2001: The Shining / Analyses of Kubrick's Films

[mata]

Originally Posted by dr steam

"In Jack's interview, Ullman refers to a crazy caretaker who chopped up his family as Charles Grady. Later Jack meets a butler called "Delbert" Grady and Jack infers that he was the same caretaker. The deliberacy of the names and their prominence in each of these is crashingly obvious - and would have been also the more so in the case of a film like The Shining, where the shooting and editing processes were particularly painstaking. So, surely it's not a continuity error, and the discrepancy was done on purpose. Why?

Fantastic post dr steam!! A multitude of "whoa!" moments! I've recalled something from the 'making of' commentary in relation to this scene, from James Baxter:

"In this scene Torrence gradually realizes that the Waiter is in fact Grady, the previous guardian of the Hotel, the father of - and murderer of - the two children who appear in frequent fantasies. Stones way of introducing himself, gradually admitting to the truth, is very effectively done. Culminating in this line, really worthy of Boris Karloff in some ways: 'I have always been here'. You realize that Jack, also, has 'always' been in the hotel. This scene's particularly striking for the design, probably the most 'garish' urinal in the history of cinema. It relates somewhat to the [?] Milk Bar in A Clockwork Orange - it's Pop Art manifestations. This was something that Kubrick was finding increasingly fascinating, partly under the influence of his wife Christiane, who was a Painter herself"

Wish now to just to step back a minute to Torrence's arrival to The Gold Room, which precedes his visit to the 'Men's' and his encounter with Grady. James Baxter in 'making of', on Jack's entry to the corridor outside The Gold Room and subsequent entry to the Party:

"By filling this corridor with smoke, it gives an unreal dream-like effect - but also prepares us for this extraordinary shot" [Jack, strolling through the entrance way, into the Party, across the room to the bar]. "The party in fact turns up more and more as the story goes on - until the final enigmatic image of the film is 'about' this Party".

The next part relates most directly with your proposal that the theme of an 'Elite' ruling class is central to the film. Starting with the 'smoke' of the Party as a catalyst image:

Tobacco fostered the economy for the southern United States until it was replaced by cotton.

The Virginia Company refers collectively to a pair of English joint-stock companies chartered by James 1 on 10 April 1606 with the purposes of establishing settlements on the coast of North America. The two companies, called the "Virginia Company of London" (or the London Company) and the "Virginia Company of Plymouth" (or Plymouth Company) operated with identical charters but with differing territories. An area of overlapping territory was created within which the two companies were not permitted to establish colonies within one hundred miles of each other. The Plymouth Company never fulfilled its charter, and its territory - that later became New England - was at that time also claimed by England. The charters of the companies called for a local council for each, but with ultimate authority residing with the King through the Council of Virginia in England.

The 'Plymouth' & 'London' Companies.jpg

Originally Posted by 1977

The Shining

From above link: Jack, as Osiris, is 'chopped into pieces".

13 colonies.jpg

"Isis set out to look for the pieces and she was able to find 13 of the 14 parts . . ."

Originally Posted by feralgoose

But what do you think of the subliminal message hint: IE the "Clair Quilty says "I can write without a pen but not without a DROME" do you think this is just referencing the manipulation of mason by quilty, or something more implied here?

Originally Posted by 1977

"Dromes" are Camel cigarettes, i.e. dromedaries.

The Hebrew letter of the High Priestess of the Tarot is Gimel, the camel.

Many Native American tribes traditionally used tobacco. It was often consumed as an entheogen; among some tribes, this was done only by experienced shamans or medicine men.

An entheogen ("generating the divine within") is a psychoactive substance used in a religious, shamanic, or spiritual context.

Maybe we are all much more 'on the same page' than we think - but coming from different points of origin?

