Why Doesn't Anyone mention Capricorn One?

    So let's say you view Jay Weidner's 1st installment of Kubrick's Odyssey. You are then acquainted with the idea that Kubrick faked the Moon Landings for NASA.
   Now, you happen upon the Youtube video, The Shining Code, which reinforces and elaborates on the clues Kubrick supposedly left in his 1980 film The Shining.
   So now armed you might move onto Room 237 or some other documentary that presents similar information.

So listen to this film maker regarding Apollo 11:

“There was one event of really enormous importance that had almost no witnesses. And the only verification we have . . . came from a TV camera.” link

He goes on to say,  "Whenever there was something on the news about a space shuttle, they would cut to a studio in St. Louis where there was a simulation of what was going on. I grew up in the generation where my parents basically believed if it was in the newspaper it was true. That turned out to be bullshit. My generation was brought up to believe television was true, and that was bullshit too. So I was watching these simulations and I wondered what would happen if someone faked a whole story." link

 The film maker is Peter Hyams, who wrote and directed Capricorn One.
 Capricorn One is a fictional account of a faked Mars landing that was done without the complicity of the astronauts (one of whom was O.J. Simpson). The reason for the hoodwinking was to prevent funding from being cutoff from the space program.  The astronauts are briefed at the last minute and are forced to comply to save their families. One of the astronauts transmits a coded message to his wife during an in flight TV chat. What could be more relevant to a discussion of coded messages about a faked lunar landing?

I recommend the movie. Highly.

   So my question becomes, why doesn't Jay Weidner or anyone else pushing the Kubrick Apollo theory mention Peter Hyams and this film? Their critics certainly do, with the gist being that they probably thought it was a documentary.

   What's more, Peter Hyams had contact with Kubrick. In fact he wrote and directed the sequel to 2001 A Space Odyssety, entitled 2010 The Year We Make Contact.

 
From Wikipedia:

When Clarke published his novel 2010: Odyssey Two in 1982, he telephoned Stanley Kubrick, and jokingly said, "Your job is to stop anybody [from] making it [into a movie] so I won't be bothered."
... However, Peter Hyams was interested and contacted both Clarke and Kubrick for their blessings:

    'I had a long conversation with Stanley and told him what was going on. If it met with his approval, I would do the film; and if it didn't, I wouldn't. I certainly would not have thought of doing the film if I had not gotten the blessing of Kubrick. He's one of my idols; simply one of the greatest talents that's ever walked the Earth. He more or less said, 'Sure. Go do it. I don't care.' And another time he said, 'Don't be afraid. Just go do your own movie.'

Again, what could be more relevant to the Kubrick/Apollo discussion? Why leave it out, because it taints the theory and makes it seem a derivative of the film? I think a strong argument could be made that it strengthens the theory and adds to the drive to disseminate the truth.

Till later, hope all is well.

Some ramblings or Herr Ziegler, there are Seven Days in May

   OK, I know no one reads this. Most people get here by accident. I've lost a lot of the drive to build to the final conclusion I've reached and reveal what I think was the inspiration for 'Somerton'.


  But here I am, damning all grammatical guidelines and pressing on. Why? Only God and Satan know the answer.

  I feel some pain when I hear or see the work of others where something I uncovered or shared is revealed as that individuals own work.

  So for that reason, I'm going to reveal some personal conclusions, speculative of course. Anyone who tells you 'This is what Kubrick REALLY meant" doesn't know anymore than you or I do. He played it close to the vest. Don't believe it? Read "Eyes Wide Open" by Frederic Raphael. 


   I'm obsessed with Eyes Wide Shut because it's like one of those stereoscopic pictures. I can't figure it out yet but if I cross my eyes enough I'll get the image in the background. And not unlike Michael Corleone, every time I walk away...

Jan Harlan, Kubrick's brother-in-law and executive producer, reported that Kubrick was "very happy" with the film and considered it to be his "greatest contribution to the art of cinema".
-http://en.wikipedia.org/wiki/Eyes_Wide_Shut-


  Sometime, when you are bored, Google this question:

"What do the colors red blue and gold symbolize in medieval art?"

 You might see this:

Answer:

It symbolizes a heroic act performed by a lowly member of the royal court during times of inter-kingdom feuds.

  Remember the 'mock sacrifice' in EWS?

Or was the sacrifice Kubrick's?

Let's go with some WILD speculation.

