Here’s the first in a series of fascinating articles I’ll be sharing on the great director Stanley Kubrick – first up, The Konformist analyses Eyes Wide Shut and discusses the esoteric symbolism and connection to the MK Ultra mind control program:
In Stanley Kubrick‘s final film, Eyes Wide Shut, are numerous veiled allusions to the CIA’s MK-ULTRA mind control experiments and Monarch sex slave programming, subjects which readers of The Konformist should be well familiar. According to believed victims of Monarch abuse, their ranks number literally in thousands, and it has been alleged that these very same victims have been used extensively as sex slaves, drug mules and assassins. According to varied sources, Monarch programming begins immediately at birth, and is carried out through the lives of its victims, as they are used by intelligence agencies and secret societies like mere pawns on a gameboard, until–in many instances–they have outlived their usefulness, and are terminally “discarded”.
While this author does not buy lock, stock and barrel all of the sordid tales associated with Monarch abuse, I nonetheless suspect that it does actually exist in many cases, regardless of all the disinformation that exists in mind control lore obscuring the true reality of the situation. Like all weighty subjects–conspiratorial or otherwise–one must separate the wheat from chaff, which is not an easy proposition, to say the least. According to Per Sewen of Illuminati News, he viewed Eyes Wide Shut with a woman who had been “subjected to Satanic Ritual Abuse (SRA) by the Illuminati and she found it very, very accurate. None of us had any idea what the movie was about, so it was a shock for both of us, especially as these kinds of movies can be very triggering for victims of SRA. And it was. This girl didn’t feel well afterwards…”
Associating the “Bavarian Illuminati” –as it was originally identified–with the ominous spectre of mind control is another sticky area, as the presumed current day existence of this secret order is not an easy thing to document, although fringe Christians and right wing extremists would have us believe that The Illuminati has been behind nearly every crucial development in the history of mankind over past few hundred years; from the French and American Revolutions to the forthcoming New World Order/One World Government takeover, not to mention the Kennedy Assassination and water fluoridation. In response, I would not totally dispute this proposition, nor do I wholeheartedly endorse it, preferring instead to straddle the fence between shadow and light, at the crossroads where facts and fancy meet. It is at this meeting point where we are briefly allowed a glimpse of the truth, while at the same time the edges of the picture blur, leaving us once again in a quandary. (Or a Philip K. Dick novel…)
According to certain legends, The Illuminati was purged in 1785 by the Bavarian Government on the grounds that it had attempted to overthrow the ruling class of Europe. Other legends suggest that The Illuminati were merely driven underground at this juncture, all the while continuing their multifarious activities under a maze of guises–including such current incarnations as the Bilderbergers, The United Nations and the Council of Foreign Relations–and exist unto this day as the Ultimate Octopus actually pulling the levers behind the scenes of world events, albeit hidden behind a cloak of subterfuge and secrecy. Other researchers contend that the Illuminati is simply a subdivision of Freemasonry, this due to the fact that the original Order of the Illuminati was formed within Masonic Lodges in Germany, by one Adam Weishaupt in 1776. According to noted Guerilla Ontologist, Robert Anton Wilson, who has spent many years attempting to unravel this mystery: “Since Masonry itself is a secret society, the Illuminati was a secret society within a secret society, a mystery inside a mystery, so to say.” Arcane history lesson aside, I will henceforth use the term “Illuminati” rather liberally throughout this tract, as an easy catchall which captures under its umbrella a wide-ranging hierarchy of hidden powers; a combination of intelligence agencies and secret societies creating an Orwellian nightmare under the guise of a New World Utopia. Bear in mind that the dreaded Illuminati are never once so-named in Eyes Wide Shut. Since this is “an interpretation”, I have freely chosen to exercise my poetic license, using “Illuminati” as a simple literary device, although nothing is ever quite as simple as we would like it to be. Once again, we’re speaking here of the shadow realms, like those hinted at in Eyes Wide Shut, where nothing is ever for certain, nor can anything be taken for granted.
