Eyes Wide Shut, Scientology, & Vivian Kubrick - The Conspiracy

a reply to: albertfothergill

Yea that would violate copyright to post here, but, the Blu Ray is only like $15.

a reply to: ColdWisdom


Based on a true story
Lion (2016)
www.imdb.com...

In 1986, Saroo was a five-year-old child in India of a poor but happy rural family. On a trip with his brother, Saroo soon finds himself alone and trapped in a moving decommissioned passenger train that takes him to Calcutta, 1500 miles away from home. Now totally lost in an alien urban environment and too young to identify either himself or his home to the authorities, Saroo struggles to survive as a street child until he is sent to an orphanage. Soon, Saroo is selected to be adopted by the Brierley family in Tasmania, where he grows up in a loving, prosperous home. However, for all his material good fortune, Saroo finds himself plagued by his memories of his lost family in his adulthood and tries to search for them even as his guilt drives him to hide this quest from his adoptive parents

Nicole Kidman redeemed as a loving mother (Sue Brieley)
They chose not to have children but rather adopt

Just browsing your thread again, it triggered me that in the movie she potrayed a loving mother who along with her husband chose not to have children (they were free loving grown up hippies/environmentalists).

In the orphanage in India Saroo witnessed sexual abuse and pimping out by the orphanage guards of the male & female orphans to wealthy Indians.

Of note perhaps is that Kidman never had natural children with Cruise. She now has natural children with Keith Urban.

Did she finally break free...maybe not...Lion was produced by the Weinstein Company along with Screen Australia.

The conspiracy is about how to create famous people and VIP to be programmed by MKULTRA to unconsciously do what the elites deman. That usually consists in creating movies designed to brainwash the masses at large, or one specific portion of the population.

a reply to: Flanker86

Indeed, there are a lot of Monarch/MK Ultra references in EWS.

You can tell that Kubrick was well read on those subjects by watching Alex undergo psychotherapy in A Clockwork Orange.

I came across this interesting article comparing Hitchock, Welles, & Kubrick. There is this especially interesting snippet that I've cited below that describes Kubrick's use of color in Eyes Wide Shut.

The treatment of Kubrick illustrates both the strengths and the weaknesses of the book’s hit-and-run style. Are his films “almost always about diminishing lives”? Maybe. The notion that “all of Kubrick’s characters get trapped, often because the circumstances they set up become out of their control” sounds right, as do many of Kolker’s observations about Kubrick’s camera placement, endings, and—who knew—bathrooms (it turns out they are ubiquitous across his oeuvre).

In his discussion of Eyes Wide Shut, Kolker shares the relationship that many have with Kubrick films: he finds that he likes it more and more with each screening. Initially indifferent to the movie, he now “can’t seem to stop talking about it.” But those elaborations, however well informed, are ultimately prosaic, and could have pushed harder on the ways in which Kubrick’s films express their key themes. And the observation that Kubrick is “a brilliant manipulator of color” demands more commentary than “just note the palette of Eyes Wide Shut.” Even within the confines of a 1,500-word review for the New York Times, Janet Maslin was able to offer this: “it overpoweringly deploys certain colors, most notably red and blue. The conjugal life is bathed in red, at first, and death and danger in blue—until the film begins switching and juxtaposing them incessantly to create underlying tension. The advent of purple, first on the dress of a young prostitute and later on the sheets where Alice sleeps, has its own innate drama.”

The Obsessions of Hitchcock, Welles, and Kubrick

There are only a few things of worthy note inserted, in eyes wide shut. The film is a bit overly dramatic. The chanting of the Bhagavad-Gita, which would have to be studied in conjunction with Aleister Crowley's "De arte magica," and the library scene, which contains an enactment of Crowley's "Liber 66." The pertinent portion being "There shall be a fair altar in the midst, extended upon a black stone." This scene was only available in the UK version.

A more interesting film is "They Live" which was loosely based on "The Magic Glasses" by Frank Harris, in the Equinox vol I.

