Showing posts with label Alex Fulton. Show all posts
Showing posts with label Alex Fulton. Show all posts

Monday, November 19, 2018

Cryptokubrology: Syncing Deaths

Cryptokubrology can sometimes overtake events. It appears obituaries are doing just that in recent days.



As I have noted before...
Cryptokubrology has been defined as "digging through the works of Stanley Kubrick on the premise that its body is a muted mass of coded cabalistic ministrations comparable (in scope) to the works of William Shakespeare, but incomparable (in complexity) to anything in recorded history. In fact, Cryptokubrology has led to an entirely different view of so-called 'history' itself." Source.

Cryptokubrology: "A useful methodology for deconstructing cinema, history, and synchronicity." ~ says Alex Fulton, January 31, 2017.

In November 2018, I and others, including Alex Fulton and Media Monarchy, began to notice the deaths of individuals linked to Stanley Kubrick and/or his films.

The first big obituary we all started exchanging notes about was of Douglas Rain. He died at the age of 90, on November 11, 2018.

Rain, who was a founding member of the Stratford (Shakespearan) Festival of Canada in 1953 and was a stage actor until 1998, will be remembered for his association with Kubrick. Rain provided the voice of the HAL 9000 computer for the film 2001: A Space Odyssey (1968) and its sequel, 2010: The Year We Make Contact (1984).


Then the death of Stan Lee happened the next day. Stan Lee (born Stanley Martin Lieber, December 28, 1922), the iconic cofounder (with Jack Kirby) of the Marvel Universe, died at the age of 95, on November 12, 2018.

Alex Fulton passed along a graph of the relationship of dates between Lee and Kubrick.


Fulton pointed out that Stan Lee was born exactly 2037 days before Stanley Kubrick was born and died in the 237th month after Kubrick died, the day after Douglas Rain who voiced HAL died. Cryptokubrology was visiting the dying.


Within four days, word came that another "Kubrick alumni has passed in the 237th month since Kubrick's death — RIP Pablo Ferro (1/15/35 - 11/16/18)," shared Alex Fulton on social media. Ferro was 83.


Pablo Ferro was an American graphic designer, film titles designer, and founder of Pablo Ferro Films, who had been born January 15, 1935, in Antilla, Cuba. He had created the powerful and influential title designs in Kubrick films Dr. Strangelove and A Clockwork Orange, as well as others, such as Being There, Bullit, and The Thomas Crown Affair.

The same day that Ferro died, another prominent figure in films passed away. William Goldman, born in Chicago on August 12, 1931, died at the age of 87, November 16, 2018.


Goldman was an American novelist, playwright, and screenwriter, and won two Oscars for Butch Cassidy and the Sundance Kid (1969) and again for All the President's Men (1976). He is also recalled for Marathon Man, Wild Card, and The Princess Bride.

Goldman's book Which Lie Did I Tell? mentions:
I once met Stanley Kubrick and we got to talking about what he hoped he would do next (alas). Napoleon, he said. I asked what part and this was his reply: "Everything. I want to do the whole sweep of a man's life."
Problem: movies don't do that well.
I would love to know how Kubrick would have attacked the problem.
Stanley Kubrick, the revolutionary, uncompromising movie director, died in his home outside London early Sunday morning, March 7, 1999. He was 70. He only made 13 films in his life. He delivered Eyes Wide Shut right before he died suddenly.




Alex Fulton shares another tidbit:

Eyes Wide Shut released on the 30th anniversary of the Apollo 11 moon landing and the same day JFK Jr. died—this was exactly 15300 + 153 + 153 days after the Burning Secret script date. What was Kubrick's burning secret?


This all brings me to nearly 11.22.18. Who might be the next "Kubrick" alumni to make a big sad impact on Hollywood?

It could be anyone. But this name came to mind. As well as another.


Douglas Huntley Trumbull (born April 8, 1942) is an American film director, special effects supervisor, and inventor. He contributed to, or was responsible for, the special photographic effects of 2001: A Space Odyssey, Close Encounters of the Third Kind, Star Trek: The Motion Picture, Blade Runner and The Tree of Life, and directed the movies Silent Running and Brainstorm. He is the son of Donald Trumbull (May 27, 1909 – June 7, 2004) who created visual effects for the 1939 movie The Wizard of Oz as well as later movies including Silent Running and Star Wars.

