The Shining

All of Stanley Kubrick's later movies relate to elite shadowy groups that persecuted him till the end of his life. What they did, what he saw, what they blackmailed him with, how they intimidated him and the ritualism they perform through occult worship and human sacrifice fill his movies. Most people are unaware that the molestation and sacrifice of prepubescent children pumps their bodies up with powerful natural chemical-cocktails and energies that the dark ones feed off. Adrenalin, endorphins, Chi energy and so on and so forth.

That might be somewhat difficult to comprehend for many so I'll lay it out a bit simpler. Everything is energy. Humans are a special type of energy. You will know this from the felt presence of experience during sexual activity, violence or a particularly riveting football match. There are many other examples but the chi energy released from prepubescent children is as intense as it gets. It wasn't fun for me to learn this and so I don't see why it should be fun for you either. It's not a fun subject.

This is why the institutionalised child sex abuse issue that David Icke campaigns against is all about an insiders club at the very top of society cutting through elite layers of law, politics, academia and science to mention just a few. Kids are groomed or abducted to feed the tight emotional bond that that groups experience during occult worship with human sacrifice. More of that will be coming out in the future but there's plenty of testimony on the internet and books written about it, though the best interview is the Franklin Case that I posted over here.

Many people complain that The Shining's script by Kubrick went too far off the book's narrative, but that's ignoring the real story that was being told. After filming the moon landing's for NASA because of his impressive expertise in 2001 Space Odyssey, Kubrick realised that instead of being seduced by the beautiful woman they portrayed themselves as, it was instead a diseased and aged whore.

Kubrick got lost in a maze of venality during this time in his career and left us many clues in his film as to who pulls the strings of power and what specific kinds of low vibrational occult worship they are into. Google "bears and paedophiles" for example.

The emphasis of Saturnalia hexagons is hard to ignore.

 

Towards the end of the movie the bathroom scene is evidently a rendezvous with the top of the pyramid in terms of Faustian bargains. It's clear he's trying to say he had no idea of the full context that he had embroiled himself in, and so Kubrick drops a lot of clues as to who that person is and what they are about.

Kubrick frames Jack Nicholson head perfectly with the diamond/cuboid pattern behind him, as by this time in the movie the character is Clockwork Oranged. That's a reference to the mind control techniques that the Saturnalia worshippers exploit through MKULTRA and Monarch Programming.

Every single detail is worked out to communicate, including colour and black silhouette shapes. Kubrick was a genius for stylish attention and Stephen King aficionados have raged at the reversal of endless details in the script which are not about the signified,  but rather the signifier's importance. He's telling us the reversal itself is the primary point.

However in the final analysis it's the bathroom scene where most of the clues are laid bare with its intensely red emphasis on ablutions, pacts with the devil and exclusion to females. If there's one scene where the dialogue needs extra attention from the viewer, it's between these two men.

For more information on the Archons that kept Kubrick in fear of his life, you could do no better than read up on Jay Weidner's work and/or listen to this latest interview where he spills the beans very liberally. Kubrick was certainly one of the greatest film-makers ever but also one where life and art became inseparable, culminating in his final attack on our blindness to "hidden in plain sight" evil through Eyes Wide Shut. 

Stanley Kubrick died unexpectedly shortly after completing that movie and just days after its private pre-screening with the studios who subsequently edited out the dangerous revelations they could no longer endure, and which Kubrick's death prevented him from fighting. Nobody knows where those missing scenes are but we know enough to point our fingers in the right direction.


Stanley Kubrick died 66 days into the year 1999, and 666 days before 1 January 2001 a date punctuated with question marks given his direction of the movie 2001 Space Odyssey. 


A classic illuminati symbolism loaded hit.

Forrest Gump

It's been so long since I saw Forrest Gump I could barely recall any more than the eponymous character but I had a feeling I'd enjoy it and my intuition was richly rewarded. Like Into The Wild, it's a movie that made me think a fair bit, smile lots, laugh often and  occasionally well up with the odd tear of reality's harshness and regret for the frequent coup d'etats of the United States, punctuated by bullet's often misunderstood by the duped mainstream as threadbare 'lone gunman' stories pedalled by a complicit corporate media.

There's lots of ways to cut this movie as some sort of dual mirror-image-narrative of innocence, marginally succeeding against submerging under a parallel and reflected world of cynical reality. Even then that's only 'just succeeding' as his love is rejected by an unsophisticated world view and propensity for doing as told by those he trusts. A character trait assumed to be essential in close relationships.

In some ways it's also a celebration of a long gone American meritocracy where with hard work and a level playing field (insisted on by his mother) everyone get's a chance but that opens up deeper questions of free will, probability and chance I'm increasingly interested in since I've taken a close look at the NDE (Near Death Experience) data and it's unproven relationship to life journeys and incarnations that raise more questions than provide answers.

Even the one point of artistic insensitivity, a gratuitous product placement by NIKE (as Tom Hanks did in all his movies at one point) was immediately forgiven as the trainers are the only NIKE trainers I ever bought. Which meant I loved them. The NIKE Old School Classic Cortez. The rest for me are hip hop pimp rollers or Chav dealing white trash affairs. As a Goldman Sach's excecutives put it recently, Hermes is the Air Jordan's of wealthy white people.

At Close Range - Christopher Walken On Bad Ass Form

In 1986 Prizzi's honour and Out of Africa secured the memorable Oscars. For a moment just then I thought Out of Africa had the memorable line 'Not another fucking beautiful day' as the veranda shutters were thrown open on a Kenya Savanna morning but I think that may have been White Mischief.

However as usual, the Oscar judges made a mistake. It's hard to find a single flaw in any scene by Sean Penn throughout At Close Range but for a staggeringly quintessential Christopher Walken performance this movie nail-guns the red carpet into the concrete with ease. 

Shoulda got an Oscar. Great performances by Mary Stuart Masterson and Chris Penn is great playing brother on screen as well as off.

A couple of weeks ago I met a German friend of mine who insisted that Sean Penn is rubbish so I countered with have you seen Harvey Milk to which he responded 'you could play a great homosexual Charles' which I found very funny on a lot of levels at the time. In any case I guess not everyone thinks, as I do, that Sean Penn is one of the finest actors of my generation and furthermore I think he pisses over any of the greats, from any era of the 20th century. Particularly the clichéd picks of Olivier or Gielgud.

I was just enjoying the fine screen performances to a workable though slow moving script when the narrative takes a sharp right turn about three quarters of the way through, so hang in there. The entire movie is on Youtube and the first part is above.

It's set in Pennsylvania and is based on a true story.