become friends with anyone who has real power. It’s dangerous.’ — From “After Stanley Kubrick” (18 August 2010), an interview with his wife, Christiane Kubrick, in The Guardian
Filmmaker Stanley Kubrick (July 26, 1928 – March 7, 1999) seemed “to know things.” Many have suggested that Kubrick revealed acquired knowledge about dark forces, the Illuminati or what Winter Watch refers to as the TPTB or Crime Syndicate.
There has also been the standard clever attempt from the usual suspects to debunk and cloud this, mostly with fallacious straw man arguments. and other distractions. However it doesn’t take an extravagant imagination to link the storylines and surrealism of Kubrick’s films with hidden history and dark forces.
Kubrick’s Big Seven films were the following. Barry Lyndon is in my view, one of the sleeper films of all time. I watched it with my dad in a largely empty theater when it came out, but it was made for me. There is no doubt in my mind that Kubrick was a great film-maker- if not the best. I do see a constant attempt to associate the fiercely independent real deal Kubrick with post-modern lightweights and other overrated Jewish directors.
-1963: Dr. Strangelove
-1968 2001 A Space Odyssey
-1971: A Clockwork Orange
-1975: Barry Lyndon
-1980: Shining (The Shining)
-1987: Full Metal Jacket
-1999: Eyes Wide Shut
Kubrick produced anti-war films like “Paths of Glory”. In 1963 he completed the anti-war satire “Dr. Strangelove or: How I Learned To Stop Worrying and Love the Bomb. The character portrayals couldn’t have been more accurate in terms of describing the Crime Syndicate actors. Full Metal Jacket was about the insanity of war. These films standing alone put Kubrick in high esteem in my eyes.
Clockwork Orange was also in plain sight: about ultraviolent conditioning, and trauma based mind kontrol.
There is no particular reason to dwell too much on symbolism in Kubrick’s films. In fact that may be a diversion. For the aware, the hidden world is presented in plain sight even with all the harder to decipher esoteric elements thrown in.
Eyes Wide Shut could just as easily be a dead ringer for the Hellfire Clubs and Frankist cult of the 18th century. Did Kubrick research the Dark Masonic Eyes Wide Shut Hellfire Clubs or did he have more contemporary knowledge of their successors? Only in the last few years with pedogate and Jimmy Savile (1926-2011) do Kubrick’s revelations in Eyes Wide Shut start to make more sense.
Incidentally we note with interest that David Icke in his excellent new book The Trigger has come around to our view concerning the influence of Sabbatean Frankism on the world.
Kubrick died suddenly of a heart attack in his sleep six days after screening a final cut of Eyes Wide Shut in 1999. There is a theory that parts were later cut out that he would not have disapproved of. Coinkydink?
Stanley Kubrick was a Jew who thought totally out of the box. As such some of his revelations don’t fit the standard narrative. The debunkers have had to scurry about with flimsy excuses, such as they must have been said in jest. Or as Frederic Raphael wrote in “Eyes Wide Open: A Memoir of Stanley Kubrick”, based on his two year strained working relationship with the man- comes a suggestion the Kubrick was a “self-hating Jew”- aka a Jew who had peeled back the onion.
Most curiously, Kubrick, married the beautiful German Aryan Christiane Harlan. It was Christiane’s uncle, Veit Harlan, who had directed the propaganda films Kolberg (1945) and Jud Süß (1940) for Dr. Joseph Goebbels. [source Raphael]. There are no accounts of any rows between them, and Kubrick is described as a good husband. Her influence appeared to be immense. Was his Aryan wife the spark-plug that ignited the contrarian personality that Kubrick seems to have already had?
Indeed Kubrick trashed “Schindler’s List,” as propaganda. One memorable quote in Raphael’s book, attributed to Kubrick was, “Hitler was right about almost everything.”
Raphael identifies the inspiration for Eyes Wide Shut as the 1926 novella, “Dream Story”, by Arthur Schnitzler (1862-1931). It concerns the kinky, extramarital adventures of a Viennese Jew and his wife and delves into the depraved power elite that runs the show.
Schnitzler was a friend of quack Sigmund Freud [see Sigmund Fraud: The Father of Modern Psychoanalysis and Neurotic Charlatan], and wrote a 8,000 page manuscript of his sexual conquests – and in it also are indications that the Eyes Wide Shut rituals were not merely fiction. His pal Freud wrote to him, “I have gained the impression that you have learned through intuition – although actually as a result of sensitive introspection – everything that I have had to unearth by laborious work on other persons.” Schnitzler was labelled a pornographer and his (and Freud’s) books were burned in Germany in 1933 as “Jewish filth.”
Kubrick cast actors with obvious Jewish features, such as Jay Adler, as a criminal in The Killing (1956) as well as Sydney Pollack in Eyes Wide Shut. In Clockwork Orange the reprobate Alex is sent to the Ludovico Institute to undergo new mind-bending treatment at the hands of Dr. Brodsky, an obviously Jewish character played by an obviously Jewish actor.
Raphael writes, “Nick Nightingale, Bill’s old friend from university who tells him of the orgies where he is the pianist, is also modelled on a Jewish character in Schnitzler’s novel: ‘…Nachtigall [Nightingale], a onetime fellow student with a “soft Polish accent and a slightly Jewish twang.”‘
Dr. Bill Hartford played by Tom Cruise is perfect casting and represents the hitherto naive goyish wandering into the dark, demonic hidden and secret world. There is almost unlimited masonic imagery in this film. Dr. Hartford slowly begins to see behind the veil as he is led into the cult.
We have no takeaway about the conspiracy inquiry that Kubrick was involved in producing a moon landing staged deception. We don’t especially think it fits his truth telling persona.