Legendary film makers are not just artists, they are black magicians.

In the great masonic tradition of duality, though Hollywood’s cinematic technicians create images which on the surface may seem only for the purpose of entertainment, esoteric messages consisting of numbers, symbols, and primary colors are almost always found embedded beneath the surface of the cinematic façade. Within the films attributed to the direction of one of Hollywood’s most cherished directorial icons, Stanley Kubrick, there are literal treasure troves of such esoterica waiting to be discovered. Time and again, the linear plot lines of Kubrick’s films are demonstrated to be merely gauze-thin veils, or perhaps in some cases, even vehicles for the genuine and subversive esoteric messages he wished to convey.

Of course, to most of the movie going masses, these esoteric messages have remained hidden – that is, until now.

But beyond considering occult veils, is there yet another matter to consider when it comes to assimilating the true significance of Stanley Kubrick’s legacy? Perhaps it is better and more to the point to enquire, who is the real Stanley Kubrick?

Could it be, this filmmaking legend was merely another character portrayed by a host actor, yet another legend propped up before the public before suffering what appeared to be a tragic death?

Did Kubrick indeed die, or did his demise represent yet another example of Hollywood conceived theater? If so, did he merely depart history’s grand stage but for a moment, only to reappear from behind the curtain in the guise of  yet another character, donned in an entirely different costume?

The “late” Stanley Kubrick (Cube + Brick/masonic word spell/Cube=8/aces and eights/mark of the Jesuits + Brick=masonic wall of deception) has been heralded as one of the most legendary of cinematic image makers. What distinguished Kubrick from many contemporary Hollywood directors, is that his films dared to conspicuously demonstrate esoteric images rather than concealing them. Oftentimes, Kubrick took pains to bring esoteric images to the surface, making them an essential part of the linear cinematic narrative.

Perhaps the film that demonstrated this concept best was 1968’s 2001: A Space Odyssey, which not only repeatedly referenced the sun as the object of high freemasonic worship in the form of the red eyed computer, Hal 2000, but repeatedly featured the phallic symbolism of the black obelisk, the very same obelisk’s present in each of the ruling elite’s three capital city states collectively representing the structure of global governance: the Jesuit controlled Vatican in Rome, Crown Temple within London’s one square mile, and Washington’s District of Columbia.

While the films of Stanley Kubrick may have proved to cleverly hide esoteric images in plain sight, it is no longer a secret that Kubrick may have aided NASA in filming the iconic footage for the Apollo moon mission simulation. While there may exist tens and even hundreds of video examples supporting this thematic premise to be found on You Tube, one discovered this gem featuring a familiar voice performing the narration.

Perhaps, there are loyal readers who may be able to readily identify the character behind the narrator’s voice:

Recognize the voice? Maybe this will help:

Yes, folks, the narrating voice of the Kubrick video belongs to none other than the character of alleged NASA “astronaut”, Don Petit (See: NASA scam is taxpayer black hole part III).

However, since NASA is not a space agency dedicated to exploring the mysteries of cosmological science but a filmmaking studio funded by billions of stolen American tax dollars, our Mr. Petit is in fact a fabricated character portrayed by this man:

Richard Jenkins:


And folks, since the American political system is also tantamount to nothing more than a long-running reality television series, the services of Richard Jenkins  were also contracted to star as the host actor for this political character, former Republican presidential candidate and Massachusetts governor, Mitt Romney:

An analysis of the esoteric content present in the filmography synonymous with the character of Stanley Kubrick isn’t really necessary compared with the significance of the information that soon shall follow. Since that particular subject has been amply covered elsewhere, suffice to say, one believes that not only did the character of Stanley Kubrick, like all high-level Freemasonic figures, leave clues out in plain sight for those possessing the willingness to look for them, but he may have been a Freemasonic high priest of the highest magnitude, and not unexpectedly, Kubrick’s “official” biographical accounts are voluminously filled with numerological and occult markers, perhaps more so than in any other such celebrity biography yet encountered.

As well, and upon deeper examination, Kubrick appears to have a possible genealogical connection with European royalty, and a connection to London’s Moor Hall studios, the same filmmaking and animation complex shown to have connections to Alfred Hitchcock AKA Barry Diller/Austro-German Prince Eduard von Furstenberg.

Much has been made of Kubrick’s involvement with NASA, and his alleged filming of the Apollo moon landing footage. Kubrick’s 2001, A Space Odyssey, made use of a technique known as front screen projection, which was a technological forerunner of the news room studio “green screen.” It has been suggested that Kubrick’s seminal film served as a project development piece, and that the film’s exorbitant budget may have been actually funded by NASA. While demonstrative empirical evidence for this hypothesis remains admittedly difficult to compile, one piece of circumstantial evidence demonstrates the argument may contain a grain of truth.

Apparently, during the production process for 1975’s Barry Lyndon, Kubrick employed a special camera supplied by NASA which gave the film its distinctive and unique cinematography. It has been theorized that Kubrick previously utilized this camera with special capabilities to shoot NASA’s very first Apollo moon landing simulation presented to the pubic in 1969.