[1331]

In an interview with William Kloman of The New York Times, when asked why there is hardly any dialogue in 2001, Kubrick explained:

"I don't have the slightest doubt that to tell a story like this, you couldn't do it with words. There are only 46 minutes of dialogue scenes in the film, and 113 of non-dialogue. There are certain areas of feeling and reality—or unreality or innermost yearning, whatever you want to call it—which are notably inaccessible to words. Music can get into these areas. Painting can get into them. Non-verbal forms of expression can. But words are a terrible straitjacket. It's interesting how many prisoners of that straitjacket resent its being loosened or taken off. There's a side to the human personality that somehow senses that wherever the cosmic truth may lie, it doesn't lie in A, B, C, D. It lies somewhere in the mysterious, unknowable aspects of thought and life and experience. Man has always responded to it. Religion, mythology, allegories—it's always been one of the most responsive chords in man. With rationalism, modern man has tried to eliminate it, and successfully dealt some pretty jarring blows to religion. In a sense, what's happening now in films and in popular music is a reaction to the stifling limitations of rationalism. One wants to break out of the clearly arguable, demonstrable things which really are not very meaningful, or very useful or inspiring, nor does one even sense any enormous truth in them."

Stanley Kubrick was of Jewish descent, but his family did not practice religion at all. Indeed though his father's real name was Jacob, he went by Jacques or Jack as a move towards American assimilation. When asked by Michel Ciment in an interview if he had a religious upbringing, Kubrick replied: "No, not at all."

Kubrick is often said to have been an atheist. This may or may not be true. In Kubrick's interview with Craig McGregor, he said:

When asked by Eric Nordern in Kubrick's interview with Playboy if 2001: A Space Odyssey was a religious film, Kubrick elaborated:

"I will say that the God concept is at the heart of 2001 but not any traditional, anthropomorphic image of God. I don't believe in any of Earth's monotheistic religions, but I do believe that one can construct an intriguing scientific definition of God, once you accept the fact that there are approximately 100 billion stars in our galaxy alone, that each star is a life-giving sun and that there are approximately 100 billion galaxies in just the visible universe. Given a planet in a stable orbit, not too hot and not too cold, and given a few billion years of chance chemical reactions created by the interaction of a sun's energy on the planet's chemicals, it's fairly certain that life in one form or another will eventually emerge. It's reasonable to assume that there must be, in fact, countless billions of such planets where biological life has arisen, and the odds of some proportion of such life developing intelligence are high. Now, the sun is by no means an old star, and its planets are mere children in cosmic age, so it seems likely that there are billions of planets in the universe not only where intelligent life is on a lower scale than man but other billions where it is approximately equal and others still where it is hundreds of thousands of millions of years in advance of us. When you think of the giant technological strides that man has made in a few millennia—less than a microsecond in the chronology of the universe—can you imagine the evolutionary development that much older life forms have taken? They may have progressed from biological species, which are fragile shells for the mind at best, into immortal machine entities—and then, over innumerable eons, they could emerge from the chrysalis of matter transformed into beings of pure energy and spirit. Their potentialities would be limitless and their intelligence ungraspable by humans."

In the same interview, he also blames the poor critical reaction to 2001 as follows:

"Perhaps there is a certain element of the lumpen literati that is so dogmatically atheist and materialist and Earth-bound that it finds the grandeur of space and the myriad mysteries of cosmic intelligence anathema."

In Stanley Kubrick: A Life in Pictures, Jack Nicholson recalls that Kubrick said:

The Shining is an overall optimistic story because "anything that says there's anything after death is ultimately an optimistic story."

Stanley Kubrick's political and religious beliefs - Wikipedia, the free encyclopedia

Stanley Kubrick's political and religious beliefs - Wikipedia, the free encyclopedia
Stanley Kubrick's political and religious beliefs - Wikipedia, the free encyclopedia

[mata]

Originally Posted by dr steam

"In Jack's interview, Ullman refers to a crazy caretaker who chopped up his family as Charles Grady. Later Jack meets a butler called "Delbert" Grady and Jack infers that he was the same caretaker. The deliberacy of the names and their prominence in each of these is crashingly obvious - and would have been also the more so in the case of a film like The Shining, where the shooting and editing processes were particularly painstaking. So, surely it's not a continuity error, and the discrepancy was done on purpose. Why?



The answer to this question is a litmus test of how much thought you want to credit the Kubrick and Johnson for having put into the film, (like the more celebrated moment when Grady releases jack from the storeroom, or to look at another Kubrick film, where in the final "hotel room" we see Dave Bowman and an older "future self" seeing each other in the same shot) where, instead of being inconsistent or "wrong" the scene is instead an explicit sign about what is really happening in the story.



