by Richard Boylan, Ph.D.
The following information was disclosed to me by a reliable
confidential informant, who previously worked on contract for the
National Security Agency, and maintains connections within the
Intelligence community. This informant, whom I shall call "Jesse",
has over 40 years of notes from a very close relative, who served as
CIA liaison to the National Security Council on UFO/ET matters.
information has been confirmed by a second source, Dr. Michael Wolf
of the National Security Council’s unacknowledged subcommittee, the
MJ-12 Special Studies group. I have talked with Dr. Wolf about the
notes’ author, Jesse’s relative. Dr. Wolf said that that CIA
official "was like an uncle to me."
The reports which follow are thus not "leaks", but rather based on
planned releases of information. These releases are part of a
Acclimation Program, an official though unacknowledged U.S.
Government policy of "processed release of information", as
According to "Jesse", in 1969 the Apollo 10 astronauts
Stafford, Cernan and Young were the first to film an
beacon, dubbed The Monolith, somewhat like, but smaller than, the
one in Arthur C. Clarke’s book/movie "2001". They were not, however,
the first astronauts to spot this ET beacon. The Monolith was first
sighted by Russian cosmonaut Yuri Gagarin, the first man in space,
in 1961. He was followed into space that same year by American
astronaut Alan Shephard, who also sighted the beacon. Apollo 10 went
to it, and filmed it from every angle.
The Monolith acted like a
communication beacon. Jesse said,
"It sort of acts like the message
received in the movie "Contact". It had a message on it,
in addition to a map of the extraterrestrial civilization which
placed it there, and how to get to them."
The Apollo 10 astronauts brought back the message captured on film.
The Monolith’s energy affected Apollo 10’s instrumentation, so that
its crew almost didn’t get back. As soon as the film Apollo 10 took
came back to Earth, those Intelligence compartments which deal with
UFOs were busy poring over information from the Monolith.
The government then used an early secret military space shuttle to
go get the Monolith itself. This covert military spacecraft flew
years before the first "official" NASA Shuttle’s public flights in
1981. The spaceplane is operated by a secret military astronaut
program out of Vandenburg Air Force Base, California, among other
locations. The second flight mission of this unacknowledged military
shuttle retrieved the Monolith, and brought it back to Earth in 1972
for study. 
After being retrieved, the Monolith was then transferred to a secret
research facility. Scientific analysis of the Monolith was conducted
at this domed underwater facility located north of Abaco, the
northernmost of the Bahamas Islands. RCA Corporation is in charge of
that experimentation research, Jesse says. Jesse stated,
it underwater, after they saw people dropping like flies. They
figured that there would be better containment [of the Monolith’s
suspected cosmic energy emanations] underwater." He noted that the
space beacon "has a sound to it, like it talks. It also gives off a
Dr. Michael Wolf shed additional light on the beacons.
"They are ’postcards from the rim’. They emit both light and tone
signals, sending a mathematical language. There may be five or more
ET civilizations involved in setting up these beacons."
Among the scientists who worked on it were famed astronomer
Dr. Carl Sagan, U.S. Army Intelligence and Security Command
General William Stubblebine, (ret.), National Security Council consultant
Michael Wolf, and a former division head of CIA. Everyone who had
prolonged close physical contact with the Monolith got cancer, Jesse
"And those who tried to dissect it [the Monolith] died right
there on the spot."
The CIA Counter-Intelligence official and
Wolf got colon cancer. The CIA man required surgery, but Dr. Wolf’s
cancer later went into a spontaneous remission. Dr. Sagan eventually
died of his cancer.
Jesse feels that there are many more space beacons out in space,
acting as "postcards".
"I’m sure Mother Russia had one."
Jesse also revealed a 1973 formula for gravity control, used by the
military to construct antigravity aerospace vehicles.
disclosed that noted quantum physicist Jack Sarfatti was in a
position to be familiar with this gravity formula used by the
government. Jesse observed,
"With regard to Sarfatti, as I can
determine it [from the notes], he was on site doing work on the
relationship between downed UFO’s and back-engineering, to the
degree that he assisted in the gravity makeup formulae."
Jesse added that Sarfatti noticed that the captured
propulsion guidance was focused on the ET pilot.
"[The UFO pilot
console] had the hand placement with micro holes and light-emitting
senses [sensors] to feel the impulse of the sudden hand movement;
hence it [pilot and UFO] became as one. The driver always feels the
outer skin’s ’road feel’, so it [the UFO] can handle better than a
Corvette at 125 mph in fifth gear in the big curve."
