Yes, I know. I’ve used images from Breaking Bad as title cards for a post about Eyes Wide Shut.
And you know what? I’m going to use a few more (because I’ve mentioned in Parts 1 and 2 of this series how many of the themes in Stanley Kubrick’s films appear in other works, and I figured a visual representation might be better than just saying it).
Now, on its own this image might seem fairly innocuous. Just a guy complaining about highway congestion trying to meet his wife at the doctor’s office.
However, taken in context of previous symbolism we’ve seen in Breaking Bad about the Apollo space program, I present to you exhibit A – Footage from NASA’s STS-75 tether “incident” in 1996 (you can click the image to view the entire film):
That sure seems like a lot of “traffic”, but not on earth. And if you examine the frame previous to the mention of “traffic” in Breaking Bad – the imagery in the doctor’s office does seem to suggest “space ships/travel” and possibly a “moon” light source, along with a doctor whose hairstyle could be interpreted to represent a “large headed” alien:
So, getting back to Eyes Wide Shut though. In part 2 of this series, I suggested the opening sequence in Dr. Bill and Alice’s residence was Kubrick’s way of “introducing” us to the players in this drama through visual symbolism.
And the ones we met so far were – 9/11, secret “clubs” or societies, and aliens were also hinted at. Taking it frame by frame though, before we see or are introduced to the “little green men”, there’s a couple more ideas I think are being communicated.
Of course, there’s much symbolism in the 30 seconds after Cruise walks away from the window, however I would propose the next “player” or idea being discussed is religion. As you can see in each of these 4 frames, Cruise has his head in “bowed” or prayer posture in all of them.
There also appears to be different religious symbolism in each frame with a “prayer rug” near the window he walked away from, and shoe symbolism again. This time though, I think representing how people take their shoes off before entering a mosque (and who the attacks will be pinned on).
The next frame has him in front of what could be imagined as a menorah. This frame is also highly interesting for another reason. The painting you see behind the “menorah” will be switched out with quite a different one after Bill and Alice return from the “party” (which I will try to interpret when that scene comes up).
And then Cruise proceeds to a bedside table where there appears to be a book similar to a Bible and of course there is the well-known Christian prayer, “Now I lay me down to sleep”.
So, I think it’s safe to say we can add religion as another player in our drama along with 9/11 and secret clubs.
I also feel this last interaction in the bathroom serves multiple roles here and begins the introduction to the next “actor” in our play. Unfortunately, I think the “bathroom” is the right setting for this meeting since this is the character of “pedophilia” I’ve mentioned previously.
If you looked through my blog post about symbolism in The Shining, I noted one of the techniques I felt Kubrick used to communicate this idea was through exaggerated differences in height between actors, and we seem to have that again here in the restroom.
This is also another case where I feel on the backwards/forwards superimposed edit, the credits serve to reinforce or draw attention to what is being communicated. As you can see, the name Leelee Sobieski is featured prominently right in the middle of the action and she is the actress who stars in the scene at the costume shop involving underage sex.
Now, to call back to a couple things already mentioned in parts 1 and 2. One was how “plant” or “little green men” symbolism is reused or recurs throughout the film. It also appears “packages” being delivered or dropped off is another recurring image.
The second thing I want to call back to, if you remember my interpretation for the color of the Volkswagen Beetle being changed from red to yellow in The Shining, I believe that was done for reasons additional to explaining actual space exploration events.
Those reasons, or that story, I believe becomes apparent on viewing the backwards/forwards superimposed edit of the scene where the red Volkswagen has been involved in an accident on the highway. The details I may get into in an analysis of The Shining, the short of it has to do with blackmail.
And so, when we see Dr. Bill in Eyes Wide Shut and the recurring symbolism of “packages”, I feel the images suggest Kubrick has multiple “packages” to deliver in his effort to prevent 9/11 – one dealing with aliens and the moon, and another involving underage sex.