Early on in Eyes Wide Shut –while at a lavish party hosted by a rich bigwig named Ziegler (played by Sydney Pollack)–star Tom Cruise’s character, Dr. Bill, is seduced by two beautiful “models” who take him by either arm, leading him toward an apparent menage a trois. When Dr. Bill asks where exactly they’re taking him, the two lovelies reply: “Where the rainbow ends.” When taken into context with what transpires later on in Eyes Wide Shut, this snatch of dialog appears to be an allusion to Monarch programming, as The Wizard of Oz has been long acknowledged by Monarch insiders as a common programming matrix, which uses Wizard of Oz themes and imagery as a tool to program minds. (It has been rumored that Judy Garland herself was the subject of just this sort of Monarch-styled mind control.) Later, Dr. Bill rents a cloak and mask from “Rainbow Costumes”, which just happens to be located above another shop called “Under The Rainbow”. In the first scene at the costume shop, the owner catches his underage daughter in a state of undress with two apparent drag queens, and understandably becomes quite upset. In a later scene, the shop owner does an about-face and appears not only to be pimping out his nubile daughter to these very same drag queens, but tries to interest Dr. Bill in her pert young bod, as well. This is all very telling, as most Wizard of Oz programming I’ve heard about allegedly deals with the programming of boys and girl–at a very early age–in their roles as Monarch slaves, through sexual molestation and other related trauma such as SRA, as part of pact between the parents of the abused children and their Monarch “handlers”. (In many instances–it has been alleged–the parent will also perform the role of “handler”. The “handler, in essence, is the “programmer”, as well as a sort of go-between with the higher ups in the Monarch organization.) Whatever the case, something drastically “transformed” the costume shop owner’s way of thinking, between the first and the second scenes, in a space of less than 24 hours. The inference here is that the Illuminati-styled cult that Dr. Bill stumbles upon is somehow responsible for this “trance-formation” of father to pimp and daughter to prostitute. This is part of the symbolism of Monarch, one of transformation, of caterpillar into butterfly; free-will into mental slavery. The term Monarch is deceptive in this sense, due to its identification with the Monarch butterfly, a creature of transformational beauty. This appears to be part of the deception of this programming; to delude its victims into believing they’ve been transformed into something magical, and full of wonder. Follow the yellow brick road. Although the “trance-formation” of the shop owner’s daughter seems unrelated to later events that occur in the film, somehow these two seemingly anecdotal characters–the shop owner and daughter–have been affected by Dr. Bill’s Illuminati-sex-ritual experience. The implication here is that anyone who comes within the span of Dr. Bill is, by association, caught up in a similar web of intrigue, often resulting in dire consequences.
Another MK-ULTRA/Monarch allusion is the reference to the “models” who seduce Dr. Bill at Ziegler’s party, which I associate with what is known in the annals of MK-ULTRA as “Presidential models”. “Presidential models” were/are allegedly used by big time entertainers and politicians as sexual playthings; mind controlled puppets programmed to perform assorted perverse acts at the bidding of their manipulative “handlers”. Supposedly Marilyn Monroe was the first Monarch sex slave who achieved “celebrity” status. For those unfamiliar with the term “Presidential model”, I’ll refer them to The Control of Candy Jones by Donald Bain and Long John Nebel. As the story goes, Long John Nebel–a New York radio personality in the 50’s-70’s–discovered via hypnosis that his wife, Candy Jones, was a victim of just this sort of mind control project, one of the many MK-ULTRA mind slaves, programmed by CIA “spychiatrists” and used by high mucky muck dignitaries to perform their perverse sexual whims, among other assorted duties such as being used as drug mules and message couriers for this vast network of morally deficient power brokers. More has come to light in this regard in recent years by way of similar allegations disbursed widely across the Internet, as well as such highly controversial books as Trance Formation In America by Mark Phillips and Kathy O’Brien, wherein Ms. O’Brien relates her own troubling tales of MK-ULTRA and Monarch abuse. Once again, the tricky part is trying to untangle this web of fact vs. fiction, for a great measure of the Monarch mythos is the obvious result of contaminated stories, planted as a means of discrediting the truth, or simply due to pure delusion on the part of the believed victims For example: the current trend of shape-shifting Reptilian extraterrestrials who have entered into the mind control lexicon of late, such as one purported Monarch victim has described ex-President George Bush, among a group of other world leaders, who double as alien lizards and smack-shooting Satanists. As the late Jim Keith noted in his final book, Mass Control: “By injecting outlandish details into these stories, by linking intelligence agency mind control with extraterrestrial aliens and such, a pallor of doubt is cast upon real cases of abuse. This is the activity of ‘scrambling’ that Katherine Sullivan and others talk about. It is also true that traumatic abuse and conditioning confuses and disorients the victim, causing cross-referencing of mental information, and potentially adding to the nightmarish quality of many reports of this sort…”
