There are no deep meanings in the stories I write. They are just there to scare the pants off people in a hopefully entertaining way. ‘Panoptica’ is my first attempt at writing something that actually has a meaning, which is why it keeps getting rewritten. I’m in new territory here.
It’s useful for me to look at how others have inserted hints and clues. Orwell’s ‘1984’ isn’t such a hint-filled story. It’s quite obvious what that story was intended to warn us about.
The films of David Lynch, on the other hand, are full of hints and clues although these generally refer internally to the story. Fail to grasp the clues and you’ll have no idea what the hell is going on. ‘Mulholland Drive’ and ‘Lost Highway’ took a few viewings to get the storylines, and I’m still not entirely sure about ‘Lost Highway.’
‘Eraserhead’ was a lot of fun to watch but with that one also, I still haven’t quite managed to ‘get’ it. And ‘Twin Peaks’ was a total WTF? on first viewing. Great entertainment but I need that film+series repeated a few more times.
But this is not about David Lynch. As I said, the complexities and hidden clues in his work referred internally to the story. They are like puzzles you try to decode while you watch – I doubt anyone gets the whole lot on the first viewing.
What I was looking for was someone dropping hints external to the story. Someone coding the real world into a storyline.
I’ve watched many of Stanley Kubrick’s films without catching on to a single hint. Yet the first hint is always there right away. Where he has adapted a book for the screen, he has always seemed to mess it up. Things in the film that weren’t in the book, sections missing from the original story – as in ‘The Shining’ for example.
‘2001 – A Space Odyssey’ was different. The book is not the same as the film but the book was written as the film was made so changes in the film didn’t always make it into the book.
Incidentally, while rummaging, I came across the interesting snippet that the widescreen format used for ‘2001’ matched the monolith’s dimensions. The monolith showed images and took Dave to an impossible place. There seems to have been a message – this is just a movie, the monolith that fascinates the characters is the same as the screen that fascinates the viewer. It’s not real, it’s all make-believe, don’t just accept what the screen shows you. That’s something for another time, as is what Kubrick did in ‘The Shining’. Thanks for that interesting version, Roobedoo, by the way.
‘A Clockwork Orange’ is Kubrick’s film version of the book by Anthony Burgess and he didn’t change very much in terms of dialogue or action. A few scenes were cut but it was already a very long film from a very short book so that’s understandable.
It always looked like it had links to the present with its gangs of ultra-violent yobs, indifferent to any rule of law and indeed, usually just given a beating by police rather than them having to bother with all that tiresome paperwork. It always had political undertones too, the writer and his friends plotting against a government so far up its own arse it can lick its tonsils. I didn’t see any more than that in it though.
I did not expect to see an analysis linking that film to the then-infant EU, with the screen format now in the shape of a flag and a colour-coded opening sequence that can make sense, if sense is still in the world.
It’s in three parts. I won’t embed them because I am not at work until the afternoon tomorrow so am grabbing the chance to swill down some fine whisky. The good stuff does not cause hangovers like the cheap blends, I have found, as long as you take your time and don’t go nuts. Still, embedding three videos gives me three chances to mess the blog up again. I’m good at that.
What struck me was the colours. I am not good with colours, and it gets worse with age. If you want to wipe me out at snooker, put the brown ball among the reds. I can’t find it. When I check out the lie of the balls in pool (with a stripes/spots set) you’ll think I am lining up a shot. I am looking for the numbers on the spot balls because 6 is the same colour as 8. And there is no such thing as ‘navy blue’. It’s black.
When I was young we didn’t have colours. The world was black and white. I have photos to prove it. Then someone invented a shitty brown colour called sepia, and then there were seven colours, now there are 64 million according to the manual that came with my monitor. I’m still working on the seven. Indigo is not real, I am certain.
So that sequence at the start of ‘A Clockwork Orange’ starts with a red/blue alternation. The video maker claims it represents alternately the Nazi flag and the EU flag. Kubrick inserted a lot more Nazi imagery into that film than was ever in the book. He might have been saying something, or maybe it was just what they had in the wardrobe department at the time.
Then the sequence becomes red-blue-red-blue-green-magenta.
I thought magenta was some kind of spice but apparently it’s a colour. Specifically it is a mix of red and blue, something I would call ‘purple’ but which is diametrically opposed to green (and now I’m dropping hints too).
I know, you know, we all know that we are being royally pissed about by those who think themselves important. It’s all a sham, a stage, a game they play where they throw things into plain view and nobody notices. Then they snigger and point at the dopey drones.
Never mind whether Kubrick was really trying to tell us about the EU being Nazi-inspired, it clearly was anyway. Hindsight is a wonderful thing and I’m sure we could point to some event in the 1300s that ‘predicted’ this. Maybe the YouTube guy is right, maybe Kubrick was trying to plant a subliminal warning, maybe not.
What interests me is the colour purple (to me, magenta/purple, meh). A mix of red and blue. An in-between, neither far right nor far left. A safe colour. The colour made from the opposite ends of the visible spectrum. The colour that brings it full circle.
If we really do have some bunch of self-righteous ‘intelligentsia’ thinking it’s clever to drop blatant clues in our faces while turning the screws ever tighter, then the colour purple should cause us to stop and think.
It’s the colour of UKIP. The colour of our political saviours. Who have been doing rather well despite the MSM and Triad parties ‘doing their best to put us off’. Are UKIP here to sweep away the oppression or are they just the next stage? And does Farage know about it? If there is anything in this, my bet is that he doesn’t, because he smokes and the Elite hate us for indulging in something that should be their privilege alone.
David Lynch’s Log Lady once said, ‘The owls are not what they seem’.
‘2001’ might have been telling us that what we are shown on-screen is all illusion.
Or maybe it’s nothing and we can all go back to sleep.