Many people have written about the importance "maze" imagery has in The Shining. Indeed, the labyrinth is the primary metaphor of the entire film, influencing both the literal story and its thematic structure. One of the more disturbing developments of this film's labyrinth is that the farther we (and the Torrances) think we have penetrated into The Overlook, the more complicated and confusing our discoveries become. The sum of what we learn refuses to add up neatly - instead, incongruities pile up with the film's insistent mirrorings, duplicity and a general lack of acknowledgement. More specifically, the more we try to make sense of what's happening in the present, the more we're faced with what happened - to the same people perhaps - in the past. This lends credence to the supposition that there is another element of time at work here and another sense of reality in action (again, both literally in terms of the references to reincarnation and repetition in the ghost story, and thematically in terms of many references connecting the family dynamics of the Torrances [or the Gradys] to American history), to a timezone where our notions of "history" and "the present" are somehow (willfully) intermingled.


ADLER...

It's this sense that lends general support to the kind of interpretation - if perhaps not the literal interpretation - found in Bill Blakemore's essay. The Shining does equate choices made by the Torrances - and the impulses those choices serve - with the values of the people who built The Overlook ... "all the best people".


VOLKSWAGEN...

The duality of Delbert/Charles Grady deliberately mirrors Jack Torrance being both the husband of Wendy/father of Danny and the mysterious man in the July 4th photo. It is to say he is two people: the man with choice in a perilous situation and the man who has "always" been at the Overlook. It's a mistake to see the final photo as evidence that the events of the film are predetermined: jack has any number of moments where he can act other than the way he does, and that his (poor) choices are fueled by weakness and fear perhaps merely speaks all the more to the questions about the personal and the political that The Shining brings up. in the same way Charles had a chance - once more, perhaps - to not take on "Delbert's" legacy, so Jack may have had a chance to escape his role as "caretaker" to the interests of the powerful. It's the tragic course of this story that he chooses not to.

The Shining - Zooms on Vimeo

Where was The Shining edited?
Gordon Stainforth writes: "Even within the studio Stanley was very secretive. He didn't want the film to be cut in the normal cutting rooms, but wanted everything (except the production offices at the front of the studio) to be under one roof, including his office. Also, as I have said elsewhere, for a short time, one big room in this warehouse was used as an archive. It was absolutely stuffed full of props and memorabilia, dating right back to 2001. I know because I was once sent there to retrieve something. It was all very secret and heavily padlocked. I think in about the summer of 1980 it was all moved to Childwickbury, so I guess that's where it all still is.

This 'cutting room block' at Elstree was used for cutting the main picture between about April- August 1979, and then we all moved to Childwickbury until about the end of April 1980, the Elstree 'cutting room block', as we called it, being the Elstree base for the film, and also where all the out-takes/'spares' were stored. We then moved back some time in April 1980 during the dubbing of the movie (though all the sound editing people were already established in the normal Elstree cutting rooms), and this was where I did the music editing and track-laying. This was also where I cut 'The Making of The Shining ' with Vivian Kubrick in the summer of 1980."
http://www.visual-memory.co.uk/faq/h.../shining2.html

Stanley Kubrick's Lost Daughter
In an exclusive interview, the director’s stepdaughter breaks her silence about her Scientologist sister, Vivian, who hasn’t spoken to the family in 10 years
http://www.thedailybeast.com/article...er-vivian.html

Holocaust

The Shining is the Holocaust film that Kubrick, who grew up in a Jewish Bronx household in the 1930s (his father was born Jacob but Anglicized it to Jack—the name of Jack Nicholson’s deranged protagonist), always wanted to make but felt that, for aesthetic reasons, he could never make except in the most oblique possible manner.

The Times highlights the prevalence of the number 42 in the film—Danny, Jack and Wendy’s son, wears a t-shirt with the number on it; Wendy takes 42 swings of her baseball bat at Jack—and notes that since the early ‘70s, that number was seen as an ominous metonym for the Final Solution, which was launched in 1942. (The number was prominent in the ‘70s also as the answer to Douglas Adams’ question.) But there’s more.

For example: Jack’s typewriter. Cocks explained to me that it’s an Adler Eagle typewriter—“a German machine, pictured almost to make it a character, a clear representation of the bureaucratic killing machine.” (It’s also the model typewriter Kubrick himself used.) When Jack awakes from a dream in which he has killed his wife and his son, he is slumped over his desk, next to his typewriter, which has changed color. It is now light blue: a color that, according to Cocks, invariably signifies “a system of cold, mighty hierarchical power” in Kubrick’s films. And of course he is in the Overlook Hotel’s magnificent, gargantuan main room: and, as Cocks put it, “Big institutions in big rooms in big buildings in Kubrick movies almost always means malevolent power.”