I love this analysis, although I feel like the biggest detail left out, is that the world will likely never see the director's cut of the film. Whatever we ended up with, is probably missing the most important scenes. It's one of the few things that really bums me out when I think about it. We'll never see Kubrick's true vision for what I imagine was an expose that just exposed a bit too much.

originally posted by: scientist
I love this analysis, although I feel like the biggest detail left out, is that the world will likely never see the director's cut of the film. Whatever we ended up with, is probably missing the most important scenes. It's one of the few things that really bums me out when I think about it. We'll never see Kubrick's true vision for what I imagine was an expose that just exposed a bit too much.

So you obviously didn't read the thread, or you would have known that the version that is available on Blu Ray today is Kubrick's original cut.

This has been verified by his widow, and his brother and law Jan Harlan, and Warner Bros.

a reply to: ColdWisdom

I read it, I just don't believe it.

a reply to: scientist

Do you realize that Kubrick had Warner Bros destroy all extra footage of The Shining in order to prevent someone from creating an alternate version of the film after his death?

Nobody in Hollywood has/had that kind of control over a major studio. That's because Kubrick didn't operate in Hollywood, let alone the United States.

btw talking about alternate versions, I once saw a post on a website, mentioning that if you load up two copies of Eyes Wide Shut, and delay one by roughly half, it offers new revelations (like question-reply sequences and parallels). I tried this but unfortunately "revelations" did not line up, although it was a fantastic experience and I recommend it. also, knowing Kubrick, i find this method believable, although I don't know how much contribution he had to the montage, being dead before the release and all.

the question is - does anybody know where exactly to start the two copies, to get the maximum experience? the source mentioned lining up the first occurrence of the pianist (Nick Nightingale) with his first occurrence at the masked ball. still, it does not work exactly and I would like some actual timings, like in seconds... if it indeed is a method

originally posted by: ColdWisdom
a reply to: Davg80

I had no idea Nicole Kidman's father was accused of heading a child pedophelia ring.

That adds quite a twist to the plot. Thank you for sharing.

this came as a great shock to me too, it really brings Kubrick's death into a new light (was daddy unhappy with Nicole's new movie? was Nicole Kidman getting back at daddy by making the picture?)

Hey guys, just found this thread. Haven't been through it all yet, but wanted to say I've been working on an EWS analysis for the past 7 months that people may find interesting. Still only about half done. The first 8 parts are available on my website. I do have some theories regarding Kubrick/Vivian and also Kubrick/Spielberg, however they're a little half baked right now so I'll hold off a bit on those. I'm also looking to add resources to my website of people who have similar content, so contact me if you're interested in adding a link to your work.

Anyways, here's EWS Part 1.

Also, to the guy above me. If anyone might know about syncing things up the people over at the sync book have done the best job on The Shining I've seen so they could possibly have some ideas for you.

a reply to: firesnakeprophecy

Hello FSP, and thank you for sharing your interest in my thread.

I'm glancing at your blog now, it seems interesting (and I see you have the luxury of using screen shots of the film!).

You are welcome to reference this thread in your blog as long as you give credit to ColdWisdom and include at least one link (preferably more if applicable) directly to page one of this thread.

As for the the whole playing a movie side by side itself beginning at different times, I don't think that Kubrick had ever intended Eyes Wide Shut, or any of his films, to be watched that way. But that's just my personal opinion.

However, from time to time I like to watch some of Kubrick's best color films (2001, A Clockwork Orange, Barry Lyndon, and EWS obviously) with the saturation set at 0% on my TV (essentially reducing it to B&W) just to see how well lit his scenes were filmed on the histogram scale. It probably won't help you understand his films any better, but, being a huge cinephile and aspiring film maker, I myself adore the tone & elegance of B&W film and I find it to be quite a useful technique to see what would be required to achieve the desired contrast of light/shadow in B&W film.

Keep in mind that most monitors for the camera used on set (back then anyway) were B&W and kept within view of the director as he/she was filming. I think that now, with digital, most 2nd & 3rd monitors being used on set are in color these days.

Anyways, feel free to PM me if you have any questions.

Going to have to go back through this again (like with Kubrick films ha), but fascinating stuff. I think we both picked up on a lot of the same things, and stuff I missed that you covered definitely helped my overall understanding. (And one of the reasons I'd like to link to multiple interpretations).

Like I said I have to go back through again, but did you mention you were going to host screen shots on your website since they couldn't be posted here for some reason? What is the address if so? Also, curious your view on Kubrick and Apollo?

