Was Kubrick alerting us to Childhood's End?

 I've been working on a suggestion to view Eyes Wide Shut in other aspect ratios. I highly recommend it. If I can put it altogether, it will be the subject of my final blog entry.

There's a great site called Cryptokubrology that I also highly recommend. The author has done an amazing job of uncovering more mysteries, including the length of time between JFK and RFK's assassination is 237 weeks and the Kubrick - Ridley Scott connections.

Through Kubrick's collaboration with Arthur C. Clarke, the world was introduced to the concept of alien intervention in human history. Von Daniken's Chariot of the Gods and 2001 were released the same year, something the smacks of social engineering or conditioning to me. The original basis of 2001 was Clarke's short story, The Sentinel, written in  1948 as an entry to a BBC writing contest.

 My subject today is another work by Clarke, Childhood's End. Regarded by many as Clarke's best novel if not his best work overall.

Per Wikipedia:

"Several attempts to adapt the novel into a film or miniseries have been made with varying levels of success. Director Stanley Kubrick expressed interest in the 1960s, but collaborated with Clarke on 2001: A Space Odyssey (1968) instead.

"In the 1960s, director Stanley Kubrick was interested in making a film adaptation of the novel, but blacklisted director Abraham Polonsky had already optioned it. Instead, Kubrick collaborated with Clarke on adapting the short story "The Sentinel" into what eventually became 2001: A Space Odyssey (1968).^{[24] ]}"

To poorly  summarize the complex plot,  mankind is visited by the alien race, the Overlords. The Overlords have come to help assimilate the human species with the Overmind, a collective intelligence of past ancient civilizations throughout the universe. In the end the assimilation fails and mankind is destroyed.

In the miniseries that was done in 2014, the Overlord Karellen, tells one of the protagonists regarding spaceflight: "The stars are not for man..."

This brings me to the work of John Brandeburg a plasma physicist who has researched Mars since the early Voyager pctures showed the 'Face' on Mars. I have read and highly recommend his book, Death on Mars: The Discovery of a Planetary Nuclear Massacre available on Amazon.

Again, to poorly summarize the  John's research:

super abundances of certain isotopes on the Martian surface are indicative of weapons signature from thermonuclear weapons. Before you say 'no way' be advised, Brandenburg has made presentations to the scientific community as well as the general public and published his work. To this date, no one has appeared to contradict his work. This is similar to the the issue of Boston College geologist, Robert Schoch insisting the Sphinx being eroded by water, i.e. rain. Though the Egyptology community vociferously denied this as it messed with their agreed upon timelines, no geologist would dispute Schoch's claims.

This is taken from the Secret Space Program conference website regarding Brandenburg's presentation:

Presentation Synopsis

John will show us evidence in support of an Earth-like Mars in the past, followed by presentation of nuclear data revealing ‘weapon-signature’ isotopes showing two massive nuclear “airbursts” in the Northern regions of Mars.

It will be shown that ‘anyone who can read a a map’ can see that both nuclear explosion sites are correlated to dump their resulting strongest shock-waves and fallout downwind on Cydonia mesa and Galaxias Chaos, two sites reported earlier as locations of possible archeology.

Review of recent imagery form the latest probes to Mars confirms the archeological nature of the objects seen there, with a massive carved face, a nearby massive pyramid, at Cydonia Mensa and another carved face and ruins at Galaxias Chaos.

This all paints a scenario of a planetary nuclear massacre, and also that the US government has been aware of this evidence since 1976. It also depicts a universe where their are intelligent forces hostile to primitive civilizations such as ourselves, and that human acquisition of advanced space flight technology is mandatory, not optional. We must sent astronauts to Mars with all possible speed, to maximize knowledge of what happened there. This is the best way to avoid sharing Mars fate.

John's contention is there was a nascent civilization on Mars, on par with the Mayans or Egyptians  that was wiped out by someone. He relates it to Fermi's Paradox which states that life and civilization should be the norm in the universe but where is the noise of the other civilizations.