"Then again, Sarfatti has these [formula] numbers... he can attest to
the numbers and even affirm that [antigravity field propulsion] is
in use today! Matter of fact, the formulae even tell a story of the
skin association between flyer and craft."
 They [ET pilots]
think [a command]... and go. Sort of like... point-click and ship!
Boom... you’re there."
"The RAND Corporation (a
CIA think tank) holds the key to the
[gravity-control] formulae." Jesse revealed. "Our Navy even set up
the United Earth Space Naval Forces. I believe this group to be in
U.S. Government’s old gravity-control formula:
phi(x) =<0lphi(x) l0 > + &phi(x), where <0lphi(x)l0> is the
vacuum expectation value, and m2^<0lphi(x)l0>^2 represents the
particle’s density of the ground state in the non-relativistic
limit. The action of this field in the presence of gravity
is... intrinsic gravitational cosmological constant Lambda/ 8piG
receives a contribution (1/2) m2^<0lphi(x)l0>^2
(Continued in Article: "Extraterrestrial
Base On Earth, Sanctioned By Officials Since 1954")
click above image
to watch Flash Video Presentation
I am very intrigued by artists who
convey a message concealed in a plot, film or painting. One work
that has caught my attention is Kubrick’s "2001" and I think it is
very relevant to the "Secret Rulers of the World" debate. Kubrick
was very interested in secret societies, as his last film, "Eyes
Wide Shut", illustrated.
Kubrick has never given an explanation for 2001 and neither has
Arthur C. Clarke, who cooperated with Kubrick on the script. Is it
possible that Kubrick designed the film so that it could be
understood at some point in the future, possibly 2001?
This is my interpretation of the film, garnered from reading various
interpretations, mixed with some of my own:
The film opens with a dramatic lunar eclipse; the sound track is
Strauss’s "Also Sprach Zarathustra". At once Kubrick is making a
reference to Nietzsche’s anti-hero - Zarathustra and his
philosophical struggle with the nature of existence, his struggle
After this stunning introduction, a sunrise and the dawn of man! We
see ape men and their main preoccupation is the struggle for
survival. They have limited knowledge of the world around them; it
is a dark and forbidding world.
Soon, the ape men are confronted by a strange black monolith. The
sounds of Ligeti’s "Requiem" and "Lux Aeterna" ("Light Eternal")
stream during this encounter with this strange piece of masonry.
(Notice the subtle imagery, in the above picture, of a kind of
truncated pyramid, topped by the "eye" of the sun.)
The ape men are afraid and jump around but the leader approaches the
object and reaches out to touch it but at the last moment withdraws.
The music becomes more ethereal and the ape man leader reaches out
to make contact with it again and this time he successfully touches
its jet black, perfectly smooth surfaces. This is the last moment of
sensuality in the whole of the rest of the film. Simultaneous to
this portentous event, the sun is eclipsed by the moon and the
monolith withdraws far away to a distant location. What a tease!
ape man’s childlike curiosity was aroused and then frustrated - like
a child that is given a toy and then it’s suddenly taken away! Kubrick is telling us that
something very profound has happened here
- that the masonry and the position of the planets have had an
influence on the destiny of mankind.
As a perfectionist, Kubrick
planned and agonized over every scene and so they are all important
and should not be discarded by the viewer.
In the next scene, we see the ape man with a pile of bones. He has
one in his hand and he realizes that it can be used as a tool. Kubrick was definitely making a specific statement here because it
comes immediately after the contact with the black masonry. The
strains of "Also Sprach Zarathustra" are heard again and during this
musical episode the ape man wields the bone above his head and
realizes that the bone can be used as a weapon, a weapon with which
he can kill! It is the dawning of a new age for mankind.
Now, the ape men are no longer foraging for vegetation to eat,
instead they are eating raw meat. This is an awful scene, which we
leave with our ape men confronting another group of ape men. The
leader takes his bone and kills the leader of the other clan. The
other ape men come forward and triumphantly pound their bone clubs
on the body of the defeated victim.
The leader of the ape men victoriously throws his club up into the
air. Instantly, the bone is transformed into the spaceship and in so
doing Kubrick implies that the whole of human history is meaningless
- a story not worth telling. All the wars, births, deaths,
celebrities, declarations, civilizations are all completely
irrelevant. By jumping millions of years, we are left in no doubt
that Kubrick estimates the monolith and the effect it had on the ape
men, and what is about to happen in the rest of the film, to be more
The second chapter of the film is quite different to the first. We
are now in the space-age future. Strauss’s "Blue Danube Waltz" is
playing and we see an American spaceship spinning in space on its
way to the moon. Kubrick seems to be celebrating advanced technology
but this is only a whim of fancy. Inside the spaceship is a lonely
character called Heywood Floyd.