First, what we know:

• In 1942 our young film maker moves to a new home/apartment. His father wants him to follow him in medicine. Stanley prefers jazz (loves the drums). His father buys him his first camera to get him interested in something to compensate for his lagging schoolwork.
• He has his breakthrough film 'Paths of Glory' made with the help of Kirk Douglas and his Byrna Production group. It's filmed in Germany, where Kubrick meets his 3rd and final wife, Christiane who is an extra in the film. She is niece of German director Veit Harlan. 
• His first blockbuster and huge commercial success is Spartacus, again with the assistance of Kirk Douglas.
• Douglas and he argue on set. Douglas in his book on the making of Spartacus tells the story of confronting Kubrick on horseback and intimidating him. He berated him in front of the entire cast and crew about not changing his clothes and shooting battle scenes. Douglas recalls in his mind, he thought people were cheering. I'm not quite sure they saw it as heroic as Kirk did. 

 I've always felt 1942 and the Kirk Douglas collaboration are two huge turning points in Kubrick's life. So much so that he felt the need to mirror both in scenes in The Shining and Eyes Wide Shut.


The Shining -  the 'moving in' scene in the Overlook with it's Summer of 42 references. (The movie Summer of 42 is playing on a TV set)
Jack Nicholson's character is named Jack. Also the name of Kubrick's father.

Eyes Wide Shut - Bill Harford and Nick Nightingale represent two sides of Kubrick. Harford is a doctor (like Kubrick's father) and Nightingale is a medical school drop out who becomes a jazz musician (Stanley didn't follow in his father's footsteps and loved jazz, wanting to be a musician.)

My big reveal. I think the Victor Ziegler character represents Kirk Douglas. 

The Ziegler character brings Harford into a world he doesn't normally interact with socially or professionally. His wife asks him if he knows anyone at the party and he answers "Not a one."

This could mirror Douglas introducing Kubrick into the studio system from which he was an outsider, previously making documentaries and small budget independent films.

Ziegler makes subtle overtures to bring Harford (and perhaps his young wife) into they're 'circle'. Maybe this mirrors something Douglas did or maybe it is just mirrored into Douglas view of what Kubrick should be doing as a director (i.e. playing ball with the producer, studio, etc)

Harford goes a little nuts in infiltrating the Somerton club and ends up in trouble. Ziegler confronts him and basically gets him to drop it.

Refer to the Spartacus dust up mentioned earlier and outlined in Douglas' book "I Am Spartacus".

Now Kubrick could be mirroring the public confrontation but the one in EWS is private. And Spartacus was made in '60, EWS in '99. It seems like a long time to get that off your chest. Perhaps Stanley felt his health failing and new this would be his last film. Or maybe he knew it was his last for other reasons.

Maybe it was something that Kirk introduced him to that he never got over and his last wish was to point a finger.

What? you say. What connection did Kirk Douglas have with Eyes Wide Shut? In the appendix to 'I Am Spartacus" Douglas tells the tale of trying to work out his differences with Kubrick. He invited Stanley to a session with his therapist. At the end of the session, Kirk's therapist tells Stanley, "Hey, you know what would make a good movie? Arthur Schnitzler's Traumnovelle."

Kubrick and King Kill 33 Degrees

A Slight Detour

"In expressing the laws of the unity of endless diversity a symbol itself possesses an endless number of aspects from which it can be examined and it demands from the man approaching it the ability to see simultaneously from different points of view. Symbols which are transposed into the words of ordinary language become rigid - then, they grow dim and very easily become 'their own opposites' confining the meaning within the narrow dogmatic frames, without giving it even the very relative freedom of a logical examination of a subject. "

Gurdjieff, speaking in 'In Search of the Miraculous' by P.D. Ouspensky

   Don't be fooled by the sub heading, we are still dealing with Kubrick and EWS. It's just a slight detour before I go into the relationship between Kubrick and the Sumerian stele from the previous post.

   This post was inspired by a radio interview of the author Robert Sullivan regarding his book, 'The Royal Arch of Enoch'. It struck me that Sullivan along with other Masonic writers such as Christopher Knight and Robert Lomas are following the symbolic path to lead to a conclusion that is then reinforced by circumstantial evidence.
   I have no problem with this approach, it's what I'm doing here with the exception I don't believe there is a hard and fast answer. You're combining someone who is trying to convey a message, Kubrick, who also happens to be an artist. As Gurdjieff said, we must not become rigid and dogmatic as we transpose these symbols into ordinary language. And as I will post later, there is much evidence of Masonic symbolism in Kubrick's films.
   But the point I wanted to cover is that there is a group, if you will, that takes symbols very, very seriously. Such that, as many consider mathematics a universal language, this group considers symbols to be that language. They believe symbols to be a means of communicating through time, across cultures and even species. Symbols are not just visual, they are ritual. They are acted out.
  