Before the two “models” are able to lead Dr. Bill on a journey to “Where the rainbow ends”, he is called to the aid of his host, Mr. Ziegler, who is upstairs, trying to revive a naked beauty O.D.-ing in his bathroom. Dr. Bill helps Ziegler revive the sultry junkie from her self-induced speedball funk. As fickle fate would have it, this naked beauty later resurfaces in the film as Dr. Bill’s savoir, and is–in my estimation–another of the many Monarch sex slaves who appear throughout the story. From there the film progresses into the previously alluded meeting of a secret order akin to the Illuminati, of which Dr. Bill inadvertently gains knowledge of, and sneaks into, undercover of mask and cloak–as all the other participants are likewise bedecked–in what he soon realizes is some sort Satanic/Freemasonic sex magick rite featuring a whole host of naked hotties engaged in steamy sex scenes right out of an Aleister Crowley freak-out. When it’s discovered by this Illuminati-like group that they have a spy in their fold in the form of Dr. Bill, Cruise’s character is taken before the High Priest and his mask ceremoniously removed. Just when it looks like curtains for Dr. Bill, a well-proportioned lady–adorned only in mask and high-heeled shoes–steps before the assembly and offers herself up in sacrifice in exchange for Dr. Bill’s life. As it turns out, this is the same woman, Mandy, that Dr. Bill rescued earlier from overdose. (Drug addiction is a common modus operandi in the control of Monarch sex slaves.) Long story short, Mandy is apparently sacrificed, although the next day newspaper reports characterize her passing as an apparent O.D. The deeper meaning here is that all Monarch sex slaves are expendable if they cross the line, and many of these victims reportedly have been “discarded” in just such a manner after they become a certain age and are no longer desirable as prostitute/sex slaves, or if they in someway break free of their programming and are considered a “risk”.
During his dark night of the soul, Dr. Bill travels through the seamy underworld of his disturbed psyche, searching for sexual release, haunted by some insatiable hunger driving him toward unknown ends, along the way encountering a woman he hardly knows, who swears she’s madly in love with him. Add to this collection an HIV positive prostitute, as well as the daughter of the aforementioned costume shop owner–who’s apparently being pimped out by papa–and what we have is a trinity of lost souls, caught up in the grinding wheels of a powerful machine that eats people up, then spits them out in tiny, fragmented pieces. Monarch programming would explain the actions of all three: the irrational love of the woman Dr. Bill hardly knows is characteristic of a mind controlled slave programmed to love someone without truly understanding the reasons why; likewise the prostituted daughter, a common thread of Monarch programming where parents sell their children into sexual bondage and generational molestation as part of a deal made with the “Illuminati”. And lastly, the common prostitute, there to do the bidding of the men who manipulate her by way of either money, drugs or violence. All of these woman could easily be Monarch victims, and even if they aren’t, each is a prisoner of a system of control prevalent in our society; a system which exists on many levels, and in all strata of society, both seen and unseen. Eyes Wide Shut is a glimpse into these dark, shadow realms.
Many people unfamiliar with the subtleties of mind control will be utterly perplexed with the allegorical symbolism in Eyes Wide Shut. The characters, for the most part, appear either as detached spectators (i.e. hypnotized subjects) or obsessed sex fiends forever in search of a carnal fix. Unlike other Kubrick films–where the characters, in most cases, are more well-developed, complex characterizations–those in Eyes Wide Shut seem mere cardboard cutouts, which I think is the desired effect that Kubrick was striving for. Victims of mind control are just these sorts of automatons, stumbling through life blind to the true significance of their actions, lost in the fog of their work-a-day world, mere stringed puppets who believe they control their own destinies. The reason there appears to be no true depth to the characters in Eyes Wide Shut is that their inner depth has been buried beneath layers of mind control. What I believe Kubrick was hinting at, in Eyes Wide Shut, is that we are all mind controlled in one sense or another, sleep walking through our lives with “eyes wide shut”; “Manchurian Candidates” who kill without understanding the true motivations behind their acts. Even Nichole Kidman’s character, Alice, who appears to be complicated, and seemingly multifaceted–a lady of many moods–is in reality a simple caricature who wears many involuntary masks, shedding one for no apparent rhyme or reason, and then donning another for equally vague motivations, unknown even to herself. Each mask is merely a new and different role; each mask an alter ego, with no true relation to the core personality. Ala Gurdjieff, she is a mere meat machine, sleep-walking through her life.