He and his colleagues are completely
without emotion, they seem so lifeless and pitiful. The green
pastures and blue skies of home are left behind and the inhabitants
of the space station have become like the computers and machines
that they operate. For the next two hours of the film there will
only be sterile environments and a tightly trapped mind in an
infinitely large universe.
The spaceship lands on the moon. Floyd gives a strange speech
telling his audience that they must keep what they have discovered
on the moon a secret. The implications of their find could cause
great problems for the citizens of earth. He tells the scientists
and military in his audience that people on earth will have to be
"conditioned" to accept what it is they have found. Floyd drones on
about why it is so important that they should "spin" a cover story.
Basically, they should say that an epidemic has broken out at the
American moon base.
What is revealed in this scene is the utter contempt the military
commanders hold for us. This ploy is done so deftly that it is not
even considered much by the audience. Everyone in the room nods
their head in approval without considering the implications of what
they are really doing.
In the next scene we discover what they have found. We are taken on
a tour of the moon in a moon bus. It is dark but the sun is
beginning to appear over the horizon.
Again, the men involved here
are humourless, lifeless and soulless and the men eat revolting food
as they discuss the importance of the most important discovery in
all the history of humanity.
A magnetic survey of the moon has revealed that something was giving
off an anomalous reading just below the surface of the moon. It has
been dug up. They discover that the object giving off the anomalous
reading is in fact a black monolith. When we actually see it, we
find that it is the same one that appeared to the ape men at the
beginning of the film. Kubrick does not tell us who buried it there
As the men robotically stand in front of the monolith to have their
photographs taken the sun rises over the horizon. The light shines
on the black monolith possibly for the first time since it has been
buried, possibly 4 million years ago. As the rays of the sun strike
the monument it gives off a piercing signal. As you look into the
distance you see that the earth is being eclipsed in darkness. A
lunar eclipse is taking place at the exact moment that the monolith
begins to give off its signal.
Although we are not told why this crafted masonry is buried here, we
can be sure that the government knew about it, hence the mission to
the moon to uncover and inspect it by the military and whoever
placed it here obviously had hopes that humanity would one day have
the technology to go out and discover it. We can also assume that it
was placed on the moon by the same intelligence that created the
encounter between the monolith and the ape men.
The third chapter of the film now begins unfolding - it’s title,
"The Discovery Mission to Jupiter - 17 months later". Each chapter
ends with the monolith changing the direction not only of the story
line but of the human race too.
Without explanation, we are on this ship, on its way to Jupiter,
with two astronauts, David Bowman and Frank Poole. The other crew
are hibernating in sealed capsules. The two astronauts, Bowman and
Poole, are even more lifeless than the men on the moon.
though, a third "living" entity onboard the ship and this character
actually does seem to have a soul, or at least the beginnings of
one! He is HAL, the onboard computer that runs the ship. It is
strange but the two astronauts never even wonder or question the
purpose of the trip.
Dave and Frank go about their chores serving the ship, collecting
data and playing chess. Kubrick was a keen chess player. The movie
takes up a game just before Frank loses to HAL, the computer. It
appears that Frank has played into a trap set by HAL. HAL has baited
Frank into moving his queen over into HAL’s queen rook area. The
only other piece that Frank has developed is a knight, which appears
to have been baited by HAL’s pawns from the king side of the board
to the queen side.
All of Frank’s other pieces are undeveloped,
which in chess is equivalent to "hibernation". HAL has
the development of his own pieces towards Frank’s king. With Frank’s
queen and knight conveniently out of the way, busy capturing pawns,
HAL is able to checkmate Frank. The activity in the chess game
appears remarkably similar to what is going on in the mission. Most
of the humans are hibernating. HAL baits both Frank and
Dave out of
the ship pursuing relatively minor problems with the AE35, while he
(HAL) continues on with his plan of taking over the mission by
killing all the crew members and locking Dave out.