This nattily attired gentleman is the late James Shelby Downard, co-author of a brilliant essay entitled "King Kill 33". It became the inspiration for the Marilyn Manson song of the same name.
   I do not espouse the political views or philosophies of Downard or his co-author Michael Hoffman II but that doesn't lessen the brilliance of this essay. I recommend obtaining a copy, unless you are lucky enough to have a 1st edition Apocalypse Culture, edited by Adam Parfrey. Subsequent editions did not have it.
   Downard and Hoffman are proponents of the concept of 'Masonic Sorcery' and it's practice by Arch Criminals.  I will do my best to summarize but there is sufficient information available on the web.  
   Basically, the authors describe a 1% of Masonry ("...most 'Freemasons' apparently have no idea of the evil that is part of Masonry...") who are in on the secret and that the key of Masonic Sorcery is the rulership of the collective  mind (dreaming mind or unconscious mind) of humanity.
   This 1% uses symbolic ritual (psychodramas, they call them) enacted out on the world stage to achieve their ends. The elite have already enacted two of their three alchemical rituals. The first was the destruction of the prima materia at a point close to the 33rd degree, Los Alamos, with the detonation of the 1st modern atomic bomb. The second was the Killing of the King with JFK. The 3rd is to 'Make Manifest all that is Hidden'.

    To quote the Jim Brandon in 'Weird America' via Wikipedia,


"Would you believe John F. Kennedy as a ceremonial king-who-must-die? I'm afraid there is a certain body of opinion, undoubtedly the farthest-out brain wave of assassinology yet, that maintains the killing was pulled off, not by the Russians, the Cubans, the CIA, or the Mafia, but by alchemists. As I understand the hypothesis, President Kennedy was for some reason chosen as The King (remember "Camelot," "Macbird" and all that?) after the fashion of James G. Frazer and Mary Renault whose "The King Must Die" he had been given to read before his death.

This killing of the king in Dallas was related somehow to the touching off of the world's first atomic bomb at the Trinity Site in New Mexico 18 years earlier. Apparently the Bomb was the "destruction of primordial matter" stage of the grand alchemical working, but these conspiracy buffs aren't much more specific on details than were the early alchemists in their recipes. Anyway, Kennedy represented the next stage of the process - the "Death of the White King" - when he was immolated on a trinity site of his own. For, aren't Dealey Plaza and the ill-famed Triple Underpass on the bank of the old Trinity River?"

 A large part of this process is the revelation of the method, to fulfill the 3rd Law of Alchemy to "make manifest all that is hidden". According to Downard, this is done to "...seal finally and for all time the eternal pagan psychodrama which works through every mass organization of man."
   To this end, Kennedy (the representation of the king) was killed in Dallas (as close the 33rd degree latitude as possible) as a scapegoat to bring the 1% closer to their avowed goal of rebuilding Solomon's Temple on the 33rd degree. Essentially ritual and symbol are so much a part of this 1% that most of us who think linearly and literally can not comprehend their purpose.
   You would have to read the entire essay, I'm not doing it justice and Downard and Hoffman believe what they are writing.
 

What does that have to do with Kubrick or EWS? I don't know...  an elite group, committed to ritual and symbolism... hmm?


For Barry Lyndon, for the sake of the widow's son.

Notice the resemblance?

Dotting the I's - Part Deux

Yo Saturnalia!

   Ok, it's been awhile. Lots of new information has come up. Some of it confirming suspicions, much of pointing toward new avenues.

   Suffice it to say, this post will complete some of the thoughts of the previous post but not in the way I had originally intended. Mostly because of new information but also because when traveling in the speculative kingdom of Kubrickistan, one is not served well by adhering to dogmatic beliefs.

   I have struggled with the Venice EWS dynamic. There's the masks, the Verona Restaurant (Verona having been part of the Venetian Republic).

 My original plan was to focus on how Venice taught the world in general and Britain in particular how to attempt rule the world covertly through finance and economic infiltration. 
   I wanted to focus on the  theories of Larouche, the Venetian bankers and Venice as a Kubrickian symbol for British Banking, the Black Nobility, etc. But if Columbo has taught us nothing else, it's that there's always one more thing.
   That thing is the movie is set at Christmas.