What does this have to do with Kubrick in general and EWS in particular.

As I stated above, Kubrick used science fiction to introduce the public to the concept of alien intervention. It was not in Kubrick's nature to revisit a concept using the same venue. The war movies, Paths of Glory, Barry Lyndon and Full Metal Jacket used wars from different eras (WW I, Seven Years War and Vietnam).

I feel there was a way of introducing the concept of Childhood's End finale in what I consider the most autobiographical of Kubrick's films.

As I have related in other posts, there are many autobiographical references in Kubrick's films including EWS. One I've been toying with lately is that Nick Nightingale, Dr. Bill Harford and Mr. Ziegler are all aspects of Kubrick.

Nick represents the Jazz musician Kubrick wanted to be, Dr. Harford represents the medical professional his father wanted him to be. Ziegler? This was a character not in the sourcework, Traumnovelle. It was invented by Kubrick and played by Sydney Pollack, a formidable director in his own right. Also, it is generally accepted by most conspiracy related researchers that the name Ziegler is intentional.

From the Illuminati Watcher website:

“Ziegler” is a German surname meaning ‘brick-maker’. There is also a Jewish University in Los Angeles that ordains Rabbis under this same title. Some theorists believe this is a tie to Freemasonry and the Kabbalah, which the checkered floor and surname support."

While I do not debate this, I would like to propose that maybe Ziegler is a pun, 'brick-maker' referring to Ku-brick. Brick maker could be Kubrick's father who tries to entice him into something (orgy group) and is possessor of certain knowledge. As Ziegler tells Bill:

"Bill, do you have any idea how much trouble you got yourself into last night just by going over there? Who do you think those people were? Those were not just some ordinary people. If I told you their names... no, I'm not going to tell you their names... but if I did, I don't think you'd sleep so well at night. "

Regarding not sleeping at night:

"Be careful what you wish for (re:alien life). If you guys knew even a fraction of the shit we do, you will never sleep again. I promise you that" - Paul Hertz Director of the astrophysics division at NASA

So to come back to the relation to EWS. Our best science tells us that something exterminated life on Mars.

The upshot of Childhood's End is we were found wanting and exterminated.

And finally as the orgy scene unfolds in EWS, Jocelyn Pook's soundtrack originally contained a recitation from the Bhagavad Gita. It was later removed after protests from Hindus. 

It stated:

“Whenever there is a decline of Dharma and the rise of Adharma,O Arjun, then I Shree Krishna manifest (or incarnate) Myself. I incarnate from time to time for protecting the good, for transforming the wicked, and for establishing Dharma”

Maybe Kubrick is saying we're due for an avatar. According to Hindus the next Avatar is Kalki, harbinger of the end time.

 All That Jazz

 It's Season 2 now, so it's ok to reference Mr. Robot right?

 

So in last season's finale, as Elliot is walking through Evil Corps headquarters after the encryption package has been released, the soundtrack is playing a there's a synthesized version of Dmitri Shostakovitch's Waltz No. 2.

It's the perfect mood music for a surreal moment. However, for me it will always evoke the opening moments of Eyes Wide Shut.

Kubrick's music choices for his films is a book in itself (Listening to Stanley Kubrick: The Music in His Films – by Christine Lee Gengaro) and there are several ways to interpret the choices for EWS. There's a definite Stalin era vibe with Shostakovitch and György Ligeti in the mix but it's the jazz element that catches my attention here and the economic collapse element in Mr. Robot that jarred my memory.

First, I'm not a musician, I only know what I've heard over time about Jazz being all about the notes you don't play as much as it is about the notes you do play. I have no idea what that means. But I know Kubrick was a Jazz enthusiast. So I think sometimes it's about what Kubrick leaves out.


