Kubrick’s legacy of smoke and mirrors (Part I)

Kubrick’s legacy of smoke and mirrors (Part I)

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?
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