Again, great stuff. I'm surprised this is still available here for free and a publisher hasn't snatched you up. Have you had any contact or complaints from the Kubrick estate regarding this?

a reply to: firesnakeprophecy

Like I said I have to go back through again, but did you mention you were going to host screen shots on your website since they couldn't be posted here for some reason?

The thought has crossed my mind to go back in and give a v2.0 update including scene by scene screen shots illustrating part 7 visually. As you've pointed out I would have to host it elsewhere, and I just haven't really explored that option too deeply as it would require a large commitment of my personal time when as of late I haven't even had the time to post much on here.

What is the address if so? Also, curious your view on Kubrick and Apollo?

You mean do I think that Kubrick faked the moon landings using front screen projection? While that is certainly a very popular (and apparently profitable) conspiracy theory, it is not one that I have subscribed to. Nor do I believe that the moon landings were faked at any rate.

There was this thread I made about Vivian's public position on that theory. Granted she's on team Xenu I think her take on the Apollo matter involving her father was rather humbling.

Personally I like to link people to this video:

Again, great stuff. I'm surprised this is still available here for free and a publisher hasn't snatched you up. Have you had any contact or complaints from the Kubrick estate regarding this?

I greatly appreciate the compliment, I truly believe that if I poured more time and resources into this project that I could fill a book.

Fortunately the answer to your last question about being harassed by Kubrick's heirs is no. But I think if I were to try and capitalize on it with a book I would hear from Jan Harlan & Christianne Kubrick's attorney shortly thereafter. Although, in its current state as it exists here on ATS, I can't see why they would be bothered by someone simply offering their own take on the piece for the sake of discussion.

Even the mention of Vivian, while I'm certain it is a difficult subject to think about being her mother, or a relative, or descendent of Kubrick, to see people talking so openly about her disconnection from her father and her family in favor of Scientology probably gives them some level of hope that society is finally waking up to the big con that church... I mean corporation... has pulled on their followers and it may even open up the possibility for Vivian to defect and actually get to see her mother before she passes away. Wishful thinking? Probably, but you never know. They were really pissed off at the people that made Room 237 and even Michael Ciment, too, for what I guess they considered a dishonoring recollection of Stanley's working demeanor.

Plus, I'm the kind of guy that thinks when dots are connected in such a way that information falls together like it has in this thread that it should be freely available to the public. I guess I'm your classic freedom of information purist. I don't consider this thread to be of any artistic value of my own, it's a commentary on someone else's art. So I can't see myself trying to capitalize on it.

Plus, I pushed the boundaries with ATS a little bit to get this made and for all that I've put the staff of ATS through I feel like they deserve whatever influx of traffic they get as a result of this thread appearing in search engine queries.

Awesome. Thanks for taking the time to answer my questions. I wanted give a little explanation of how your work helped me too. One of the points you brought up in your analysis was the scene in the Sonata Bar where you said it was the only time Kubrick appeared on camera outside of a mistake in Lolita. (And this relates to the half-baked Spielberg theory).

Everyone pretty much knows Kubrick and Spielberg were very good friends. Especially considering that's who completed AI for Kubrick. However, it's kind of strange there's no shortage of conspiracies surrounding Kubrick, but not many at all attributed to Spielberg (outside of maybe CE3 and ET). And usually very good friends share information, stories, etc. So, if there was any information about conspiracies in Kubrick's work, it's very reasonable there might be in Spielberg's as well.

And I think that might be what we see in the scene you pointed out where there's a character who appears to resemble Indiana Jones

There's also numerous theories about Back to the Future, but it's interesting the name D Jones shows up not only there, but in another Zemekis film Forrest Gump (Zemekis also directed Contact dealing with aliens like Spielberg and CE3, ET).

So, that dialogue in Raiders of the Lost Ark, "I have much to tell you" is interesting if those characters are stand ins for Kubrick and Spielberg. Tell him about what? Possibly UFO's and "little green men in black?" (Lighting I think is the explanation I've heard for the Roswell crash). Possibly Ezekiel's wheels of fire reference here.

Some more shots from Raiders compared to Kubrick's The Shining. These 3 movies - The Shining, Raiders, and Back to the Future were 1980, 1981, and 1985.