As you can see, when the superimposed forwards/backwards edit is placed next to the original edit in scenes where Dr. Bill has a “package” to deliver, he’s talking to Nick Nightingale in the piano bar. And I mentioned in part 1 that conversation seemed to be in code about space travel.
You even have the table lighting resembling a “moon” appear directly on top of the package, strongly suggesting “this package contains moon information”. And the other scenes that show up superimposed during package deliveries are the scenes with a woman whose clothing and apartment are filled with Russian and Asian symbolism. There’s one though that stands out.
Now, if you are familiar with the story surrounding “Pizzagate” or “Pedogate”, you’re probably aware most of the accusations involve high level politicians on the Democratic side. And when we view the superimposed backwards/forwards edit of EWS it’s interesting an actress who resembles Hilary Clinton appears in the images when certain “packages” are delivered
Makes you wonder how the whole Pizzagate/Pedogate originated? Do its roots go all the way back prior to 9/11 with evidence Kubrick distributed as part of his struggle to prevent that atrocity?
Also, interesting is the accusations of pedophilia have been swirling around the Podesta brothers in the Democratic party, and as I mentioned Kubrick seemed to get in big trouble for what he included in The Shining – possibly because he used actors that resembled them as he seems to have cast actors that resemble Hilary and Bill Clinton in Eyes Wide Shut?
Obviously, there is much, much more to this than can be laid out in an introductory section. So, those stories will be explored as the scenes dealing with them come up, and for now we will move on to meeting the next actor in our drama – aliens!
I know I keep promising a collage of “plants” and “little green men”, but you’re also getting walruses too dammit – whether you like it or not.
Joking aside, the first image pictured from Full Metal Jacket I believe contains some serious business about underground bases and the real space program I think Kubrick revealed after being upset over being put in “directors jail” after The Shining. (The rest of the movies you see pictured are Reservoir Dogs (1992), Tusk (2014), Predator (1987), Ace Ventura (1994), and Oceans 11 (2001)).
We’ll probably get into that in separate section though because we’re going to have to look in depth at the movie Contact at the same time, but I do want to talk now about some of what I feel is alien imagery in Full Metal Jacket because it relates to Kubrick’s “packages” in Eyes Wide Shut. And of course, when you’re talking about “little green men” symbolism, marines do a good job for that.
OK. Here you go. Finally. Totally anti-climactic and not worth the buildup. But here’s your collage of little green men or plants from Eyes Wide Shut. I do want to comment on a few of these individually, however I also want to back up to the introduction sequence in the Harford’s residence for a moment.
Obviously, there’s ton of Christmas trees throughout the film, but these are all shots of plants or shrubs that are not Christmas trees. This is also not every frame featuring a plant, but enough I think the idea is communicated like with the NFL logos in Jackie Brown.
What I think is significant though, as with the “package” collage, is when these “plant” frames are viewed next to the corresponding superimposed edit it always appears to be a scene involving aliens. Of course, there’s Nick Nightingale again at the piano bar with the “coded” conversation, and the pool table again with the “flying saucer” shaped lights.
And what this symbolism seems to suggest is the entire orgy sequence is not only about sex, but aliens as well. You can also see the arm body language resembling airplane wings in one of the stills and here’s a couple more from later on that I promised. This arm posture could be serving dual roles again referring to not only the airliners involved in 9/11, but the real space ship program many suspect the black triangle sightings are associated with.
The orgy scene is also way too much to get into here, but some symbolism I found fascinating was how the camera in that scene “circles” around the participants suggesting a moon and orbiting, and the pounding of the staff on the ground could be referring to the experiments when the moon apparently “rang like a bell” when lunar modules were deliberately crashed into it.
All right. So, I said I wanted to go back to the intro sequence and point out a couple things and then also try to tie in some of what I perceived as alien symbolism in Full Metal Jacket.