To Follow Arthur or Not to Follow Arthur

   One can go the whole antinomian route and say they were going for a Satanic reference, sacrificing Mandy in a reversal of the Christian birth and yet...
   The easiest thing to do that would confirm the whole Venetian angle would be to follow the Schnitzler source material and have the movie set at Carnival time. I again refer to Frederic Raphael's memoir, 'Eyes Wide Open'. He mentions his frustration with updating the story from 19th century Vienna to modern day New York and several times reaching an impasse with how to handle an issue. Kubrick would occasionally give the advice, "Follow Arthur". Yet it's the ways in which Kubrick  doesn't follow Arthur that we have to look. He doesn't follow Arthur in using the Venetian masks. (It's a masked ball in 'Traumnovelle' yes, but they are not specified as Venetian Carnival masks) and he certainly doesn't follow Arthur with the Christmas setting.
   Critics have mentioned the association between Venetian masks and lascivious activities. It has also been stated that the Christmas setting allowed Kubrick some interesting lighting choices and to make a statement on consumerism impact on the modern couple. I think it's more than that.

Vigilant Citizen to the rescue

    There's a fantastic two piece article on the Vigilant Citizen website regarding EWS. I want to reference something in part II but I highly recommend the entire piece as well as the overall site.

http://vigilantcitizen.com/moviesandtv/the-hidden-and-not-so-hidden-messages-in-stanley-kubricks-eyes-wide-shut-pt-ii/

The writer makes mention of the shooting location of the Somerton orgy being a Rothschild mansion and that "...has been documented that the Rothschilds do actually partake in masked events very similar to those shown in Eyes Wide Shut. Here are rare images taken from a 1972 party given by Marie-Hélène de Rothschild."

 It's not so much the image that got me as the text under the image on the page, which read,
"Baroness Marie-Hélène de Rothschild and Baron Alexis de Redé at a 1972 party. Invitations were printed in reversed writing. One wonders if this party “degenerated” into something resembling what is shown in Eyes Wide Shut."
    What I'm focusing on here is the invitations were printed in reversed writing. That made me think of Saturnalia.

 Ailanrutas!

   One of the major characteristics of this ancient Roman festival was reversal. From Wikipedia:
"Saturnalia is the best-known of several festivals in the Greco-Roman world characterized by role reversals and behavioral license. Slaves were treated to a banquet of the kind usually enjoyed by their masters. Ancient sources differ on the circumstances: some suggest that master and slave dined together..." http://en.wikipedia.org/wiki/Saturnalia
   So the behavioral license fits in, what else? Well, I include the fact that it was a Greco-Roman feast, and was celebrated in the Greek style (meaning how the sacrifices were made, as well as the public banquets). I have received unconfirmed intel that those who cast no shadow, at least some of them, are in to the Greek myths big time. Whether this pertains to the ancient Greek Mystery Religions or actual worship of the Olympian deities, I don't know.
    Also, again quoting the Wikipedians, "The Saturnalia reflects the contradictory nature of the deity Saturn himself: "there are joyful and utopian aspects of careless well-being side by side with disquieting elements of threat and danger"". That would fit exactly what transpires at Somerton in the film. Also mentioned in the article, "...he (Saturn) gathered together the unruly race of fauns and nymphs scattered over mountain heights, and gave them laws … . Under his reign were the golden ages men tell of: in such perfect peace he ruled the nations." And lastly, "His contradictions... indicate Saturn's capacity for obliterating social distinctions."

   Both the laws for the unruly 'races' and obliterating social distinctions sound like some of the goals of they who cast no shadows.

   Just for reference, the common celebration cry was Io Saturnalia! Which allowing for Latin I and Y sounds would be pronounced Yo Saturnalia!

   Is that all? Jay Weidner mentions, I believe in a Red Ice Radio interview that the script from Arthur C Clarke originally called for the Monolith to be from Saturn not Jupiter. Also, in Troy McLachlan's excellent book "The Saturn Death Cult" he postulates the Kubrick was attempting to expose the Saturn Death Cult, whose members recall a Golden Age when Saturn was the center of the Solar System (Saturn ruled in Roman terms) but was later usurped by the Sun.
    Could there be anything else? Perhaps, regarding this image:

But more on that later.

Dotting the I's - Part 1

Infiltration   

 I had intended to write this set of posts as the final set. It may yet be the final, I don't know. My original intention was to build an argument of speculation that would the following seem more plausible. However, the blog has taken on a life of it's own. I'm just going to spit out wild theory after wild theory.
   Make no mistake, I have no hard and fast belief about the hidden meaning of these films. I just know it's there. I see a pattern but it's blurred. When I back away and regroup I have suspicions but no proof. But then I realize there can never be proof. Kubrick is dead and even if he were alive, he's an artist and he would never reveal.
  