Take for instance Mr. Harford's wild ride in EWS. When he hits roadblocks, Bill whips out his wallet.
Whether it's dealing with Domino, Mr. Millich or the itinerant cab driver, Bill is able to smooth things out and get his way by throwing money at the issue.

The big exception is at Somerton and after. Once he gets into trouble there, there's no more money fixes.

Reference to a world where cash is meaningless? To a level of our society that does not use cash for transactions?

Or presaging a time when money will be valueless? (In truth it already is, it only has inherent value because we believe it has inherent value.)

Does Kubrick try to be predictive? Probably not.

The other big note not played involves the scenery. Now recall all of the controversy around the set. The movie is set in New York city in the present time (1998-1999). We know it was filmed entirely in the UK. There were complaints about the streets being to wide for NYC, not enough foot traffic, etc.

The skyline shots as well as the shots from the bridge as Harford heads down 495, are all stock footage.

But one thing you never see in EWS and would easily create the atmosphere that one is in NYC, are the Twin Towers. They are NOWHERE to be seen in EWS. Not too big a deal? Maybe not. But check out any movie or TV show, set in NYC in that time frame (1998-1999) that DOESN'T show the towers at some point, and you'll have me convinced.

Maybe not predictive. Maybe just raising awareness.

Till next time

What does it all MEAN?

I'm right, Weidner's wrong (tongue in cheek)

I said at the beginning that as an artist, at some level Kubrick wants you to put your interpretation on his work. "Well, what do YOU think it means?" kind of thing.

I have an email string with Jay Weidner regarding the star symbol at Ziegler's Christmas Party in EWS.

Basically I was trying to convince him that the star wreath was a replica of Ishtar's star because it was eight pointed.  He was emphatic that it represented Venus and that it referred to Nicole Kidman's character as a symbolic Isis goddess.

I share below:

"Images off of the cross at Hendyae.  Please note the eight pointed star and the sun.  Kidman is Isis.  She has been chosen as the new female icon of the cult.  She is the missing person in the eleven girl circle at the orgy.  Something huge was cut from EWS.  It has to do with the star."

The Hendaye reference is from a brilliant book by Weidner and his co-author Vincent Bridges

The Mysteries of the Great Cross of Hendaye: Alchemy and the End of Time

 This image and text is from the website Vigilant Citizen

The star at Zeigler’s house is nearly identical to the ancient symbol of the star of Ishtar."
nowing Kubrick’s attention to detail, the inclusion of the star of Ishtar in this party is not an accident. Ishtar is the Babylonian goddess of fertility, love, war and, mostly, sexuality. Her cult involved sacred prostitution and ritual acts – two elements we clearly see later in the movie.

“Babylonians gave Ishtar offerings of food and drink on Saturday. They then joined in ritual acts of lovemaking, which in turn invoked Ishtar’s favor on the region and its people to promote continued health and fruitfulness.”
– Goddess Ishtar, Anita Revel

Ishtar herself was considered to be the “courtesan of the gods” and had many lovers. While inspired in bed, she was also cruel to the men that got attached to her. These concepts will constantly reappear in the movie, especially with Alice.
During the party, Bill and Alice go their separate ways and are both faced with temptation. Alice meets a man named Sandor Szavost who asks her about Ovid’s Art of Love. This series of books, written during the times of Ancient Rome, was essentially a “How to Cheat on Your Partner” guide, and was popular with the elite of the time. The first book opens with an invocation to Venus – the planet esoterically associated with lust. Interestingly enough, Ishtar (and her equivalents in other Semetic cultures) was considered to be the personification of Venus.

I share this to point out that both can be right, the trick is not to put too much emphasis on one interpretation. We can be too dogmatic. That being said, I do believe there are overarching themes that carry through all of Kubrick's films and that he meant for EWS to be his magnum opus. It was to at once celebrate the Cryptocracy and expose them as well.