This interview with Sean Stone, movie director Oliver Stone's son, with Alex Jones is interesting because he brings up the use of crystal skulls at Eyes Wide Shut parties, and you have a scene from Indy 4 that resembles Kubrick's orgy sequence.

While I'm throwing out half-baked theories, another Kubrick film I feels deals with conspiracies is Barry Lyndon. With one of the main themes being the JFK assassination. (Barry Lyndon being a reference to Lyndon B. Johnson who was sworn in after Kennedy). Ryan O'Neal and JFK. The very first scene in that film also takes place on a "grassy knoll" with dialogue about firearms being loaded. Much later there is also a carriage resembling the convertible Lincoln.

Going back to Zemekis and Back to the Future with conspiracy theories. If you haven't seen this video on YouTube talking about the 911 symbolism, I highly recommend it (there are also quite a few references I feel he missed as well).

a reply to: firesnakeprophecy

While I'm throwing out half-baked theories, another Kubrick film I feels deals with conspiracies is Barry Lyndon. With one of the main themes being the JFK assassination. (Barry Lyndon being a reference to Lyndon B. Johnson who was sworn in after Kennedy). Ryan O'Neal and JFK. The very first scene in that film also takes place on a "grassy knoll" with dialogue about firearms being loaded. Much later there is also a carriage resembling the convertible Lincoln.

Going back to Zemekis and Back to the Future with conspiracy theories. If you haven't seen this video on YouTube talking about the 911 symbolism, I highly recommend it (there are also quite a few references I feel he missed as well).

I think you might be overanalyzing things just a tad.

Barry Lyndon was a historic fiction novel written by Thackeray. I'm pretty sure it was just intended to be the Irish Period piece that it was made into by Kubrick.

I forgot to add in the above post (I don't want to go back and edit because it says I've edited 3 times already, but that doesn't seem right) anyways - one of your main points of analysis is the Scientology angle, and there is a connection there as well between Kubrick and Spielberg.

Of course we will never know the full details, but I'm guessing the dispute between Spielberg and Cruise began on the set of War of the Worlds, with Cruise setting up a mobile recruitment center while filming that might have caused issues in Spielberg's opinion.

And if you are familiar with how Scientologists operate - there is no "deescalation" when there is conflict - they are trained to literally "attack, attack, attack" (lawsuits, smear campaigns, gang stalking, etc) - they turn every dispute into a Bruce Lee "Game of Death" - someone is going to die in their view - you or them. "Survival" as they are taught.

So, I guess the story is this dispute of course escalated after filming and Scientologists protested outside a friend of Spielberg's who was a psychiatrist, Cruise attempted to allegedly hijack the publicity tour for War of the Worlds to promote Scientology, and then he also showed up as "surprise" guest when Spielberg was accepting a lifetime achievement award.

Kubrick also endured a period of gang stalking after the release of A Clockwork Orange which many feel was his commentary on cults like AA and Scientology. Kubrick and his family even received death threats around that time and I think the film was even pulled from theaters because of this (there is a documentary that mentions this I will try to track down - pretty sure it's this one: Stanley Kubrick's Boxes, but not sure which section).

Anyways, the point was both Kubrick and Spielberg have had run ins with Scientology and cults. And it's funny when I see people commenting Kubrick (or Spielberg or whatever big name director) are in bed with these "Satanic" groups. (Hubbard's own son Ronald DeWolf is quoted as saying - "Black Magic is the inner core of Scientology". That's why I use the term "Satanic" - Black Magic - same thing - they even sacrificed a president in front of everyone - and got away with it). When it's pretty clear, in my opinion at least, that's not the case.

a reply to: firesnakeprophecy

And if you are familiar with how Scientologists operate

I suggest you click on my username to the left there and have a look at my thread creation history.

I know for a fact now that I'm on one of their lists, they've made it apparent for me.

CW, again thanks for a thoughtful OP.

Question

All these theories has anyone, as as you know, really dug deep into Kubrick’s personal life to substantiate any of the possibilities of these theories based on his personal activities.

I know he was somewhat reclusive, a hipster, lived in England, and adored his wife, worked from his huge estate like home.

For example, was he a mason, an atheist, a mystic?

Such things would and could be signs that Kubrick was the kind of person to have secret meanings to his movies.