What's the buzz, tell me what's a happening?

   Many of my dedicated readers have asked what was the significance of the Duchy of Brittany and Katonah NY from the previous post. Well, there is none. But if there was, in my warped way of thinking (MWWOT) it would be this, it's Geographic Gematria.

   Gematria is according to Wikipedia, "...is a traditional Jewish system of assigning numerical value to a word or phrase, in the belief that words or phrases with identical numerical values bear some relation to each other, or bear some relation to the number itself as it may apply to a person's age, the calendar year, or the like."

   The key takeaway is the words with the same total bear a relationship and may lead one to greater understanding. 

   Geographic Gematria (my term) is when there is a correlation between a location and another concept or entity. In this case Kubrick films (EWS, Shining) and Katonah. My theory is that there is something in that location that relates to the spirit or idea of what Kubrick was trying to relate?

   What is the relation? The Worm is the Spice, the Spice is the Worm! No, sorry. If anything this is delving into more wild speculation. I want to travel to Katonah to confirm my suspicions and I need to view the film 'Diane' which I believe is the key to the Montfort, Brittany relation.

Whither Kubrickistan?

   Let's begin schizo-speculation with the general and move to the specific.
Perhaps, the reason SK filmed all of his later films in Great Britain was a message in itself. He filmed Paths of Glory and Spartacus on locations Bryna Productions picked out. POG was filmed in Germany. This is where he 1st became connected with Kirk Douglas, met his wife Christiane whose uncle directed a Pro-Nazi film for Hitler and I believe also came into contact with something else. Subject of a later post.
   But Kubrick, after that, filmed everything from the UK. Loved it there. fear of flying, paranoia, we'll never really know. What I propose is that was part of the message. Now I apologize, this is really going to piss everyone off because I'm going to speculate on something without a mountain of evidence, solid or circumstantial. Much like a director, I'm going to ask you to suspend your disbelief for a moment. It won't hurt.
   What if Stanley was trying to highlight the illusion that the U.S. is separate from the U.K.? I don't mean at the everyday or even the governmental level but at the level where it really matters. We'll get back to this shortly. It has to do with Infiltration.

The four letter "I" word

   Well, not really four, it's Illuminati. I'm referring not to the reality but the concept. I guarantee that if there is a real Illuminati, they don't call themselves that anymore. Brian Desborough authored a book called, 'They Cast No Shadows' and I feel that is a most apt description. So this group, TCNS based on the known writings of  Adam Weisthaupt and what little I've heard about their true methods, was bent on control by way of infiltrating the existing power structures, not overpowering them. So they would infiltrate and control the Freemasons or the Church then use these existing power structures to move the masses according to their agenda. To paraphrase Arkon Daraul (pen name for Idries Shah) in his book Secret Societies, the weaker believed they could overcome the stronger by superior planning and organization. Think of the line attributed to Nathan Rothschild (again paraphrasing) I don't give a damn who makes the laws of a country if I can control the currency of that country. It sounds better in the original Klingon.
 

Through overhead lighting, the party goers only shadow is directly below them.

Same here, Red Cloak casts no shadow, Cruise/Harford the most.

   Now I'm not saying the Revolution of 1776 did not take place, it did. People died, there was suffering and heroism. I'm just saying at a certain level there was a forgone conclusion. That this was a presentation of the method whereby the smaller could dominate the greater in the New World. The U.S. would stand as a separate nation in all ways but would eventually be controlled by parties in Britain. By parties I mean the actual rulers of that state. Not the ones everyone thinks as rulers. So the crown and Parliament were not in on the coup. Nations are means to an end, not the something whose rulership is the culmination of the TCNS.
   So Britain rules the world right? Not quite, it's a platform. It brought the world the modern banking system.

As Above So Below me

   For brevity's sake, let's focus on EWS as a microcosm rather than the whole body of Kubrick's work. There will be plenty of time for posts on that later, specifically regarding Barry Lyndon and Clockwork Orange. 

   So we have Dr. Harford cruising around New York which is really England. What does he run into? An elite conclave. Ok, so this is Kubrick showing us who rules the world right? Awesome! Wait, they're all wearing masks. Venetian masks specifically. That's not specified in Traumnovelle, that's courtesy of Kubrick.  The Venetians were bankers and masters of economic warfare, taking on the impossibly large Ottoman Empire for one. So the Venetian bankers are behind the British throne? The whole Black Guelph thing? Well, maybe. I'm not well versed on Lyndon Larouche as I've always heard he's nuts. Not in the good way, like me! I gleaned this from Wikipedia (link) :

LaRouche is known for alleging conspiracies by the British. LaRouche has said that the dominant imperialist strategic force acting on the planet today is not the United States, but the "Anglo-Dutch liberal system" of the British Empire, which he asserts is an oligarchic financial consortium like that of medieval Venice, more like a "financial slime-mold" than a nation.[44] According to this theory, London financial circles protect themselves from competition by using techniques of "controlled conflict" first developed in Venice, and LaRouche attributes many wars in recent memory to this alleged activity by the British.