In the first scenes of the movie, the "Dawn of Man",
Kubrick made a
point of showing us a tiger sitting over the carcass of a zebra. In
this scene the eyes of the tiger were glowing, probably because the
tiger was looking into the setting sun. The ape-men were hiding in
their cave and could hear the roar of the tiger not to far away and
they were fearful. Why did Kubrick show us these scenes, were they
As a perfectionist, Kubrick planned and agonized over
every scene and so they are all important and should not be
discarded by the viewer. Later in the movie, HAL is portrayed by a
glowing camera lens. I have noticed that in real life camera lenses
don’t glow, so why did Kubrick choose to portray HAL with glowing
eyes? Kubrick is making a link here between the predatory tiger and
HAL. HAL is a predator. If HAL had succeeded he would have been just
like the tiger, glowing eyes sitting over the carcasses of the dead
crew members in Discovery.
All the shots show HAL as a glowing eye inside a monolith shape in
the brain room (see picture left). The implications are astonishing
and profound. 2001 is about evolution, and HAL appears to be the
next stage in evolution after man.
But where does evolution lead
from HAL? To the monolith itself! HAL is still a predator, the
destroyer of life, but as we saw with the ape men and later at the
end of the film with the birth of the star child, the monolith
without the glowing eye is the creator of new life, the bringer of
the next step in evolution! It appears that the evolutionary path
from organic life, to computer, to monolith is one possible
The HAL 9000 did not in fact fail but was only acting under
programming to ensure that above all else the mission was to carry
on to Jupiter at all costs. HAL was given details of the true
purpose of the mission, which was withheld from the crew.
This part of the saga ends with
Dave "murdering" HAL. As its
circuits are shut down, one by one, it garbles out the song: "A
Bicycle Built for Two". It is only after HAL dies that Dave
discovers the real reason for the Jupiter mission. A video of
Heywood Floyd comes onto a TV screen as HAL dies. The tape was made
for the astronauts for when they were to come out of hibernation.
Now that all the hibernating astronauts are dead, it is only Dave
who gets the message. According to Floyd, the reason for the mission
was to find out why the monolith was emitting the strange signal
On one hand, Kubrick wants us to know that the forces behind the
monolith are not good because it was responsible for all those
killings and on the other hand, he wants us to know something quite
different. He is also telling us that the monolith is a great
spiritual gift and beneficial to our evolution. There is a strange
juxtaposition going on here. We have an outside force broadening our
limited view of reality that we previously had.
What he seems to be
saying here is that it is not the monolith itself that is bad but
the forces that are in control of it. The monolith is 99% truth and
1% poison and that poison is powerful enough to destroy millions of
times over. It is only because humanity has been negligent and in
some cases willfully so, that it has had to go to hell and realize
the power of the Divine in order to find redemption.
The spinning, circular space station in the sequence immediately
after the first chapter is a celebration of the gift of the
monolith; however, as we replace nature with technology, we also
replace our souls and individuality with a hive-like mentality. We
are also failing to ask the relevant questions. There is also little
doubt that Kubrick knew this all the time; it isn’t accidental in
anyway. Kubrick is actually telling us that the monolith is the
film, and conversely, the film is the monolith. His message was for
mankind to wake up.
Now at the very end of the age, at the very end of the millennium,
mankind has accomplished much. But at what cost? Kubrick is content
to show that the cost of this gift is our souls generally speaking.
When the ape man threw the bone up into the sky, that was the last
time that we saw any part of nature again in the film. From then on
Kubrick shows us the antiseptic hospital like future, implying that
this is the end of the trail that the bone weapon began four million
Kubrick was not predicting that initiations would come by a literal
mission to the moon or Jupiter. The mission to the moon and Jupiter
is purely psychology portrayed as symbols, in this case science
fiction. This is why the last 25 minutes of the film seems so weird.
The last stretch of the film takes place wholly inside the human
mind. In a way, we all have the potential to be Dave Bowman.
Chapter four, the final chapter, begins with the ominous,
psychedelic music of Gyorgy Ligeti’s ’Atmospheres’. We are deep in
space now. Bowman is now Odysseus like the title assumes and like
Odysseus, Bowman must go as far away from home as is possible. He
must face monsters and experience things that he does not
understand. All of this must be done before he can return home.
Earth, or home, is a long way off now.
Bowman is just following
orders and he must now investigate the strange monolith that is
circling Jupiter. Like Odysseus, Bowman will be transformed by this
voyage beyond all recognition. When, and if, he does return, Bowman
will be the wisest of all - for he was the one brave enough to enter
the waters of eternity and come back home to tell us about it.
