Stanley Kubrick is one of the most fascinating filmmakers to have ever helmed a camera. His work was very meticulous; from the script and initial research all the way to filming and editing, Kubrick would ensure that all of his precise vision not just made it into the film, but that it was composed just the way he wanted. This makes Kubrick films quite unique and by the time the major part of his career took off, he already had defined much of his signature style. Preferring long takes, carefully composed camera angles and increasingly elaborate sets and themes, by the time his career ended with his death in March 1999, Kubrick had created a limited, though unmatched, series of works.
Many reviewers have noted that Kubrick’s works contain not just the obvious plot line, but also hidden and practically subliminal narratives. It was into these carefully crafted and camouflaged story elements into which Kubrick inserted not just a psychological underbelly for his story, but also some daring political themes. In fact, in looking at these hidden themes we can see that Kubrick was very much concerned with politics – he must have thought about it a lot and studied it at length. However, Kubrick was very reclusive – he rarely gave interviews, refused to fly, always filmed in England – huge sets were build to stand in for Vietnam in Full Metal Jacket and for New York City in Eyes Wide Shut – and he also had a secretive production method of not allowing anything released about the movie without his approval. Some would call him a genius artist with a grand vision, while others a would just settle for “control freak.”
Kubrick’s view on power can be seen throughout much of his work: powerful entities are usually dangerous. These can be the Hotel in The Shining, the secret government project in A Clockwork Orange, the war zone in Full Metal Jacket and others. Kubrick repeatedly showed the innocent as small and the evil as much bigger. 2001: A Space Odyssey seems to be an exception to this as it is a story about spiritual ascent, but there is a greater exception here as well: that would be Kubrick himself.
The Exception and The Rub
Kubrick disliked power. His wife, Christine Kubrick, whose uncle actually worked for Goebbels, and who survives him said this in an interview with “The Guardian”: “All Stanley’s life he said, ‘Never, ever go near power. Don’t become friends with anyone who has real power. It’s dangerous.'” Certainly, for one with such an attitude to be somewhat of a recluse is no surprise. Kubrick was also a Jew and there’s the rub – his vision, though unique, was limited.
All of Kubrick’s criticisms of power and imperialism, even themes against the Fiat Money conspiracy, in The Shining seem to end with Anglo ruthlessness, as this quite fascinating review by film analyst Rob Ager shows. Now, as a reviewer, Ager was only analyzing what Kubrick had to communicate, so it is really Kubrick’s fault for conveniently omitting the fact the entire Fiat money scheme is a product of the Jew – from Warburg and Rothschild to the current large bankers like Blankfein and Bernanke, they’re all Jews practicing what is appropriately called “Israelite usury” or “moneychanging” – precisely the type of people that Christ drove out the Temple with a whip – precisely the type of nefarious scheme that Mohammed taught his followers to criminalize and enforce laws against. Precisely the type of thing that Hitler took political action against in the 1930s. Kubrick sees the crime, but not the true perpetrator. And he definitely doesn’t see the remedy. Or perhaps he is denial as he never pointed out the intrinsically immoral aspects of the Talmud and Zionist beliefs that all people, other than their exclusive elite, are “goyim” – meaning “cattle” that can be rightfully exploited to serve Jews.
Jonny53 even mentions the Devil as being present in the form of Lloyd the barman, yet what is “the Devil?” Why, it’s Yahweh – the Jewish idol who is described as having “two monstrous serpents below the torso – and wielding a whip.” This is precisely what Tolkien pointed out in The Lord of the Rings with the Balrog and the Dark Lord Sauron who both bear many similarities to Baphomet who just happens to be a spot on description of Yahweh.
In A Clockwork Orange, which aforementioned film writer Ager also reviewed at length, Kubrick even shows us the “evil Nazis” and this is perhaps the clearest example of his limited vision – he cannot see the National Socialists from Germany as anything but pure evil. Ager interprets that Kubrick actually saw them as puppets to some greater sinister forces, but then why after such keen observation and thorough research that Kubrick always put into a project, doesn’t he see that Hitler actually then broke free from the scheming finances of the International Jew? Why doesn’t he see that Hitler’s grandest achievement of making Germany economically self-sufficient was precisely the reason why Judea actually declared war on Germany and not the other way around? The reason is painfully simple: Kubrick was a “clockwork orange” himself. He was a limited exception to the typical sheeple types as he was clearly much brighter and more inquisitive, to a degree. However, as far as the mainstream paradigm is concerned, he was still a prisoner – just because you stick your arm through the prison bars, doesn’t mean you’re out.