I would be curious if Kubrick had read any of Larouche's material. There is some circumstantial evidence that he did.

http://wrongwaywizard.blogspot.com/2012/08/kubrick-vs-larouche-cube-vs-sphere.html

Larouche apparently edited a publication called Fidelio Magazine.

   One fly in the ointment is the Venetian Carnival takes place right before Lent, like Mardi Gras. Eyes Wide Shut takes place at Christmas. Traumnovelle takes place at the Carnival season so the Christmas motif is Kubrick.

   In all the scenes in EWS, Somerton is conspicuous by it's absence of any references to Christmas or Christmas lights.  

   Also the stock footage of the exterior of the Harford's apartment building is thought to be the San Remo in New York.

San Remo, if we taken the definition of sans  or without and the Anglo-French root of the word being san, we could use Remo as an anagram for Rome. 

San Remo = without Rome

Somerton = Not Rome's

   Recalling that the exterior of Somerton is actually a Rothschild mansion then follows the reasoning, it's the Jews! Kubrick was Jewish, he married Christiane Harlan, niece of  the controversial German filmmaker Veit Harlan. So is Kubrick pointing at Jewish Bankers ruling the world?

   Except the interior shots of Somerton were filmed at Elveden Hall which was the site of an old Abbey and was a gift of Henry VIII to the Duke of Norfolk. It eventually came into the hands of the Maharajah Duleep Singh, ruler of the Sikh Empire. He redesigned the manor to resemble the Italian style on the outside but the Mughal style on the inside. If there's meaning to the exterior shot, why wouldn't there be to the interior location?

   The Raj would be a fine example of initially rule by economic infiltration which escalated to all out overt rule. Yet the Maharajah would also be a great example of member of the empire who benefited greatly from his association with the ruling class. 

  The 'mass' presided over by Red Cloak is a backward  recording of a Romanian Orthodox Divine Liturgy. So they are Satanists? Didn't former Jesuit Malachi Martin, in his book Windswept House imply that there were Satanists imbedded in the Vatican. Besides pedophilia, hasn't the Vatican been rocked by banking scandals?
   I posit that Kubrick is pointing to a historical elite, not just a banking or one ethnic or religious group. That is the subject of part two.

My Katonah! Part 2 (With apologies to The Knack)

How far overboard can one person go with the search for occult meaning? Pretty far actually…

 

Besides Guy of Viennes, Francis III, Duke of Brittany had the dolphin and fleur de lis in his coat of arms.

Those symbols in the grey spaces? That's ermine.

  So we have blue dolphins, feur de lis and ermine in EWS and in this one coat of arms. Not to get all 'Da Vinci Code' on you but Da Vinci was brought in to design the decorations for young Frank's christening. (http://en.wikipedia.org/wiki/Francis,_Dauphin_of_France_%281518-1536%29)
   He died at the age of 18 and there's a lot to his story that I want to research. Including the fact that he figured into a 1956 film called 'Diane' starring Lana Turner. It was directed by David Miller. He also directed 'Lonely Are The Brave' starring Kirk Douglas with the screenplay by Dalton Trumbo. And let's not forget he directed Kirk's buddy Burt Lancaster in the JFK assassination conspiracy film 'Executive Action'. Also written by Dalton Trumbo.
   Kirk's epic picture, 'The Vikings' had some scenes filmed at a castle in Brittany. Gilles de Rais, the infamous Bluebeard was imprisoned in Brittany.

So how does this figure in with EWS? Well, I went to Google and searched on blue dolphin and New York. One of the results was the Blue Dolphin restaurant in Katonah, NY.

 http://thebluedolphinny.com/Welcome.html

   Nice little town, Katonah. It is home to the Montfort Academy, named after  Saint Louis-Marie Grignion de Montfort, born in the Duchy of Brittany.
   It's also home to George Soros, the one many think is the model for the Szandor Szavost character in EWS who utters the line "I'm Hungarian."
   The Blue Dolphin has a sister restaurant called Le Fontane. It's in the nearby town of Somers.
It resides on Somerstown Road. The directions on their site http://lefontane.net/directions puts the restaurant at 137 Somers Town Road (Rt.100 & Rt.139).