Producer James B. Harris, who turned 90, on August 3, 2018, produced the early major Kubrick films - The Killing, Paths of Glory, and Lolita.

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Nicolas Roeg






On November 24, 2018, we heard about the death of Nicolas Roeg. 





Nicolas Jack Roeg (born August 15, 1928), died on November 23, 2018. He was an English director and cinematographer, best known for directing Performance (1970), Walkabout (1971), Don't Look Now (1973), The Man Who Fell to Earth (1976), Bad Timing (1980), and The Witches (1990).

Bernardo Bertolucci

Another great director, writer, filmmaker has left us in the 237th month since Stanley Kubrick's death—Bernardo Bertolucci (March 16, 1941 – November 26, 2018). The Last Emperor, The Dreamers, The Conformist, more. R.I.P.





Samuel Hadida

Samuel Hadida, with over 70 producing credits including the Resident Evil franchise, dies unexpectedly at 64, in Santa Monica, on November 27, 2018.

Hadida, his brother & father are cofounders/coowners of Metropolitan FilmExport (American indie distributor). 





Born in Morocco, Hadida and his brother Victor have been credited with bringing popular American movies such as Quentin Tarantino’s Reservoir Dogs, David Fincher’s Seven and martial-arts pics starring Jean-Claude Van Damme to French theaters in the 1990s. Hadida was also well-known for his collaboration with Tony Scott on True Romance and Domino, with Constantin Film on the Resident Evil franchise and with Christophe Gans on Silent Hill.

Please note Samuel Hadida was the lead producer of the reboot of The Crow, allegedly starrring Jason Momoa (Game of Thrones, Aquaman) - although rumors are Momoa has withdrawn from the project. Sony announced on 11/18/18 that they’ve set the new Crow movie release for 10/11/19. Hadida died suddenly on 11/27/18. 













Other Cryptokubrology Links:































Monday, December 25, 2017

Merry Cryptokubrology Christmas


Did Stanley Kubrick (July 26, 1928 – March 7, 1999) make a Christmas film?

Students of Kubrick clearly agree that he did. The one movie generally considered to be his "Christmas masterpiece" is Eyes Wide Shut


Film critic Roger Ebert wrote on July 19, 1999, that the Eyes Wide Shut was shoot "in a grainy high-contrast style, using lots of back-lighting, underlighting and strong primary colors, setting the film at Christmas to take advantage of the holiday lights, he makes it all a little garish, like an urban sideshow."

On March 7, 1999, six days after screening a final cut of Eyes Wide Shut for his family and the stars, Kubrick died in his sleep at the age of 70, after suffering a massive heart attack.

If Eyes Wide Shut is about the Illuminati, it makes sense that Kubrick would utilize Christmas lights to "illuminate" his film.


Mainstream analysts have tried to wrestle with the Christmas setting of Eyes Wide Shut.
In addition to relocating the story from Vienna in the 1900s to New York City in the 1990s, Kubrick changed the time-frame of Schnitzler's story from Mardi Gras to Christmas. One critic believed Kubrick did this because of the rejuvenating symbolism of Christmas. Others have noted that Christmas lights allow Kubrick to employ some of his distinct methods of shooting including using source location lighting, as he did in Barry Lyndon. The New York Times noted that the film "gives an otherworldly radiance and personality to Christmas lights", and critic Randy Rasmussen noted that "colorful Christmas lights ... illuminate almost every location in the film." Harper's film critic, Lee Siegel, believes the film's recurring motif is the Christmas tree, because it symbolizes the way that "Compared with the everyday reality of sex and emotion, our fantasies of gratification are, yes, pompous and solemn in the extreme ... For desire is like Christmas: it always promises more than it delivers." Author Tim Kreider noted that the "Satanic" mansion-party at Somerton is the only set in the film without a Christmas tree, stating "Almost every set is suffused with the dreamlike, hazy glow of colored lights and tinsel ... Eyes Wide Shut, though it was released in summer, was the Christmas movie of 1999." Noting that Kubrick has shown viewers the dark side of Christmas consumerism, Louise Kaplan stated that the film illustrates ways that the "material reality of money" is shown replacing the spiritual values of Christmas, charity and compassion. While virtually every scene has a Christmas tree, there is "no Christmas music or cheery Christmas spirit." Critic Alonso Duralde, in his book Have Yourself a Movie Little Christmas, categorized the film as a "Christmas movie for grownups" (as he also did with Bergman's Fanny and Alexander and The Lion in Winter), arguing that "Christmas weaves its way through the film from start to finish". Source.