UPDATE: I just watched the documentary Room 237 for the umpteenth time last night. I really enjoy it because I feel, to a degree, everyone quoted in the film is right. The Shining does make reference to the Native American holocaust as well as the Holocaust and to wild speculation about Apollo 11.
I personally feel that a lot of effort goes into pointing out there are a lot of  references to the number 42 and the luggage at the Overlook. What intrigues me is no one makes the connection that in 1942, Kubrick was 14 and his family moved to a new apartment (Source : Stanley Kubrick: A Biography By Vincent LoBruttobo, pg 10).
He was roughly the same age as Herman Raucher, the main character in the movie 'Summer of 42', the movie playing in the scene were Danny and Wendy are watching TV (that has no electrical cable). It's made note of the fact that regarding Room 237, that 2x3x7 = 42. So in '42 Kubrick moved into a new room.

Viddy well my brothers... Viddy well - More Peels from the MK-Orange

  A Clockwork Ultra

  On the surface, PWS (pre-wild speculation) A Clockwork Orange is a film masterpiece based on the book by Anthony Burgess about a youth culture violence in a near future society. The main character, Alex DeLarge leads a violent gang that rapes and beats it's way through life until he's caught, entered in an experimental rehabilitation project. In the British version of the book, there is a final chapter where Alex eventually matures enough to regret his violent, lawless youth.
   I once found a discussion board which attempted to answer what was the meaning of the film. I recall the Kubrick was mentioned only in passing while the majority of focus was on the book. Much speculation was around Burgess searching for meaning after he and his wife were assaulted in a home invasion.


 

I don't know if that is true. I should also mention I haven't read the book.

   Now, I will commence with the wild speculation, utilizing the works of Kubrick, Miles Mathis and Adam Gorightly. All inaccuracies and conclusions are mine, and I refer you to works of these individuals on their own merit, not on my interpretation. I'm obviously not in their league as researchers or writers.

Also, here's link to a great article regarding the book and film by Theodore Dalrymple:

http://www.city-journal.org/html/16_1_oh_to_be.html

The Act, the Masks, the 'Shadows in the Mirror' 

McDowell stated "If Kubrick hadn't been a film director he'd have been a General Chief of Staff of the US Forces. No matter what it is—even if it's a question of buying a shampoo it goes through him. He just likes total control." 
Filming took place between September 1970 and April 1971, making A Clockwork Orange the quickest film shoot in his career. - Wikipedia  (emphasis mine)

 

Examples of Eyes Wide ...

My speculation begins with the correlation of the film with the Manson Family murders.



Miles Mathis regarding Paul Tate:

"In 1959, the Tates moved to (Cafe?- FN)Verona, Italy, where Paul Tate was stationed at Passalacqua, the headquarters for SETAF (Southern European Task Force). This links him to Operation Gladio. General Maletti—commander of Italian military intelligence at the time of the Tate murders—later testified in court that the CIA had been involved in many false flag operations in Italy and Europe, including murders and bombings, “for the purpose of creating an Italian nationalism that was capable of halting what it saw as a slide to the left.” Sound familiar? Maletti added, “Don't forget that Nixon was in charge and Nixon was a strange man, a very intelligent politician but a man of rather unorthodox initiatives.” Nixon was in charge in 1969, but Operation Gladio had been instituted by Allen Dulles much earlier, and it was financed in large part by the US, through the CIA, which Dulles led under Eisenhower and Kennedy (1953 to late 1961). The Operation kicked into high gear in the late 50's to counter growing “leftist” movements, especially in Italy. We must assume that is why Paul Tate was in Verona in 1959 with his family. Paul Tate was not just military, he was a colonel in intelligence, which indicates he was probably involved in Gladio."

Manson 69 - 70 CWO - 71

Sharon Tate and Slim Pickens:

Viddy Well, My Brothers - A short piece about Clockwork Ultra

Peeling an MK- Orange

   Let me state now that I believe that the primary theme of Clockwork Orange is mind control.