As Bowman leaves the Discovery for the final time Kubrick cuts
straight to a montage of shots of the monolith. We are out on the
edge of the Jupiter system, the Discovery is a small and tiny aspect
of what we can see on the screen. The moons of Jupiter, like the
moon and sun before, are aligned in a mystical and awe-inspiring
way. The monolith appears ominous as it floats among Jupiter and her
moons. The dance that is now taking place is a majestic, incredible
ballet between the monolith and the celestial bodies of the Jupiter
Without one word being spoken for the rest of the film, Bowman
leaves the Discovery. He begins to travel towards the floating
monolith in one of the space pods. Bowman is the man who has
travelled further away than any human that has ever lived. He is all
alone - having been seemingly chosen by the monolith for the final
initiation of the human race.
The dance of the celestial bodies and the monolith continues.
Kubrick consciously has chosen Ligeti’s music because it evokes a
religious or spiritual feeling within the listener. He brilliantly
juxtapositions this music with the sacred geometrical alignments of
the monolith and the moons of Jupiter.
The very last shot in this
sequence is the monolith crossing at a ninety degree angle with the
moons of Jupiter. At that moment the famous ’light show’ sequence
starts. The monolith is a gate that allows Bowman to witness the
infinite. He is the first man who has ever experienced the truth of
the monolith and what it has to offer.
Bowman first falls through a web of geometries and colours. The
universe is passing by at light speed and it has become porous and
blended together. Seven octahedrons - all changing colour and form -
appear over the sliding universe. The core of a distant galaxy
explodes. A sperm cell-like creature searches for something. An
ovary? A cloud-like embryo is forming into a child. Now alien worlds
fly by, all of their colours and hues gone wild.
experiencing overload and looks like he might not be able to handle
the amount of information that is being given.
This is humanity’s initiation. Bowman is our representative in this
process. He is the first man through. In this experience of passing
through the monolith, Bowman is transformed by a completely
psychedelic experience. Real information is being passed to Bowman
by the monolith.
Finally, the scene ends in the strange hotel room. This is the
mysterious ending that Stanley struggled to shoot. The set is that
of both a modern and baroque French-style room with startlingly
modern lighting coming up through the floor. This is no normal hotel
room. The light just seems to glow out of the bottom of the scene
causing everything to carry this numinous, incandescent quality to
it. There are weird voices on the soundtrack that are laughing at
Bowman. The uncomfortable feeling of incomprehension encourages us
to look to physical features for familiarity; something solid to
grasp onto. Kubrick does not offer us this.
This ambiguity heightens
our sense of curiosity.
Bowman goes through three series of transformations during this
scene. He gets older with each transformation. Dave’s environment,
the decorated white room, becomes a metaphor for the human body. The
body, Dave Bowman, becomes a metaphor for the human mind. At the
beginning of the scene, as Dave taps into a new level of
consciousness, he is initially shocked. This can be seen by the
alarming contrast between the red space suit Dave initially wears
and the near pure white background. As Dave begins to accept his
surroundings, we can see his body ’age’ rapidly: the mind is
The room, which remains completely static and has no windows or
doors can be seen as a container, and in this way likens itself to
the human body, the container of the human mind throughout life. The
room itself appears highly constructed and artificial, an indicator
of physicality. In some cases this can be seen to represent
pretentiousness and vanity.
On the other hand, the elements, namely
the artwork, tiles and furniture, that make up the contents of the
room appear to indicate a myriad of human achievements spanning
centuries and continents. High technology, a yearning for
innovation, human creativity, classical architecture, cleanliness,
calculated precision and high art are just a few elements that
spring to mind; factors which distinguish the human race from the
rest of the animal kingdom. Already the viewer has received a
universally positive statement, whether or not they are aware of it
on a conscious level..
The glowing tiles which line the floor of the room are symbolic of
technology, the future and humanity’s yearning for innovation. The
combination of geometric lines, the definition of the x, y and z
planes and bright white light give an impression of calculation,
purity and precision: elements that are synonymous with high
technology. It is known that bright cross lighting, used throughout
this scene, can be incredibly revealing and in most cases can expose
blemishes and imperfections in the set. In combination with the
white walls, ceiling and floor, it can be seen that this set
achieves nothing short of perfection, another reason to suspect a
shift of reality.
The glowing tiles also serve as a source of high contrast to the
artworks and old furniture situated throughout the room. Here the
viewer is introduced to the featured color: green. Green
universally represents harmony with nature and the environment. The
choice of green as a featured color softens the intensity of the
geometry of the floor tiles. If, for example, were blue used as a
substitute, the room could risk appearing overly clinical, perhaps
too futuristic, which would emphasize a reliance on technology.
furniture itself appears to be sophisticated and stylized, as though
it came direct from an upper class nineteenth century western
European home. This furniture implicitly suggests the idea of human
sentimentality and an appreciation for the old and the aesthetic.