But, wait, there may be more...

In 2012, Tony Sokol ("Den of Geek) reviewed Kubrick's The Shining (1980), and began by frankly stating "Yes, it's a Christmas movie."

Sokol re-imagined The Shining as a Christmas parable. It makes sense in various examples he gave, such as, "The head cook at the hotel, Dick Hallorann, notices that Danny shines like the Star of Bethlehem."

And, "Dick Hallorran, representative of the Zoroastrian Magi, who became extinct after the rise of Christianity, sees the call of Danny’s shining star and cuts his holiday vacation short just in time to be dispatched by Jack, who hobbles off to spread his cheer with his son in the massive property’s hedge maze. The Scroogey father dawdles too long in the snow and becomes a Jack Frost lawn ornament."

Someone reads the synchromystic musings here. 

"Just call me Roob" penned her thoughts in "Riding Stanley Kubrick."





She wrote (3/20/2017): 
Feeling a little poorly on Saturday evening, I went to bed and watched the movie, Passengers....One thing, though, that I did find interesting was the inclusion of The Shining’s Gold Room.
I supposed it was done on purpose, as an homage to Stanley Kubrick, a fact that was confirmed yesterday when I happened across a post on the subject at Twilight Language. The post also brings up the odd coincidence that Michael Sheen’s (Arthur, the android bartender on the Avalon) father earns a living as a looky-likey for Jack Nicholson.
The blog writer quoted me from a TL passage:
Via Twitter, I bemoaned to Alex Fulton at Crypto-Kubrology Twitter that "modern Cryptokubrology is frustrating when Shining scenes are in new films w/out sync-reasoning."
To which Fulton replied that "modern films w/ 237s inserted… hard not to assume the filmmakers just being clever. Pre-Shining 237s are where it gets weird."
You can see this post-Kubrick/Shining mentioning in Stand By Me, a 1986 film based on a Stephen King story, as was The Shining (1980).  In Stand By Me there is a scene when the boys' total change adds up to $2.37.

"Just call me Roob" mentions one older Christmas movie which includes a "237," namely The Shop Around the Corner (1940). ("Roob" made some other synchrocinematic connections, and you can read her stream of consciousness links here.)

Many of us have seen this Cryptokubrology sync to The Shining, coming before The Shining, previously.

I was reminded of The Shop Around the Corner on Christmas Eve 2017, when TCM broadcast In the Good Old Summertime, which, believe it or not, is a Christmas movie.



Definitely a Christmas movie.

The Shop Around the Corner is a 1940 American romantic comedy film produced and directed by Ernst Lubitsch and starring Margaret Sullavan, James Stewart and Frank Morgan. The screenplay was written by Samson Raphaelson based on the 1937 Hungarian play Parfumerie by Miklós László. Eschewing regional politics in the years leading up to World War II, the film is about two employees at a leathergoods shop in Budapest who can barely stand each other, not realizing they're falling in love as anonymous correspondents through their letters, as noted in Wikipedia.



Fans of Cryptokubrology realize what postal mailbox number is the focus of The Shop Around the Corner.  Of course, it is P. O. Box 237.


Now, as to the film that played on cable on December 24th...



In the Good Old Summertime is a 1949 Technicolor musical film directed by Robert Z. Leonard. It stars Judy Garland, Van Johnson and S.Z. Sakall. The film is a musical adaptation of the 1940 film, The Shop Around the Corner.