   Allow me to quote from an interview with Kubrick regarding CO:

"The central idea of the film has to do with the question of free-will. Do we lose our humanity if we are deprived of the choice between good and evil? Do we become, as the title suggests, A Clockwork Orange? Recent experiments in conditioning and mind control on volunteer prisoners in America have taken this question out of the realm of science-fiction." 




   The similarities with MKULTRA (The documented CIA excursion into mind control) are ramapant.
The CIA pushed forward with MKULTRA with the idea that they were trying to keep up with Soviet and Chinese research demonstrated on POWs in the Korean War.


   Now, while I was researching the Clockwork Orange and Manson connections,

Michel Ciment: In your films the State is worse than the criminals but the scientists are worse than the State.

Kubrick: I wouldn't put it that way. Modern science seems to be very dangerous because it has given us the power to destroy ourselves before we know how to handle it. On the other hand, it is foolish to blame science for its discoveries, and in any case, we cannot control science. Who would do it, anyway? Politicians are certainly not qualified to make the necessary technical decisions. Prior to the first atomic bomb tests at Los Alamos, a small group of physicists working on the project argued against the test because they thought there was a possibility that the detonation of the bomb might cause a chain reaction which would destroy the entire planet. But the majority of the physicists disagreed with them and recommended that the test be carried out. The decision to ignore this dire warning and proceed with the test was made by political and military minds who could certainly not understand the physics involved in either side of the argument. One would have thought that if even a minority of the physicians thought the test might destroy the Earth no sane men would decide to carry it out. The fact that the Earth is still here doesn't alter the mind-boggling decision which was made at that time.

 

It's just my interpretation but it's just seems that Kubrick says one thing but means another. 'No sane man'? Was it the politicians that pushed to have the Hadron Collider move forward? I mean, after all, "...it is foolish to blame science for its discoveries..."

Then there's this piece that really snapped my head. Responding to a question about the level of violence in the film, Kubrick says:

"It is absolutely essential that Alex is seen to be guilty of a terrible violence against society, so that when he is eventually transformed by the State into a harmless zombie you can reach a meaningful conclusion about the relative rights and wrongs. If we did not see Alex first as a brutal and merciless thug it would be too easy to agree that the State is involved in a worse evil in depriving him of his freedom to choose between good and evil. It must be clear that it is wrong to turn even unforgivably vicious criminals into vegetables, otherwise the story would fall into the same logical trap as did the old, anti-lynching Hollywood westerns which always nullified their theme by lynching an innocent person. Of course no one will disagree that you shouldn't lynch an innocent person -- but will they agree that it's just as bad to lynch a guilty person, perhaps even someone guilty of a horrible crime? And so it is with conditioning Alex."

I feel like I'm hearing two very different things here. One is, that it was necessary to show the horrible things Alex does, in order to balance what the state does to him. If your goal is to show, "It must be clear that it is wrong to turn even unforgivably vicious criminals into vegetables..." then why do you need to make it difficult to see the State is '...involved in a worse evil...?" Am I missing something?

I also feel that Kubrick's answer is a powerful statement against mind control and the manipulation of public opinion, no matter what the motivation behind it. In the beginning of the interview with Ciment, he states,

 Is this what Kubrick referred to as a decision made by politicians? 

The shadow that MKULTRA casts is larger than many realize. 

So my point is, was Kubrick speaking from the viewpoint of a guilty conscience? Or as a possible victim or witness to other victims?

For the Moon is hollow, and I have touched the sky...

This will put the 'wild' into 'wild speculation' for this blog. Please suspend your disbelief for a few moments.