Consider the Ludovico Treatment sequence in A Clockwork Orange: the protagonist, Alex, is given a nausea-inducing serum and is then shown a movie montage of violence. This is meant to make him associate his ill-feeling with the violence so as to reform him from his previous reckless and criminal activities. The sequence includes prominent National Socialist imagery of an NS rally at Nuremberg and Alex screams in terror and/or pain when a close-up of the Swastika finally appears. Ager claims that Alex is realizing his own vicious nature, yet it makes much more sense to think that Alex is being conditioned against National Socialism. This sequence is actually much more applicable to reality as a satire on the Jewish owned mainstream media that ever spouts their favorite bit of horror fiction: the “Holocaust” and “evil Nazis.” If you’re sick of being fed the same old regurgitated cud then you are not alone, but you must realize it for what it is and leave the herd – will yourself out of the paradigm prison.
Predictably, Kubrick was a believer in the Holocaust myth and actually had a project in the works called Aryan Papers that he abandoned after the release of Steven Spielberg’s Zionist propaganda piece Schindler’s List. Quick to believe the mainstream lies on the Third Reich, yet totally ignorant (or in denial) to the truth about the racism of Judaism, which is the one truly race and biology obsessed system of twisted beliefs and not Hitler’s National Socialism, which was based on folkism.
Despising versus Mistrusting
This is another one of Kubrick’s faults when it comes to the established power paradigm. He may have kept his distance and repeatedly shown that it is dangerous, yet he never seemed to offer a solution. This is because Kubrick simply mistrusted those in power and thus lived by a libertarian/anti-statist set of values. He mistrusted power, since the only power he knew was the corrupt ways of Jewry – he was a paradigm prisoner.
Kubrick’s own thoughts about A Clockwork Orange were:
“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.”
This basically means that Kubrick is completely blind to, and ignorant of, Aryan nobility and ideals.
Michael Herr, with whom Kubrick collaborated on Full Metal Jacket, wrote in his memoir:
“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.”
And this essentially boils down to the certainty that Kubrick was a paradigm prisoner, though he we was ironically ignorant of his predicament. He was his own breed of Lone Wolf, a survivalist that likes a world where he makes all of his own rules and has no duties other than to himself. He may have disapproved of tribalism and elitism, but the Lone Wolf is essentially a self-tribalist, thus does not speak out against or offer solutions to those problems and schemes of exploitation. Kubrick did just that, he painted an image of perpetual trouble, while lacking the radicalism to implement genuine solutions, which can only be done by those who truly despise the tribalism and elitism and Zionism.
This bit of merely not trusting makes Kubrick a contributor to a key of Jewish propaganda: the treadmill with no-purpose or a “goy wheel.” Comic book superheroes are a Jewish invention (e.g. – Superman fights Lex Luthor, whose name literally means “Law of Luthor” since Martin Luther proposed laws to keep Jews from running their schemes) and these heroes persistently fight evil, yet they never end it. There is always another issue or episode or sequel and the fight continues with no end in sight. Jews in real life engineer a very similar playing field that these heroes are essentially imprisoned in as part of their own aimless struggle just like the people they “protect.” They’re all just stuck in a loop of fight and keep fighting, but never actually realize any ideals – a spinning goy wheel. Kubrick’s pessimistic view of mankind was much like this: he mistrusted mankind, so he retreated to his own personal mansion after acquiring enough money to live a secluded life, and then went on to make movies about how largely hopeless the struggle for mankind to improve is. He was trapped in his own goy wheel, though, he must have thought that by removing himself from the mainstream he was somehow “free.”
The film 2001 may initially appear as an exception to this, as it clearly has a story arc of spiritual ascension, but it also has a clear lack of Aryanism and Kampf: there is a theme of overarching fate. The humans don’t ascend via their own hard work and struggle, it just sort of happens because some sophisticated alien being(s) decide to contact us and nudge us along. With 2001 Kubrick repeated his notion that man is just an “ignoble savage” but apparently we don’t have anything to worry about as some divine-looking entity will save us! Despite that it is a well made movie, a serious ground-breaker for its time on a technical level, but the story just reeks of what Carl Sagan had to say about the Cosmos.
Stepping on Toes
Each one of Kubrick’s films from Dr. Strangelove and on seemed to be another jab the World elitist power structure in one way or another. This culminated with the 1999 film Eyes Wide Shut which shows a secret society, that is said to consist of socially powerful people, to be a decadent orgy that even gets away with murder. Four days after he presented the film to studio executives, Kubrick died of a heart attack in his sleep and the film was subsequently re-edited out of his hands before being released. Kubrick was 70 at that point and theories abound as to the exact reasons for his death. Was he finally compromising the boundaries of the forced and false paradigm? Or did the elitists finally have enough of his constant prodding? Or maybe he just died naturally? Certainly a heart attack at that age isn’t anything unusual given Man’s overall state-of-being these days, but neither is lethal subversion by Zionist scum who will readily kill their own to perpetuate their parasitism.