Then, there are the popular theories of Kubrick’s film adaption of Steven King’s novel the Shining, which rather than following the story line evident in King’s story, chose to slyly demonstrate clues of the Apollo moon mission’s simulated nature through occult signs and symbols. But it turns out, researchers were looking in the wrong direction, for the one empirical piece of evidence, the Gestalt connecting all of these theories, relates to Kubrick’s direction of the epic Spartacus, starring Kirk Douglas as the doomed Roman slave turned violent rebel and hunted enemy of the state.

Loyal readers will recall from a recent installment that ear biometric and facial recognition analysis revealed Hollywood actor Kirk Douglas as the host actor portrayed alleged Apollo astronaut, Buzz Aldrin. Recently, one also learned that British rock band Pink Floyd had been employed by the BBC to provide musical accompaniment while footage of man’s first alleged steps onto the moon were broadcast to the British public.

This anecdote, along with the revelation of Aldrin’s Hollywood host actor, only serves to add to the impression NASA’s maiden Apollo moon voyage may have existed as nothing more than a global and grandly staged, cosmic themed theater, perhaps aided, abetted, and partially scripted by Stanley Kubrick. But, the one aspect that is generally ignored by researchers regarding the life of Stanley Kubrick is his surviving and widowed spouse, Christiane.

And believe this folks, from this point on one issues fair warning: things shall become very interesting indeed.

In fact, loyal readers and newcomers alike may want to appropriately prepare themselves, for you are about to be plunged into the deepest of unexplored rabbit holes.

Per Wikipedia, Christiane was an actress born in Braunschweig, Lower Saxony, Germany, who starred in Kubrick’s Path’s of Glory as a saloon singer. In the final scene of the film, the young woman she portrays attempts to serenade a crowd of weary and disillusioned French soldiers with a rendition of a German folk song which not only rousts their flagging spirits, but while observing the humanity in someone they formerly considered their enemy, brings them to the verge of tears.

What is rarely mentioned by biographers, is the fact Christiane had been married and divorced before she met the young Stanley Kubrick, to a German actor by the name of Werner Bruhns:

Does this actor look and sound familiar? This guy, maybe?

Henry Kissinger announces peace in Vietnam is at hand:

Henry Kissinger:


Or maybe, this guy?

NASA’s Werner von Braun

If this seems incredible, please note the executives at NASA, or would it be better to say Disney, didn’t even bother to radically alter the name of the host actor transitioning into the character of rocket scientist Werner von Braun – Werner Bruhns?

Really folks, how much more blatantly mocking could the ruling elites be towards those they consider peasants?

Not surprisingly, further ear biometric and voice analysis renders the academically prestigious backstory attached to the character known to American history as Heinz “Henry” Kissinger into a cruelly fabricated hoax. Kissinger, like his boss, Richard Nixon AKA Hollywood luminary Warren Beatty, was an actor participating in a scripted portrayal. Kissinger’s historically celebrated role on the world stage as a geopolitical strategist is a farcical ruse, because like all the rest of history’s colorful characters, he was merely a front person to focus the public’s attentions, and to provide the ruling elites hidden in the shadows plausible deniability as well legal immunity. For those who remain cautiously indecisive, consider this snippet from none other than mainstream, American news columnist, Joseph Kraft who wrote, “Kissinger’s been compromised and everybody in town knows it.” then asked, “Is he just a good German lending a cover of respectability to whatever monstrous policy President Nixon is pleased to pursue?”

Considered within the context of the information reported here, Kraft’s comment, made soon after the reelected Nixon reportedly ordered to escalate the bombing on Hanoi in North Vietnam in 1972, is stunningly revealing, and from the perspective of the prevailing actor based reality, does Kraft’s quote read like the typical inside joke of which the ruling elites are so fond, of the sort that mercilessly mocks the ignorance and gullibility of the American people? Could it be, that NASA is truly a Disney movie studio disguised as a space agency?

Before definitively answering that hypothetical question, consider that hidden within Disney’s logo is the number 6 (33/high degree Scottish Rite Freemasonry). Consider also, that Werner Bruhns, the man allegedly married to Christiane Kubrick between the years 1952 and 1957, was not only a screen actor, but noted for his ability to perform accurate imitations as a voice actor.

From a very young age, Bruhns was trained by noted German actor, theater director, and voice dramatist Helmut Gmelin, who upon opening a theater in Hamburg during the 1930’s, presented the works of noted Norwegian playwright, Henrik Isben. Isben hailed from the Paus family, an aristocratic bloodline connected to not only the royal clergy in Oslo, but with deep ties to the Vatican both before and after Europe’s Jesuit manufactured religious Reformation of the 16th century, and they are believed to be the only aristocratic family to have survived the fiery immolation of the old medieval city of Oslo in 1624.

It seems tales of Europe’s history are filled with such fires engulfing entire cities, while the only survivors seem to have been those hailing from noble and aristocratic bloodlines, especially those connected to the Jesuit controlled Vatican in Rome. Rest assured, there are more royal connections to be revealed when it comes to the true story behind the man known as the legendary cinematic master, Stanley Kubrick.

For the time being, voice print analysis reveals a match between actor Werner Bruhn, Henry Kissinger, and the late NASA rocket scientist Werner von Braun.

The larger question is now this: could it be Stanley Kubrick was a mere character portrayed by a host actor?

Stay tuned for part II, folks – coming very soon!

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