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Posted on 11/16/2008 9:43:06 PM PST by GoodDay
Here's something weird.
I have an old pamphlet titled,
Project MK-Ultra, The CIA's Program of Research in Behavioral Modification
Select Committee on Intelligence
Health and Scientific Research
Committee on Human Resources
United States Senate
August 3, 1977
U.S. Government Printing Office
Washington : 1977
Senate Select Committee on Intelligence
Daniel K. Inouye, Hawaii, Chairman
Barry Goldwater, Arizona, Vice Chairman
Birch Baye, Indiana
Adlai E. Stevenson, Illinois
William D. Hathaway, Maine
Walter D. Huddleston, Kentucky
JOSEPH R. BIDEN, JR., Delaware (Hello????)
Robert Morgan, North Carolina
Gary Hart, Colorado
Daniel Patrick Moynihan, New York
Clifford P. Case, New Jersey
Jake Garn, Utah
Charles McC. Mathias, Jr. Maryland
James B. Pearson, Kansas
John H. Chafee, Rhode Island
Richard G. Lugar, Indiana
Malcolm Wallop, Wyoming
Robert C. Byrd, West Virginia, Ex Officio Member
Howard H. Baker, Jr., Tennessee, Ex Officio Member
So Biden was in on MK-Ultra, eh? That was a spook operation involving the use of drugs (like LSD) to modify behavior, as well as especially unpleasant experiments in modifying behavior beginning in childhood -- such as Project Monarch. (For those wondering about the abuse involved in Project Monarch, there's plenty online -- including testimony of survivors on YouTube -- and you might want to review Stanley Kubrick's final film, "Eyes Wide Shut" which is actually an extended allegory making use of much Project Monarch imagery and symbolism, which acounts for the film's overall weirdness, not to mention its failure at the box office...the audience didn't realize it was watching allegory, not straightforward storytelling. Some have found it odd that Kubrick -- apparently in good health -- died of a "sudden heart attack" a few days after sending in his final cut to Warner Bros. I understand that Warner's did NOT actually release Kubrick's final cut, but an earlier rough cut, or a studio cut that their editors did themselves.)
Maybe Biden was an unwitting experimental subject in the CIA's efforts in mind control. Never could figure out some of his weird behavior during the campaign.
You crossed paths with a bona fide Kubrick expert, and I can tell you that Eyes Wide Shut was based on a novel published in the earlier part of the 20th century. There is no evidence—repeat—none, that his final cut was interfered with beyond the CG fig-leafing of the orgy scene to obtain an R rating—something Kubrick was not only contractually obliged to do but that he wanted to do. He wanted the film to do good business, after all. His daughters—whom I’ve been able to discuss with online—his assistant Leon Vitali, his wife, and the stars of the film can all tell you the same thing.
Nobody has ever mentioned CIA activity as influencing the film in any way, and this is not the first conspiracy theory to try to draw Kubrick and EWS into itself.
I’ve never heard of a “bona fide Kubrick expert”; only “die hard Kubrick fans.” I’m one.
EWS was only very loosely based on “Traumnovelle” (”Dream Story”) by the late 19th, early 20th century writer (trained as a doctor and psychologist) Arthur Schnitzler. (A famous Schnitzler play, “La Ronde”, [Merry-go-Round] about sexual promiscuity, was made into a fine movie by the French director Max Ophuls, an early influence on Kubrick’s visual style, especially his use of sweeping crane shots and dolly moves.)
“Eyes Wide Shut” has little to do with the Schnitzler story; he just needed a basic plot idea on which to hang his imagery.
Aside from Project Monarch and “Illuminati”, I’ve not heard that EWS has any other CIA associations. Even the title, “Eyes Wide Shut,” is a known admonition said by insiders, meaning “Forget everything you’ve just seen and keep your mouth shut.” Even the screenwriter/adapter didn’t undestand the meaning of the title.
As for the final cut issue, the evidence is internal. There are a number of embarrassingly bad cuts — clearly amateurish, or if you wish, studio hackish. Kubrick would never have done something like that. It exists in none of his other work, with the exception of a bad cut I remember in “Killer’s Kiss”, a very early work of his.
He was a perfectionist by nature, and he also took several years to shoot and edit EWS. Unless you want to claim that he went gaga at some point during its production, an experienced perfectionist like SK doesn’t make bad cuts.