As you can see when Cruise asks Kidman what the babysitter’s name is, she answers “Roz”. Well, if the “babysitter” is aliens then Roz makes sense as being short for Roswell. And I suspect the scene in the costume shop later on contains much information about Roswell, aliens, and the goings on there. So, I will save that conversation for then.
However, I think one of the keys Kubrick uses to indicate when the scene is discussing involvement with the military (US and others) is when Dr. Bill shows the photo identification in his wallet – at the costume shop and later on in the diner scene when he’s trying to deliver a package (and again at the hospital with the dead beauty queen). There’s even mention of his wallet in the dialogue of the opening scene with, “Have you seen my wallet?”
Now, so far, this analysis has only included movie and film symbolism. However, I strongly suspect there is additional information related to all this in other expressive mediums such as books, music, and paintings. And one of the books I would highly recommend, and will probably discuss alongside the costume shop scene, is Ingo Swann’s Penetration as he was employed by the military as a remote viewer.
Actually, Ingo Swann is considered the “father” of remote viewing as he designed the protocols – and the images on the book cover are quite interesting in addition to the story behind the trouble getting it published.
A last comment about the image with the “Roz” dialogue and babysitter, is what I felt could possibly be symbolism pertaining to Close Encounters of the 3rd Kind with the 3 overhead lights. The cat painting, I feel is also interesting if you are familiar with how cats were considered “magical” creatures in ancient Egypt and stories about aliens often feature “magical” acts of things materializing/dematerializing. You can also read about this phenomenon happening to Uri Geller and Andrija Puharich in the book Uri.
Speaking of materializing/dematerializing objects, I also happen to think the scene with the jelly donut in Full Metal Jacket is referring to this effect associated with aliens (this phenomenon may also tie in with the black triangles and their mode of transport).
In fact, similarly to how in Part 1 it was mentioned Forrest Gump can be re-watched keeping in mind Forrest is the genius, and with Splash that mermaid could be code for alien, I have strong suspicion the marines going through boot camp at the beginning of Full Metal Jacket might represent attempts by the military to “weaponize” aliens. (I don’t think it went too well either judging by these screenshots).
Here’s another screenshot I think is interesting keeping in mind this idea of “weaponized aliens”. According to trivia for Full Metal Jacket, Kubrick wanted Vincent D’Onofrio as big as possible for the role of Lawrence, AKA“Gomer Pyle”. The obvious reason was to visually show how he didn’t fit in with everyone else, but it’s possible another reason was to imply there were aliens of all different shapes and sizes (and temperaments) on the moon.
The superimposed edit seems to support this concept as you have Lawrence/Gomer Pyle towering over a couple of marines who are crouched down. The terrain beneath both of them could also be interpreted as the surface of the moon. Additionally, Lawrence/Gomer Pyle appears to have powers of invisibility as also portrayed in the movie Predator.
This analysis is about Eyes Wide Shut, so I don’t want to stray too far into looking through FMJ right now. However, I did already mention I thought there was symbolism in it pertaining to the secret underground bases used for space missions. I also already mentioned it seemed dates for important events in space exploration lagged behind, if reported at all.
So, in the above photo, I would also guess the red and yellow sign you see next to marines with a list of dates before the alleged landing for Apollo 11 on July 24, 1969 also relate to when important events in space travel actually transpired (And I think the soldier holding a flag that resembles a “planting it in the ground action” also supports this notion).
OK. I think that about wraps up this part though. So, I’ll close it out with a couple more photos from FMJ suggesting aliens of all different sizes and temperaments:
This post had been about introductions to the characters or players in this drama. The ones mentioned were 9/11, Secret Societies, Religion, Pedophilia, and Aliens. In putting together Part 4 I noticed there was one more player that I was kind of lumping in with aliens, but the Apollo footage probably deserves a separate introduction because I think it gets covered extensively as represented by the AV rack you see below. Also interesting is “Second Unit” credits appear on the superimposed edit implying “First Unit”, or real Moon footage, is not available to the public.