Veronica Fisher (Judy Garland) enters Oberkugen's music shop, looking for work. Although Otto Oberkugen (S. Z. Sakall) is reluctant to take on more staff, she wins a job by persuading a wealthy matron, through her singing and musical expertise, to buy a harp at almost $25 over Oberkugen's list price. Neither she nor Andrew Larkin (Van Johnson), the shop's senior salesman, suspects that they are each other's anonymous pen pal. They bicker constantly at work although becoming increasingly attracted to each other.

And what P.O. Box is mentioned in In the Good Old Summertime? Box 237!

Andrew Delby Larkin (Van Johnson): Oh, Veronica, I love you so! Won't you open box 237 and take me out of my envelope? 
Veronica Fisher (Judy Garland): Box 23- Box 237! You mean... You?
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These two movies - The Shop Around the Corner and In the Good Old Summertime - have another sync that ties to Eyes Wide Shut. In Max Malone's analysis (noted above), Eyes Wide Shut is seen as having many ties to The Wizard of Oz and Through The Looking Glass. This is evidenced by the many mirrors and the Rainbow shop in Eyes Wide Shut.

Here's where it begins to get synchrocinematically intriguing.





Frank Morgan played Professor Marvel, The Wizard, Doorman, Cabbie and Guard in The Wizard of Oz (1940), and then showed up as Mr. Hugo Matuschek in The Shop Around the Corner (1949).

Judy Garland played Dorothy Gale in The Wizard of Oz (1939) and then as Veronica Fisher ten years later in In the Good Old Summertime (1949).



Are we over the rainbow?






A scene from Eyes Wide Shut
So what is the Rainbow? And how does it relate to The Shining? For one the Rainbow's proprietor Milich resembles Jack Nicholson, with a similar hairline and expressive acting style. He’s even wearing a bathrobe and plaid flannel shirt. Perhaps Milich is an analog to Jack after 20 years or so as entertainment director of the Overlook Hotel. Like the Overlook, the Rainbow teleports in and out of reality, seems to grow in size once entered, and offers impossible vistas. The Rainbow is also a site of sexual depravity, with Milich’s daughter being the pedophiles’ target much like Danny. The Rainbow, like a hotel, is also a rental business. For a price, one can temporarily access realities greater than afforded one’s basic financial situation. For Cruise, the Rainbow’s costume rental allows him, if only for a moment, into the secret lair of the elite, just like Jack’s five-month tenure at the Overlook allows him to act like king of the mountain in a grand, fantastical palace. At the end of the night, Milich absolves Cruise of his debt by tearing up his receipt, but what has been seen cannot be unseen, as his missing mask will surely remind him when uncovered. Source.


Other Cryptokubrology Essays

















Saturday, March 18, 2017

Cryptokubrology: Two Jacks






The 2016 movie Passengers, directed by Morten Tyldum and written by Jon Spaihts, contains a segment that gives a huge nod to Stanley Kubrick's 1980 film The Shining, which was inspired by Stephen King's novel of the same name. 



It was the Gold Room bar scene.



You remember it? Jack Nicholson plays Jack Torrance who is being waited on by Joe Turkel, who plays the bartender Lloyd. Lloyd also gives Jack advice.

In Passengers, Michael Sheen plays the bartender Arthur, who serves Chris Pratt, who plays Jim Preston, with drinks and counsel.



Jack Nicholson was born on April 22, 1937.

Ten years earlier, Joe Turkel was born on July 15, 1927.

Turkel is best known for his roles as Lloyd, the ghostly bartender, in The Shining (1980), and Dr. Eldon Tyrell in Blade Runner (1982).

Christopher Michael Pratt was born on June 21, 1979.

Michael Christopher Sheen, who plays Arthur, in a mirror like fashion, was born ten years earlier than Chris Pratt, on February 5, 1969.

Clearly, Passengers direct Morten Tyldum set up the scene to replicate (no Blade Runner pun intended) the scene from The Shining.

But there appears to be at least one level deeper to this than anyone knew about.

Michael Sheen's father Meyrick Sheen, who is about 76, has worked worldwide, late in life, as a Jack Nicholson impersonator.










Michael Sheen (right) with his father Meyrick and his mother Irene (née Thomas), are from Wales.



Jack Nicholson (above and below)


Meyrick Sheen.