 See where I'm going?

100 + 137 = 237 as in Room 237
100 + 139 = 239 the approximate runtime of EWS is 2:39

Want more fun? Rainbows figure a lot into EWS, Google Rainbow and Katonah and get Rainbow International. There's a Fidelio Dentistry and Somers Manor Nursing Home. Which is near the IBM facility in Somers (HAL anyone?).

The Shining takes place at the Overlook Hotel.

Remember that creepy Bear suit guy?

Here's a link for the Overlook Lodge at Bear Mountain in Katonah.

http://www.hotels.com/ho340754/overlook-lodge-at-bear-mountain-katonah-united-states/


There's also a Bear Mountain State Park nearby. Kubrick and Bears is the subject of a future blog but there's plenty out on the web about it.

 Last but not least a friend of mine discovered this, in EWS at roughly
the 2:30 mark, Bill and Alice are in the toy store. To the left of Alice is a stuffed bear with a doll's arm protruding from it's lap like a subliminal erection.

I don't know if Kubrick ever visited Katonah or Somers and I can't understand why a town would intentionally create this many Kubrick connections so it's all coincidence.

Later...  

My Katonah! (With apologies to The Knack)

Part 1

How far overboard can one person go with the search for occult meaning?

   Just so we’re clear, I mean occult in the true sense of the word, ‘hidden’.
   What I’m presenting here is a wild ride in synchronicity, where I make a lot of wild connections between events and objects in Eyes Wide Shut and a real location in New York State.
   It started almost a year ago when I listened to a Jay Weidner interview on Red Ice Radio.  Jay referred to the character played by Sydney Pollack, Ziegler and pointed out that the name meant ‘brick layer’ in Yiddish. In other words, a Mason.

This began to resonate with me, if only because I could vaguely recall hearing something like it before but where,  I could not recall. I knew it was not in relation to Kubrick or the film.
   Sometime later, I was rearranging some books and came across ‘Ultimate Evil’ by Maury Terry and it hit me like a ton of bricks.
   To summarize Terry’s book investigates the possibility that the Son of Sam murders were not perpetrated solely by David Berkowitz but was the work of a Satanic cult that had connections to the Manson Family. Terry uncovered evidence there was evidence of a Satanic Cult operating in NYC and Westchester which had a headquarters in a mansion on Long Island, possibly run by a prominent doctor (HarFord?). The author hints at having a name or names but not being able to publish. The cult sponsored the Son of Sam murders and even created snuff film videos from some of the murder scenes.
    Quoting from page 411 of the 1987 hardback edition, "The Children's (name of the Berkowitz's Satanic Coven) leader was further said to be a Mason ( a Ziegler), rank unknown..."
  Also recall that the exterior shots of the orgy mansion was Mentmore Towers, a former Rothschild mansion (something Weidner also points out in the interview). From page 416 of the same edition,
"The abandoned church (site of rituals) in central Westchester... was immediately identified by Captain Gerry Buckholt... as the nearby 'burned out' mansion, which turned out to be the former Warburg-Rothschild estate. "
  So I was off and running to make connections that demonstrated the Kubrick was referring to an actual cult in operation on Long Island (he was born and raised in NYC) possibly even the same cult Terry was describing. I noticed things like the town of Milton Keynes in the UK (the one with the Somerton Orgy Statue) is roughly the same distance from London as Montrose is from NYC.
  I revisited some notes I had made previously and noticed something else regarding Westchester County in NY.
     While playing around with the letters, I noticed that Somerton is an anagram for Montrose. Montrose, Colorado is the birthplace noted blacklisted screenwriter Dalton Trumbo of Spartacus fame. Was Kubrick making a reference to something he was exposed to during the making of Spartacus? Well long answer yes, I believe he did and that will be the subject of a future blog.  Let’s leave at this for now, in his book, “I am Spartacus” Kirk Douglas reminisces about his sometimes tumultuous relationship with Kubrick and ends with an anecdote about how he convinced Stanley to visit his therapist with him. After the session, Kirk’s therapist recommended Schnitzler’s Traumnovelle to Kubrick as an excellent basis for a movie.
   Montrose is also a town in Westchester County, NY. Now I was hot on the trail! Kubrick uses some stock footage to show travel about NYC and it’s environs (EWS was filmed entirely in the UK). Specifically, there’s a scene where following the events at the mansion, Cruise’s character, Dr. Harford makes a return trip and the camera shows him traveling Route 495 to Somerton. RT 495 runs through Long Island. The camera also shows him passing an Exit 39a to Glen Cove Rd. That exit would run directly to Montrose.
I also did a lot of research into the mansions of Long Island’s Gold Coast and found several promising candidates for a real life Somerton, including Welwyn. Built by one of the founders of Standard Oil (talk about a Statanic group bent on world domination!) it is now the site of the Holocaust Memorial of Nassau County. I recalled Kubrick’s unrealized film “The Aryan Papers” regarding the Holocaust, which he allegedly abandoned after seeing “Schindler’s List”.
  Although I enjoyed all of the research and what I learned, I could not weave it into any kind of story arc for EWS.  Until during one of my routine viewings of EWS, I took particular notice of the scene where Harford is ministering to the prostitute Mandy in Ziegler’s bathroom. In that scene there is a fireplace in with elaborate Asian fish designs that are not in keeping with any of the other décor in the room.