Then there is the music. Two pieces recur repeatedly: Bartók’s Music for Strings, Percussion and Celesta and Penderecki’s The Awakening of Jacob. The fiercely anti-Nazi Hungarian Bartók’s piece was written in 1936, and Kubrick specifically uses the section of it known as “The Night Music.” “That music suggests trepidation about Nazism,” Cocks said. “[Kubrick] chose it because it’s creepy, but it can’t escape its own associations.” Penderecki was a Pole who lived through the Shoah and said all of his music was freighted with its horror; The Awakening of Jacob, which plays while blood rushes from the elevators—“as good a visual metonym for the horror of the 20th century that has ever been filmed,” as Cocks put it in the Times—is also known as the “Auschwitz Oratorio” for the time when it was played at the former camp at a ceremony in the 1960s.

Finally, one must consider the dream-like status of the entire film and Freudian notions of repression, which, particularly via Bruno Bettelheim’s The Uses of Enchantment, made a huge impression on Kubrick. Citing the evidence that the film also, perhaps even more directly, addresses the genocide of Native Americans (the Overlook is built on a Native American burial ground), and noting that the film’s one true victim is African-American, Cocks notes the theme of “white males doing violence to people who aren’t white males.” Dig down further, beyond the horrors done to African-Americans and Native Americans, and you find the most repressed (and therefore, under Bettelheim, most dangerous) urge: “the most appalling genocide in human history, that Kubrick witnessed, at some remove, as a child.”
http://www.tabletmag.com/scroll/8971...olocaust-film/

"The loser has to keep America clean, how's that?"
White man's burden, Lloyd my man.White man's burden...

The global elitist zeitgeist in 1921
Just general without drawing any conclusions I'm still very focused on the date 4 July 1921...?It is New Moon July 5, 1921, which is the time when the moon is closest to earth....!

The National Birth Control League was formed in 1921 by Margret SangerTheosophist and a Blavatsky follower



Der Führer
also spelled Fuehrer,(“Leader”), title used by Adolf Hitler to define his role of absolute authority in Germany’s Third Reich (1933–45). As early as July 1921

By early 1921, Adolf Hitler was becoming highly effective at speaking in front of ever larger crowds. In February, Hitler spoke before a crowd of nearly six thousand in Munich,Hitler used the same logo as Blavatsky,like the Aryan concept...
http://www.historyplace.com/worldwar...ler/leader.htm


The Council on Foreign Relations became an official organization on July 29, 1921. Financing for the CFR came from J.P. MORGAN, Bernard Baruch, Otto Kahn, Jacob Schiff, PAUL WARBURG, and JOHN D. ROCKEFELLER, among other contributors. Men of Business and High-Political persuasion who met ROTHSCHILD’S APPROVAL as well as his inner circle within the Council were initiated into the Council on Foreign Relations, sharing the Rothschild vision of a ONE WORLD ECONOMY patterned after Masonic/New Age beliefs.
http://www.theforbiddenknowledge.com..._network_4.htm

Bloody Sunday (1921)
Bloody Sunday or Belfast's Bloody Sunday was a day of violence in Belfast, Northern Ireland, on 10 July 1921, during the Irish War of Independence. Over a four day period, 22 people were killed, 16 of them on 10 July itself. Another 70 people were badly wounded and 200 houses were destroyed
http://en.wikipedia.org/wiki/Bloody_Sunday_%281921%29


Stanley Kubrick Documentary
Stanley Kubrick Documental - YouTube

Stanley Kubrick bloopers
Stanley Kubrick bloopers - YouTube

Loving that blooper clip by the way!

[mata]

Originally Posted by 1331

Stanley Kubrick was of Jewish descent, but his family did not practice religion at all. Indeed though his father's real name was Jacob, he went by Jacques or Jack as a move towards American assimilation. When asked by Michel Ciment in an interview if he had a religious upbringing, Kubrick replied: "No, not at all."