Cryptokubrology: "A useful methodology for deconstructing cinema, history, and synchronicity." ~ says Alex Fulton, January 31, 2017.

Cryptokubrology has been defined as "digging through the works of Stanley Kubrick on the premise that its body is a muted mass of coded cabalistic ministrations comparable (in scope) to the works of William Shakespeare, but incomparable (in complexity) to anything in recorded history. In fact, Cryptokubrology has led to an entirely different view of so-called 'history' itself." Source.



Via Twitter, I bemoaned to Alex Fulton at Crypto-Kubrology Twitter that "modern Cryptokubrology is frustrating when Shining scenes are in new films w/out sync-reasoning."

To which Fulton replied that "modern films w/ 237s inserted... hard not to assume the filmmakers just being clever. Pre-Shining 237s are where it gets weird."

When I began looking at the less than subtle, entirely created syncs between Passengers and The Shining, there did not seem to be anything there to see. After all, director Morten Tyldum admired Stanley Kubrick and so he manufactured the bar scenes to reflect the bar scenes in The Shining.

Tyldum places other tributes (often nowadays called "Easter Eggs") in Passengers to link his film rather obviously to Kubrick's 2001 (think running around a circle going up) and to Gravity (the tether drama).



There are also directly overt items tied to 1959's Sleeping Beauty (Princess Aurora, not to mention what I've written about the name Aurora on this blog), 1992's Aladdin (space walk = magic carpet ride), 1997's Titanic (Leonardo DiCaprio's Jack), and others.

After I saw Passengers, recently, I did more research and found this segment of an interview with the Norwegian director about Passengers.

Can we talk about your apparent love for Kubrick because when I watched Passengers I could tell that Kubrick was a huge influence. Was Passengers the film where you thought to yourself: I have this big Kubrickian itch I have to scratch and this is my opportunity?Definitely. [laughs] There’s a few Easter eggs for Kubrick fans where they can see very specific set elements from at least three Kubrick movies. I said, “I want, not just to be inspired by it, but I want THAT.” These specific things will be popping up in my movie so people can find it for themselves.
In every Kubrick movie, the set and surrounding are like a character in itself. The Shining, of course, is a big example but also in 2001 [with] the space station. Every detail in the sets is such an important part of the story. I felt that the spaceship Avalon is a character in itself. The way that Kubrick treats the sets and how the character is put in its surroundings is something I was very inspired by when I was doing Passengers. It felt very natural to do a literal tribute to him. It’s also fun because our production designer (Guy Hendrix Dyas) is also a big Kubrick fan and it was fun to put those little Easter eggs in there and sprinkle them in the movie.
Can I ask what the third Kubrick movie is?Nope!
Sure, there's another Kubrick created "egg" in there. But I found more.

The deeper Michael Sheen -> Meyrick Sheen -> Jack Nicholson overlap was a complete surprise to me. It might be such a subtle one that only certain Kubrick scholars and the Sheen family have reflected on it.

For the reader, I hope you find these "two Jacks" a unique (minor) discovery, as this science of Cryptokubrology establishes itself.

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UPDATES



A couple notes:
Very interestingly, Chris Pratt's birthday of 6/21/79 came exactly one day (24 hrs) before the general release of Alien, which is the film from which the 2037 screenshot in my Twitter banner was taken.
Jack Nicholson was born on 4/22/37... which you can spread out to find 42 - 237.
From Nicholson's birthday to the birthday of Michael Sheen, who plays the Lloyd-copy, is exactly 1659 weeks.
1659 = 237 x 7
Nicholson was born 42 years, 2 months before Chris Pratt & the general release of Alien.
& on and on it goes!
I have yet to see Passengers, but these C-K studies have proven to me that much of these strange connectors are entirely subliminal... the filmmakers may know they are referencing Kubrick, but may not truly understand WHY they are doing so, or how deeply the connections run. Kubrick has somehow subliminally affected the entire history of cinema, backwards & forwards. Maybe History too...
Best,
Alex Fulton

Bonjour. 
Frozen journey, by P.K. Dick (I hope I shall arrive soon).Frozen/JackRemember the number of Aurora's room and the use of an axe to destroy a door !JP