The choice of Cruise and Kidman in these roles is, to say the least, curious. Their emotional depth as actors–throughout their respective careers–has always appeared lacking, in my opinion. I sincerely doubt that either of them were actually perceptive enough to grasp what Kubrick was getting at with this film, which is perhaps just the sort of emotional content–or lack thereof–that the director was looking for from his characters. Eyes wide shut. This emotional complacency, for want of a better term, seems to go hand in hand with the duos involvement in Scientology, in whose members I have always perceived a certain lack of self-awareness. Call it brainwashing, or whatever you wish, this is simply on visceral observation on my part, and should not be construed as a total condemnation of Scientology. In all fairness, the Church of Scientology has long been outspoken about the abuses of MK-ULTRA, as documented often in the pages of their magazine Freedom, not to mention L. Ron Hubbard himself, who during his later years was a quite vocal critic of the CIA, and their involvement in MK-ULTRA shenanigans.
For those unfamiliar with the subtle spectre of secret societies and their peculiar practices, there will be obvious confusion as to why Dr. Bill immediately becomes a marked man just because he happened upon some seemingly harmless kinky scene with a bunch of guys and gals wearing masks, chanting meaningless mumbo-jumbo and humping one another like a pack of dogs in heat; a provocative spectacle, indeed, but certainly not enough to mark a man for death, one would presume. Well, the deeper implication here is that Dr. Bill has become not only an unwitting witness to a sex orgy of Hell Fire Club-like proportions, but more importantly, a witness to Monarch sex programming, and ostensibly a potential threat to National Security if he were to reveal these dire, dreaded secrets, that even he himself doesn’t quite know what to make of.
After his close call with these evil Illuminati-type characters, the plot thickens ever more as Dr. Bill is pursued by his own inner sexual demons–through one sordid scene after another–finally discovering that his wife, Alice, has had a “dream” where she was a participant in a similar Illuminati-styled sex orgy. These memories come to Alice during a “dream”, which in reality appears to be a repressed memory; a “dream” featuring a “Naval Officer” with a penetrating stare, that Alice once saw while on vacation years earlier; a “Naval Officer” who seemingly hypnotized her for a brief instant, as they passed each other in a hotel lobby one day, and since then she had been haunted by the memory of his penetrating stare, so much so that she can’t get it out of her mind. Anyway, it is this “Naval Officer” who enters Alice’s dream like some sort of MK-Incubus, and–after having his way with her–initiates Alice into this aforementioned Illuminati-type sex orgy-nightmare, where she gives herself up to all takers, albeit within a supposed “dream-state”. Here, once again, the student of Monarch lore must exercise their poetic license, connecting the dots and placing into context this veiled allusion to the mysterious “Naval Officer” who “possessed” Alice’s thoughts–in both the sleeping and waking worlds–and from there draw a parallel between the “Naval Officer” to Naval Intelligence, a branch of the Armed Forces that has long been an active participant in MK-ULTRA operations. The Naval Officer in this instance is merely symbolic of a larger hierarchy of mass mind control. On another note, a branch of Scientology–known as “Sea-Orgs”–uses naval-type uniforms in their organization, which is another chilling parallel when taken into context with Cruise and Kidman’s involvement in the church. Perhaps I’m way off course here, but I feel this “coincidence” bears mentioning.