When asked by Eric Nordern in Kubrick's interview with Playboy if 2001: A Space Odyssey was a religious film, Kubrick elaborated:

"[...] I will say that the God concept is at the heart of 2001 but not any traditional, anthropomorphic image of God. I don't believe in any of Earth's monotheistic religions, but I do believe that one can construct an intriguing scientific definition of God, once you accept the fact that there are approximately 100 billion stars in our galaxy alone, that each star is a life-giving sun and that there are approximately 100 billion galaxies in just the visible universe".


Stanley Kubrick's political and religious beliefs - Wikipedia, the free encyclopedia

Awesome 1331! Just a thought, perhaps if it was Kubrick's father that was Jewish - it could explain why he wasn't raised in the faith, which is one passed down through the Matriarchal line?

[1331]

In his memoir of Kubrick, Michael Herr, his friend and co-writer of the screenplay for Full Metal Jacket, wrote:

Stanley had views on everything, but I would not exactly call them political... His views on democracy were those of most people I know, neither left or right, not exactly brimming with belief, a noble failed experiment along our evolutionary way, brought low by base instincts, money and self-interest and stupidity... He thought the best system might be under a benign despot, though he had little belief that such a man could be found. He wasn't a cynic, but he could have easily passed for one. He was certainly a capitalist. He believed himself to be a realist.

Herr recalls that Kubrick was sometimes akin to a 19th-century liberal-humanist, that he found Irving Kristol's definition of a neoconservative as a "liberal mugged by reality" to be hysterically funny, that he distrusted almost all authority, and that he was a Social Darwinist.

Herr further wrote that Kubrick owned guns and did not think that war was an entirely bad thing. In the documentary Stanley Kubrick: A Life in Pictures, Herr says "…he also accepted that it was perfectly okay to acknowledge that, of all the things war is, it's also very beautiful."

Kubrick commented regarding A Clockwork Orange:

"Man isn't a noble savage, he's an ignoble savage. He is irrational, brutal, weak, silly, unable to be objective about anything where his own interests are involved—that about sums it up. I'm interested in the brutal and violent nature of man because it's a true picture of him. And any attempt to create social institutions on a false view of the nature of man is probably doomed to failure."

Kubrick appeared to believe that freedom and social libertarianism is still worth pursuing even if mankind is ultimately ignoble, and that evil on the part of the individual—however undesirable—is still preferable in contrast to the evil of a totalitarian society. Kubrick said in an interview with Gene Siskel:

"To restrain man is not to redeem him... I think the danger is not that authority will collapse, but that, finally, in order to preserve itself, it will become very repressive... Law and order is not a phony issue, not just an excuse for the Right to go further right."

Stanley Kubrick's political and religious beliefs - Wikipedia, the free encyclopedia

Stanley Kubrick's political and religious beliefs - Wikipedia, the free encyclopedia
Stanley Kubrick's political and religious beliefs - Wikipedia, the free encyclopedia

[1977]

But words are a terrible straitjacket. It's interesting how many prisoners of that straitjacket resent its being loosened or taken off. There's a side to the human personality that somehow senses that wherever the cosmic truth may lie, it doesn't lie in A, B, C, D. It lies somewhere in the mysterious, unknowable aspects of thought and life and experience. Man has always responded to it. Religion, mythology, allegories—it's always been one of the most responsive chords in man. With rationalism, modern man has tried to eliminate it, and successfully dealt some pretty jarring blows to religion. In a sense, what's happening now in films and in popular music is a reaction to the stifling limitations of rationalism.

This is why I can't fully accept that The Shining is about literal sexual abuse; it's too much of a rationalist reduction that seems to be precisely what Kubrick is always trying to get away from in crafting his myths. If there is an abuse subtext, it is in the same context of Alex killing the woman with a giant sculpted penis: another metaphor. (The term "self-abuse" comes to mind--precious bodily fluids?)

Jack, Wendy and Danny are hardly real people at all, but broadly-sketched cartoon characters. Jack is the insane Father, Wendy is the battered Wife, and Danny is the innocent Child.

Jack is the man who uses "words" as a straitjacket; he's the Wizard and Wendy (Dorothy) is a puppet on his strings. Danny inhabits a higher artistic sphere, that of intuition and image.



A strange inter-movie bit of synchronicity is Joe Turkel's role in The Shining and later in Blade Runner (which also shares footage). In both cases, Turkel lives at the top of an unfinished pyramid, where all the "elites" are seen to dwell. (Rob Ager claims that the wall in the back is meant to be an eye.)