The rest of the room is a dark green and white. The Asian fish are blue. The contrast is offset by the fact that Many is covered in a blue blanket. There are also some blue towels on a rack on the opposite side of the room which look suspiciously like a Masonic apron.

Courtesty of radio-weblogs.com (http://radio-weblogs.com/0123486/2006/06/07.html)

My initial take on the Masonic apron with the fish in the bathroom combined with other symbolism in EWS led me to a connection between EWS and the mythology of the Dogon. Had Kubrick read Robert Temple’s ‘The Sirius Mystery’? Subject of a future blog.
  Meanwhile, I read that a blue Chinese fish is a symbol of a story where someone was ‘fishing’ to catch a ‘lord’ and perhaps it was just meant to symbolize Ziegler’s recruitment of Harford and his wife into their elitist swinger’s club.
   But me being me, I looked into other possibilities. In the same viewing I noticed the wallpaper in the room where Harford is visiting Marion after her father has died.
The symbols are the fleur de lis.

Courtesy of idyllopuspress.com

So that had me thinking, “France”.
Then there is  the scene where Harford is at Rainbow Fashions renting his costume for the orgy when Millich’s daughter whispers something to him inaudibly. Turn on closed captioning on the DVD and she says ‘You Should Have a Cloak Lined with Ermine’.

France, Ermine, hmm, royal cloak? Like the one Napoleon is wearing? Ermine is the white pelt covering Bonaparte’s shoulders and chest.

Yes, the same Napoleon Kubrick was obsessed with and wanted to make him the basis of his greatest film. Instead Dino de Laurentiis gave us 1970’s ‘Waterloo’ and Kubrick used the locations he scouted and the wardrobe to make ‘Barry Lyndon’.
   But there was more, I can’t recall the exact sequence, if I was perusing French Coats of Arms or if I thought the Asian blue fish could be a stylized dolphin in coats of arms but I found myself Googling ‘blue dolphin coat of arms’. Besides the Cork City, Cork, Ireland coat of arms and the flag of Aguilla, I came across Guy VIII, Count of Vienne. He was also nicknamed the ‘Dauphin’.

http://en.wikipedia.org/wiki/Dauphin_of_France

Now, one may notice this coat of arms contains a blue dolphin (which to my eyes looks more like the fish in EWS) with the fleur de lis on a field of ermine! The trifecta!
Now the Dauphin refers to a title given to the heir apparent of France. (French heir apparent, Dauphin or ‘Dolphin’. English heir apparent, Prince of Wales. What is it with these guys and marine mammals?)
From Wikipedia:
Guy VIII, Count of Vienne, had a dolphin on his coat of arms and was nicknamed le Dauphin. The title of Dauphin de Viennois descended in his family, the Princes of Ivetot, until 1349, when Humbert I sold his seigneurie, called the Dauphiné, to King Philippe VI on condition that the heir of France assume the title of le Dauphin. The wife of the Dauphin was known as la Dauphine.
   I looked into the history of the family and the region of France, Viennes. It was made a Roman colony by Julius Caesar, another favorite of Kubrick’s. Frederic Raphael, screenwriter for EWS, in his book ‘Eyes Wide Open: A Memoir of Stanley Kubrick” states that Kubrick asked him if he thought JCs Gallic Commentaries could be made into a film.
There was a Council of Vienne between 1311 and 1312 whose principal act was to withdraw papal support for the Knights Templar. Was Kubrick connecting the Mason’s to the Templars? Quite possibly.
But there is another Coat of Arms that employs the fleur de lis, dolphin and ermine.

To be continued...