   What if JFK was ultimately assassinated because of the Apollo program? If anyone read the King Kill post, you are vaguely familiar with the work of James Shelby Downard and his theory of the Grand Masonic Conspiracy.
   Just to recap some salient points for this blog:

   The actual assassination was carried out by a cabal, including but not limited to:

• Rogue elements of the CIA and Military Industrial Complex
• Elements of international organized crime
• Anti-Castro Cubans

   These groups worked for their mutual benefit but there was a higher organizing principle which I doubt they even perceived. At the heart of the operation was a ritual oriented group who planned the assassination at a strategic level. This included having the regicide take place close to the 33rd Parallel and other assorted details to meet their needs.
   To what end? To ultimately control the 'dreaming mind' or what Jung would term the collective unconscious of man. Wild stuff indeed. What I'm adding to the mix is, that the final trigger, so to speak (RAW, you are missed) was the fact that the cabal wanted to profit from a space race and go so far as faking a Moon landing but knew JFK wouldn't go for it.
   So the plan to rake in billions for NASA, which the intelligence community, military industrial complex and others would get the lions share of, was in place. There was just one fly in the ointment.

   Whereas if Tricky Dick had won the election, he would have not only committed U.S. forces to the Bay of Pigs, he would be much more amiable to a fake Moon landing (which, if you believe it was faked, took place on his watch in '69).
   So the Intelligence community and Mafia were in it for self preservation, the military industrial complex to start the Viet Nam war and clean up on government NASA contracts, the Anti-Castro... well you get the picture. But the Organizing Principle (OP) was in it to preserve the lie of the Moon race.
   Let's be clear, the Organizing Principle is not American, or limited to any nationality. To wit, Kennedy called for space cooperation with Khrushchev and the Soviet Union, not a race and there exists a memo to the effect that NASA was to start working toward that. Within less than a year both leaders were gone.
   I now raise the stakes. What if the cabal never intended to go to the Moon? I give you the works of Christopher Knight and Alan Butler as well as Louis Proud. 
   Both books deal with lunar anomalies with Proud's book dipping into some of the more esoteric theories including Gurdjieff's statement that humanity is food for the Moon.
   What if the goal of NASA was just to build rockets, wow the public and collect money? Then the political rhetoric of the cold war  turned it into the Moon race which the OP knows can't happen. Why? Because there's stuff going on there that we can't know about. Whether it's the Moon is artificial and houses our alien overlords or is a life form which harvests our souls, they never intended to really go there. Along comes Kennedy with his guarantee and now they must act. So now they pay attention to their complaining constituents in the cabal and say 'Boys, have we got a ritual for you... I mean, yeah, let's get rid of the bum."
   Just really, REALLY wild speculation. Let's get even wilder. What if Bobby and JFK Jr heard rumors of the real motivations for the hit?

 What does all this have to do with Kubrick? Well, if you follow the 'Kubrick faked the Moon landings" meme, that part is obvious.
   Is it possible Kubrick was aware of Kennedy's fate? Recall there was a deleted scene from Dr. Strangelove where there's a pie fight in the bunker. At one point Peter Sellers as President Muffley gets a pie to the face.

 The line that follows, "“Gentlemen...our beloved president has been infamously struck down by a pie in the prime of his life! ”

   Also, if you subscribe to my theory that he got a peek at the OP and wanted to tell someone,then you have this final tidbit. Memorializing previous events is one thing. Prediction is another.
   Kubrick died on March 7, 1999. He specified that EWS had to be released on July 16, 1999. As many have pointed out, it was the 30th anniversary of Apollo 11 landing on the Moon. That's probably the reason. However, maybe he wanted to draw attention to an event that had not occurred yet.

July 16, 1999 was the date that John Jr's plane disappeared.

Till we meet again.

When the Going Gets Weird, the Weird turn Pro...