But observe the similar scene in A Clockwork Orange where Alex encounters the Writer--over on the right side of the image is a clear representation of a heart, showing that this action takes place, as Joseph Campbell would always say, "within the darkness of the deepest chamber of the heart."

[mata]

Originally Posted by 1331

Plato's Cave (animated version) - YouTube

1331, thanks so much for posting this clip about Plato's Cave earlier! Were it not for this I wouldn't have understood 1977's later reference to it!

Originally Posted by 1977

The Monolith in 2001 is the movie screen, which is why Dave Bowman must symbolically travel through it in order to become a Star Child, thus symbolically piercing the Veil of existence in order to discover the Truth. This is the allegory of Plato's cave, wherein the people chained in the cave (ourselves) apprehend only shadows on the wall (the projections in the movie theater), rather than the Truth that those images convey.[INDENT]“He who is not able, by the exercise of his reason, to define the idea of the good, separating it from all other objects, and piercing, as in a battle, through every kind of argument; endeavoring to confute, not according to opinion, but according to essence, and proceeding through all these dialectical energies with an unshaken reason;—he who can not accomplish this, would you not say, that he neither knows the good itself, nor anything which is properly denominated good? And would you not assert that such a one, when he apprehends any certain image of reality, apprehends it rather through the medium of opinion than of science; that in the present life he is sunk in sleep, and conversant with the delusion of dreams; and that before he is roused to a vigilant state he will descend to Hades, and be overwhelmed with a sleep perfectly profound.” (Plato, Republic)

[size_of_light]

Originally Posted by feralgoose

I think we should discuss DANNY

I Think we should discuss what should be done with him

I think you have some definate ideas of what should be done with him

It's all about Jack remembering, and relating to Wendy as his mother, not as his wife.

There's not the slightest trace of normal sexual chemistry between husband and wife throughout the movie.

It's a nurture/hostility dynamic.

Jack and Danny are two aspects of Bowman: the avenger and the victim, warring over whether to kill the mother or succumb to her, and Dick O'Hallaran is the last vestige of Bowman himself, trying to restore order to this psychological mind-fuck initiated by the monolith

[1331]

Originally Posted by mata

Awesome 1331! Just a thought, perhaps if it was Kubrick's father that was Jewish - it could explain why he wasn't raised in the faith, which is one passed down through the Matriarchal line?

Stanley Kubrick was born on July 26, 1928, at the Lying-In Hospital in Manhattan, New York, the first of two children of Jacques (Jacob) Leonard Kubrick (1901–85) and his wife Sadie Gertrude (née Perveler; 1903–85), both of whom were Jewish.


The Kubrick biographer Geoffrey Cocks writes that Kubrick's family was not religious, although his parents had been married in a Jewish ceremony. When, in 1980, Michel Ciment asked Kubrick whether he had had a religious upbringing, he replied "No, not at all." Like many Jews who lead secular lives, he had no bar mitzvah and did not attend synagogue.

Kubrick's family and many critics felt that his Jewish ancestry may have contributed to his worldview and aspects of his films. After his death, both his daughter and wife stated that although he was not religious, "he did not deny his Jewishness, not at all."

Most of his friends and early photography and film collaborators were Jewish, and his first two marriages were to daughters of recent Jewish immigrants from Europe.

British screenwriter Frederic Raphael, who worked closely with Kubrick in his final years, believes that the originality of Kubrick's films was partly because he "had a (Jewish?) respect for scholars." He said that it was "absurd to try to understand Stanley Kubrick without reckoning on Jewishness as a fundamental aspect of his mentality."

Alexander Walker, who attended the funeral, describes it as a "family farewell, . . . almost like an English picnic," with cellists, clarinetists and singers providing song and music from many of his favorite classical compositions. Although Kaddish, the Jewish prayer of mourning, was recited, the funeral had no religious overtones, and few of his obituaries mentioned his Jewish background.

[mata]

Originally Posted by 1977

A strange inter-movie bit of synchronicity is Joe Turkel's role in The Shining and later in Blade Runner (which also shares footage). In both cases, Turkel lives at the top of an unfinished pyramid. (Rob Ager claims that the wall in the back is meant to be an eye.)