When I first saw the film, I was shocked at how bad the editing was — I thought it was just unfinished and that he had died before handing in his diamond cut. It was only later when I started hearing about its allegorical connections to mind control programs — as well as high cabals of the uber-wealthy and ultra-powerful — that the film’s storyline and images began to make sense. There are odd directorial decisions he made on behalf of Tom Cruise (whose character name is ironically “Doctor Bill”) such as hand positions on the neck that are weird, unnatural, but a characteristic symbol within secret societies. There are abrupt changes of psychology on the part of characters that make zero sense except as allegory.
The issue of mind control is not new with Kubrick. “A Clockwork Orange” is not only about mind control; it PERFORMS mind control on its audience. That was why Kubrick demanded from WB the ORIGINAL arrangement and performance of Gene Kelly doing “Singing In the Rain.” Someone else covering the song wouldn’t have worked. There’s no way, after seeing that movie, that you cannot reflexively think of the sociopath Alex performing some of his “ultra-violence” when you hear Gene Kelly singing that song. That’s what makes Kubrick such a fascinating filmmaker: his movies are not just stories but vehicles for making cultural statements.
The political scientist Carrol Quigley — one of Bill Clinton’s professors at Georgetown University, and one of the men Clinton claimed to be of most importance in his life (the other, of course, being JFK) claimed in his treatise “Tragedy and Hope” that when he worked in the State Department, he had PERSONALLY sat in on planning sessions of a group of industrialists, financiers, bankers, etc. from around the world, who were quite openly planning on how best to take over everything. Quigly even admits that he personally APPROVES of this plan (for stability, lasting peace, etc., etc.) but that he disagreed that it should be kept secret. He outed this in his massive book — which later got pulled from bookstore shelves by the publisher (it much later went into a limited reprint).
EWS simply outs this group, concentrating not so much on their economic or political plans, but on their personal and moral corruption.
If you watch the film keeping this mind, it takes on an entirely new meaning.
The film is as much a signal to the audience of goings on hidden from the public as was Mozart’s “The Magic Flute,” which dared to publicize in an opera some of the secret rites of the Masons.
Bad editing? EWS is a technically perfect movie. I think you are seriously overanalysing here, to the point where even the fanatics at alt.movies.kubrick might tell you to take it easy.
BTW, read their FAQ, I helped contribute to it on the meaning of the title. My theory is that it comes from a Benjamin Franklin quote: “Keep your eyes wide open before marriage, half shut afterwards.”
The film was Kubrick’s lifelong dream—a treatise on sex, marriage, and how people delude themselves on those topics. Watch the film from that angle, and you’ll understand it better.
“Bad editing? EWS is a technically perfect movie.”
How much film have you edited?
“Keep your eyes wide open before marriage, half shut afterwards”
It’s a stretch. Anyway, SK was too subtle (as well as savage) a filmmaker to base an entire film on pithy aphorisms from “The Farmer’s Almanac” or other compendium of daily wisdom. Not his style.
“The film was Kubricks lifelong dream”
So was his film on Napoleon that he never made.
“a treatise on sex, marriage, and how people delude themselves on those topics. Watch the film from that angle, and youll understand it better.”
That’s not an “angle”; that’s the broadside of a barn. That’s the uppermost surface of the film’s plot and theme. It’s a bit like saying that “War and Peace” is a “novel about Russia.” True, but so what?
There are no masked orgy scenes in Schnitzler, nor any references to “over the rainbow” (a phrase that appears in dialogue and as the name of the costume store where Cruise buys his costume). The group-sex scene; the masks; the sudden inexplicable reversals of character psychology; parents protective of their daughters’ innocence one moment and then prostituting them out the next; references to Wizard Of Oz...all standard allusions to mind control for a long time. Could not be coincidence.
Exceedingly plausible, imho.
God Almighty Alone
is our high tower. HE ALONE can deal with such evil.
Online Bible with words of Christ in red.
EWS is definitely referencing masonic societies.
Considering the linkag to the occult and Stanley Kubrick’s past history of similar film plots, his death during the film probably manifests more than many might acknowledge.
Similar sense as watching the bridge scene in The Good Shepherd.
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