   I love wild speculation. I also love speculation that has the slightest glimmer of the possibility of being true.
  One example is the many occult students and writers who follow the path blazed by Kenneth Grant regarding my favorite writer H.P. Lovecraft. Namely that Lovecraft was not just a fiction writer but an occultist who was either consciously or unconsciously revealing occult truths in his work.
Grant speculates where Crowley was trained and immersed in Ritual Magick and secret societies, Lovecraft was a 'natural' or unconscious occultist. Or he may have even been in contact with a group but kept that hidden.
   All of Lovecraft's known voluminous correspondences and journal entries bespeak of his strictly materialist views and his disdain for spiritualism (ala Houdini) and Theosophy. However this hasn't  prevented any number of authors and bloggers from speculating that Grant was right. This mostly consists of examining the lives of Aleister Crowley and Lovecraft to see if their paths crossed. (They had the potential when both were in New York City for a brief time in the 20s). Or if they were just aware of the others work. (Lovecraft may have been aware of Crowley, as he was aware of Theosophy, no evidence Crowley knew about Lovecraft's work.)
  Many others have written their own grimoires based on Chaos Magick workings with the Great Old Ones (Lovecraft's creations). To be fair, some of those are written from the point of view that Lovecraft was a materialist but that the fervent following of his creations has established them as egregores, capable of action in the material world.
   The ones who feel there's more to Lovecraft and his creations than meets the eye includes the aforementioned Grant, Empire of the Wheel author Walter Bosely and the prolific Peter Levenda, who may or not be the author behind the nom de plume 'Simon' author of the 'real' Necronomicon.
By way of explanation, the Necronomicon is fictional grimoire created by Lovecraft.
   Anyway, I'd like to quote from Levenda's excellent work, 'The Dark Lord':
"In 'The Call of Cthulhu' Lovecraft reveals that the rituals required to summon the Great Old Ones involve orgies by people who are of mixed races ... This conflation of unbridled sexuality and exotic races and ethnicities is a common theme in colonialist literature and was a feature in the castigation of the practice of Tantra in India by the British colonizers."
  Why mention this? Well does anyone recall this scene in EWS?

Ok, now the initial scene involved synthesized music being played over an Orthodox Romanian rite played backwards. Once the orgy starts, Harford walks through the mansion to Indian music. The original scene called for a quotation from the Bhagavad Gita read in Hindi, that was later removed due to complaints from the Indian community.
   Also, we all know that the Somerton Mansion where the orgy takes place was shot in the old Rothschild Mansion, Mentmore Towers, right? Well, half right. The exterior was Mentmore Towers, the interior was Elveden Hall. To quote the Wikipedia entry for Elveden (http://en.wikipedia.org/wiki/Elveden_Hall): 



"In 1849, the Maharajah Duleep Singh, ruler of the Sikh Empire and owner of the famous Koh-i-noor diamond was exiled to England, having been removed from his kingdom by the British East India Company.
The Maharajah purchased the 17,000-acre (69 km2) Elveden Estate in 1863 and set about rebuilding the country house and dressing it in an Italian style. However, he redesigned the interior to resemble the Mughal palaces that he had been accustomed to in his childhood. (emphasis mine)
Elveden Hall played host to a wide range of sporting activities but none rivalled the Maharajah's passion for shooting. His shooting parties were popular amongst aristocracy including Prince George, Duke of Cambridge."

Bizarre Tantric orgiastic rites filmed in a mansion that was used to housing parties of the elite? So was Kubrick a Lovecraft fan and believer? No. I'm not suggesting that, only that they arrived at a similar place by different routes. I believe, whether it is Satanic or Saturnian (as Weidner suggests, my suspicion is it's closer to Tantric) that Kubrick's Somerton group was in it for more than kinky kicks. I  believe they were 'feeding' something, invoking something... that would break through when the stars are right, as Lovecraft would say. That is one of my beliefs about the hidden meaning in Kubrick's films.  To summarize:

A. There is a hidden elite that the general public was not aware of in Kubrick's day. (They've at least heard about it now in the digital age)

B. That one of their goals is the emergence Artificial Intelligance

C. That this elite is in league with or serves another, non-human intelligence.

More on this later. Especially in regards to the Bear symbolism. Hint, like all of Kubrick's symbols is multi-layered. There's more to it than just Cold War symbolism.