Yes, it is a strange synchronocity, this one. In a way, the Barman could be seen as the 'front' of The House, in that he is analogous to an intermediary between Torrence and the Elite - (between Torrence's first visit to The Gold Room Bar - and here, his second). The implication of the actor Turkel as not only a 'company man', in the person of Tyrell, but The Head of such - fits in well with his 'front of house' position as Lloyd the Barman.

[mata]

Originally Posted by 1331

Stanley Kubrick was born on July 26, 1928, at the Lying-In Hospital in Manhattan, New York, the first of two children of Jacques (Jacob) Leonard Kubrick (1901–85) and his wife Sadie Gertrude (née Perveler; 1903–85), both of whom were Jewish.

Thanks for clearing that up 1331

This is a very good point you've raised:

British screenwriter Frederic Raphael, who worked closely with Kubrick in his final years, believes that the originality of Kubrick's films was partly because he "had a (Jewish?) respect for scholars." He said that it was "absurd to try to understand Stanley Kubrick without reckoning on Jewishness as a fundamental aspect of his mentality".

[size_of_light]

Originally Posted by mata

Yes, it is a strange synchronocity, this one. In a way, the Barman could be seen as the 'front' of The House, in that he is analogous to an intermediary between Torrence and the Elite - (between Torrence's first visit to The Gold Room Bar - and here, his second). The implication of the actor Turkel as not only a 'company man', in the person of Tyrell, but The Head of such - fits in well with his 'front of house' position as Lloyd the Barman.

Jack is thirsty though he's recently made an effort to stop drinking 'it'.

Lloyd also turns out to have one frightening eye in the centre of his forehead...

Are Lloyd and Wendy one and the same?

[mata]

Originally Posted by dr steam

Stanley Kubrick's Lost Daughter
In an exclusive interview, the director’s stepdaughter breaks her silence about her Scientologist sister, Vivian, who hasn’t spoken to the family in 10 years.

http://www.thedailybeast.com/article...er-vivian.html

But now, the Kubricks, a famously private family, are ready to break their silence about Vivian, who is now 50, and who stopped communicating with her family after joining the Church a decade ago.

Post Eyes Wide Shut...

[1331]

"I have always enjoyed dealing with a slightly surrealistic situation and presenting it in a realistic manner. I've always liked fairy tales and myths, magical stories. I think they are somehow closer to the sense of reality one feels today than the equally stylized "realistic" story in which a great deal of selectivity and omission has to occur in order to preserve its "realist" style."
Quoted in Kubrick : Inside a Film Artist's Maze (2000) by Thomas Allen Nelson, p.14

"There's something in the human personality which resents things that are clear, and conversely, something which is attracted to puzzles, enigmas, and allegories."
Quoted in Kubrick : Inside a Film Artist's Maze (2000) by Thomas Allen Nelson, p.10

"The very meaninglessness of life forces man to create his own meaning. If it can be written or thought, it can be filmed."
Quoted in Halliwell's Filmgoer's and Video Viewer's Companion (1988), p. 403

"I don't like doing interviews. There is always the problem of being misquoted or, what's even worse, of being quoted exactly."
"Kubrick on Barry Lyndon : An interview with Michel Ciment" (1982)

"You sit at the board and suddenly your heart leaps. Your hand trembles to pick up the piece and move it. But what chess teaches you is that you must sit there calmly and think about whether it’s really a good idea and whether there are other, better ideas."
Newsweek (26 May 1980)

"The most terrifying fact about the universe is not that it is hostile but that it is indifferent; but if we can come to terms with this indifference and accept the challenges of life within the boundaries of death — however mutable man may be able to make them — our existence as a species can have genuine meaning and fulfillment. However vast the darkness, we must supply our own light."
Interviewed by Eric Nordern, Playboy (September 1968); later published in Stanley Kubrick: Interviews (2001)

"I never learned anything at all in school and didn't read a book for pleasure until I was 19 years old."
Stanley Kubrick

"If you can talk brilliantly about a problem, it can create the consoling illusion that it has been mastered."
Stanley Kubrick

"The screen is a magic medium. It has such power that it can retain interest as it conveys emotions and moods that no other art form can hope to tackle."
Stanley Kubrick

[mata]

Originally Posted by size_of_light

Jack is thirsty though he's recently made an effort to stop drinking 'it'.

Lloyd also turns out to have one frightening eye in the centre of his forehead...