At the end of Eyes Wide Shut –as the credits rolled by–my central thought was: “Who the hell wrote this?” I don’t recall the author’s name now, but the credits said the screenplay was based on a book called Trauma-ville, which I indeed found to be a troubling title, as the main tool used in MK-ULTRA/Monarch mind control is what is known as “trauma based programming”. According to alleged victims of this type of abuse, various types of trauma–both physical and psychological–are used to create disassociated states known as “alters”, or multiple personalities. Alters are a way of splitting off the victim from their core personality, and as a means of self-defense the victims themselves use to escape from the induced trauma, by adopting another personality, or “alter”-ego who is completely unaware of the trauma experienced by the core personality. It is a psychological means of putting on a mask to hide from the awful truth of this type of abuse, and at the same time a calculated result of “trauma based programming”. This explains the significance of the masks that are used in the film during the big sex orgy scene, as the Monarch victims have switched to their sex slave personalities, adopting one of their many programmed “alters”. Through “trauma based programming” a whole host of alters can be purportedly created and induced; alters unknown to the core personality, such as the aforementioned sex slave personality, or “Manchurian Candidate”-type assassins like a Sirhan Sirhan, who commit murder while in an “alter”-ed state of mind, and then afterwards possess no memory of the actual event which has transpired.
Likewise, Eyes Wide Shut is a curious title for this film, for what it suggests is that information is being processed, while simultaneously the conscious mind is deep asleep, totally unaware, subliminally filing this information into the subconscious where it can be used later by the “handlers” of these mind controlled victims. This is similar to what Conspiratologist Michael Anthony Hoffman II calls the “Revelation of the Method” and “The Making Manifest Of All That Is Hidden”, which is the subtle processing of humankind using these insidious tools of trance-formation, whether done individually or on a wide-scale level through television, mass media, and the movies. It is for this reason–some have hinted–that Kubrick met his fate just prior to the completion of Eyes Wide Shut: for ostensibly spilling the beans of what goes on behind the scenes in regards to secret societies and intelligence agencies who use mind control to program the masses. In this context, Kubrick may have been playing a part in ushering in the New World Order of The Illuminati, but to his own misfortune revealed “too much, too soon”, thus a possible reason for his sudden passing. In Hoffman’s Secret Societies and Psychological Warfare, he states that “…the Revelation of the Method has as its chief component, a clown-like, grinning mockery of the victim(s) as a show of power and macabre arrogance. When this is performed in a veiled manner accompanied by certain occult sign and symbolical words and elicits no meaningful response of opposition or resistance from the target(s), it is one of the most efficacious techniques of psychological warfare and mind-rape…”
One of the most memorable scenes from Eyes Wide Shut is when Cruise and Kidman are embracing in front of a mirror, a prelude to sex. According to Monarch researchers, Cisco Wheeler and Fritz Springmeier: “…in programming Monarch slaves, mirrors are used a great deal. Within the Monarch slave’s mind, countless mirror images are made. The slave sees thousands of mirrors everywhere in their mind. Because Marilyn (Monroe) was so stripped of any personal identity, she decorated her house as her mind looked on the inside–full of mirrors. Although other Monarchs may have some desires to decorate with mirrors, Marilyn is the most extreme case I know of filling one’s house full of mirrors…”
In this mirror scene–as Dr. Bill and Alice are engaged in an erotic embrace–Alice twice gazes into the mirror, and her reflection could be interpreted as an expression of either guilt or confusion. In Monarch programming, mirrors have been reportedly employed as a means of triggering alters and causing disassociation, which is my interpretation of this scene: Alice is engaged in what is known in Monarch programming as “switching.” The supposition of Alice as mind control victim explains much of what unfolds throughout the course of the film, as her character is one possessing a great many contradictions, and inexplicable moods. At Ziegler’s party–while dancing with a rich foreign aristocrat–Alice adopts the persona of an intoxicated, flighty airhead. At other times throughout the film she is smart and sophisticated, then alternately cold and cruel; at other times a caring mother, and a devoted wife. After a few hits off a joint, Alice goes on a tirade where she’s becomes both jealous and judgmental of her husband, initiating a heated argument. It is telling that after a toke or two of the killer weed, Alice’s mood shifts so precipitously, as drugs are another well-established tool used in Monarch programming for triggering “alters”. What I’m suggesting here is that Alice is just that, a victim of Monarch programming. When–toward the end of the film–Dr. Bill’s missing mask is discovered upon a pillow next to his sleeping wife, a message has been delivered, clear and simple, that the same Illuminati mind controllers hounding Dr. Bill, have all along had access to his wife, even while she sleeps, deep in the shadowy recesses of her unconscious mind. Whether their eyes are wide open or shut, there can be no escape.