The artworks which appear to be in the renaissance style put forth
this idea also.
Once Bowman accepts the mental transition, he begins to indulge
himself. On one level we can see Dave begin to eat, on another he
begins to consider his place in evolution, thinking, examining,
progressing, evolving, and spiritually maturing.
When Dave’s wine glass smashes we see that it is time to move on.
This action has been likened to the Jewish tradition of breaking
glass at a wedding ceremony: a symbol of great change occurring.
Stanley Kubrick himself was Jewish, which makes this parallel
plausible. Aware of the Jewish tradition or not, the sight and sound
of broken glass alone in the controlled environment holds enough
contrast to shock us into thinking that change is about to occur.
Dave is thereby about to enter the new level of conscious existence.
Finally, right after the scene where Bowman breaks the wine glass,
the monolith appears again for the last time. Bowman is in the bed
now and he is extremely old. He stares at the monolith, the single
stone that stands like a huge stone book at the foot of his bed.
He raises his hand and points at the stone monolith as if he finally
understands. Slowly, his aged body begins turning into a bright
glorious light. The light is so intense that, for a brief moment,
the viewer can’t see what is happening on the bed. But, momentarily,
something does appear. It is an embryo with a nearly-born foetus in
it. This is the famous Starchild.
The Starchild comes more in focus. In the next shot, Kubrick tracks
his camera into the very body of the monolith - coming from the
direction of the bed. He is showing us that the Starchild has
entered into and passing through the monolith. In the very next
scene - which is the last scene in the movie - the Starchild is
passing the moon and is heading towards the Earth.
The Starchild looks down at the earth as the ’World Riddle’ theme
from "Also Sprach Zarathustra" sounds out. This is the third time
that we have heard this theme. And this will be the last time. In
the book, that the screenplay by Kubrick and Clarke was based on,
the Starchild looks at the earth and thinks "there was a lot of work
that needed to be done."
It is important to note that the Starchild model was made to look
like Keir Dullea, the actor who portrayed Bowman. Kubrick is saying
that this child is a reincarnated Bowman.
So what is this all about anyway? Bowman’s realization that he is
trapped is made symbolically by Kubrick with the breaking of the
wine glass. Even after all that he has been through Bowman still
The wine glass is like a Zen koan that illuminates the mind in a
flash. His own fallibility thrusts the scene towards its climax as
the old man dies on the bed and sees the monolith for the last time.
The Great Work of the stone is complete. There is now a man, a
human, who understands the greater universe. This man also
understands that he is trapped in a jail that his own consciousness
With the realization of his own fallibility, and his
own trapped spirit, he is finally liberated from the realm of the
hotel prison, or the world of illusion. In that instant he
understands what the book of stone is trying to tell him. He lifts
his hand in a gesture of understanding. And in that moment he is
transformed - without dying - into the Starchild.
In the end, Kubrick is saying that life would be completely
meaningless if it were not for the intervention of the monolith, or
the stone. He realizes that he himself could not be transformed
without the assistance of an outside intelligence, a God if you
This film director has made the ultimate religious movie.
The film is the monolith. In a secret that seems to never have been
seen by anyone -- the monolith in the film has the same exact
dimensions as the Cinerama movie screen on which 2001 was projected
in 1968. This can only be seen if one sees, or rents, the film in
its wide-screen format. Completely hidden from critic and fan alike
is the fact that Kubrick consciously designed his film to be the
monolith, the stone that transforms.
Like the monolith, the film
projects images into our heads that make us consider wider
possibilities and ideas. Like the monolith, the film ultimately
presents an initiation, not just of the actor on the screen, but
also of the audience viewing the film. That is Kubrick’s ultimate
trick. He slyly shows here that he knows what he is doing at every
step in the process. The monolith and the movie are the same thing.
Kubrick is revealing that he understands the Great Work. He is also,
like Christ, warning us that there are dark powers more powerful
than human beings, and that these powers are, at the present time,
in control of this Great Work here on earth. The monolith represents
the, the White Pebble of Revelation, the Holy Grail, the Philosopher
Stone, the Book of Nature and the Film that initiates.
Stanley Kubrick has truly made the
Book of Nature into film. Using powdered
silver nitrates, glued onto a strip of plastic that is then
projected onto the movie screens of our mind, Kubrick has proven
himself to be one of the ultimate esoteric artists of the late 20th
Are you ready to switch Hal off?