Are Lloyd and Wendy one and the same?

'it' : interesting that next to tobacco, alcohol is the most sociologically impacting product on the world market.

[size_of_light]

Originally Posted by size_of_light

Jack is thirsty though he's recently made an effort to stop drinking 'it'.

Lloyd also turns out to have one frightening eye in the centre of his forehead...

Are Lloyd and Wendy one and the same?

Sorry, meant to add this:

[1977]

Originally Posted by size_of_light

It's all about Jack remembering, and relating to Wendy as his mother, not as his wife.

There's not the slightest trace of normal sexual chemistry between husband and wife throughout the movie.

It's a nurture/hostility dynamic.

Jack and Danny are two aspects of Bowman: the avenger and the victim, warring over whether to kill the mother or succumb to her, and Dick O'Hallaran is the last vestige of Bowman himself, trying to restore order to this psychological mind-fuck initiated by the monolith

"I will say that the God concept is at the heart of 2001 but not any traditional, anthropomorphic image of God."

http://www.davidson.edu/academic/eng.../zk/vnaz/b.htm

Beardsley, Aubrey (Vincent): [Lolita] The name of Humbert and Lolita's college town serves as Nabokov's tribute to Vincent Beardsley (1872-1898), the English illustrator of the late Victorian era. After Oscar Wilde, he was the major figure in the Aestheticism movement. Over the course of his lifetime he provided artwork for such pieces as Wilde's Salome, and Malory's Morte d'Arthur as well as illustrations for editions of Volpone, Lysistrata, The Rape of the Lock, and Under the Hill.

(Lolita and Humbert, or Salome and John the Baptist?)

Continuing the castration motif vis-a-vis the Black Stone of the Magna Mater . . .

Salome - Wikipedia, the free encyclopedia

Salome - Wikipedia, the free encyclopedia
Salome - Wikipedia, the free encyclopedia

http://secretsun.blogspot.com/2008/0...-in-space.html

[mata]

Black & White Nodes.jpg

Here there are two nodes framing the woman's eyes. One, black - a shoulder detail from the dress of the woman behind. One, white - a handkerchief positioned conspicuously low down the front of a man's jacket behind her. The woman is fingering the lower arc of a string of pearls about her neck, pearls of wisdom? - or perhaps rather she is 'relishing' a 'closed circuit' of 'wealth units'. Could the black and white nodes be symbolic, on one level at least, of the final 'coup' - the establishment of a true 'Upper' and 'Working' class in the U.S. Couldn't it be said that the total monopoly of markets in the U.S. began only after implementation of the Federal Reserve? Pearls, as far as I know, have since the time of the early British Monarchs been worn almost exclusively to indicate the financial status of the wearer, a tradition that is perhaps more conspicuous now in the U.S. - in 'the movies' at least. Maggie Thatcher never went a day without her pearls, though she was from an undeniably 'working class' back-ground - her domain of 'function' was within the realm of the Elite. They were like a representation of her 'pass-card' in a way. It's interesting how the black and white nodes relate visually to Jack's neck-tie and collar arrangement.

[mata]

Originally Posted by size_of_light

sorry, meant to add this:

Crackup!! size_of_light, please can you tell me who Wendy is? Is she off Clockwork Orange? (I haven't seen it yet)

[1331]

Also, in the newly constructed English suburban town of Milton Keynes, which is nestled in the Chiltern Hills west of London, there are a pair of statues that feature one of the masks from this film. An identical pair of these statues are down the road a bit from the Waitrose Supermarket in Milton Keynes, Buckinghamshire, England, UK. The photo below shows this statue juxtaposed with the same mask as seen in the film. Incidentally, the largest landowners in Buckinghamshire, where these EWS statues can be found, are the Rothschild family, one of the 13 Illuminati bloodlines that appear to control the direction of the entire planet.

IBM TV Spot / Dreams / Mob - YouTube

IBM TV Spot / Dreams / Mob - YouTube

In a 2003 television commercial for IBM, an agitated corporate CEO is shown recalling a recent dream with his therapist:

CEO – “I’m being chased.”

Therapist – “By whom?”

CEO – “I don’t know – they’re, they’re, tough customers.”

Therapist – “Customers? What do they want?”

CEO - “Everything. Now.”

http://kentroversypapers.blogspot.se...symbolism.html