[where he had a wife and four sons].

To be honest, this reviewer doesn't think Nick ever made it out of New York State and back into his wife's loving arms, e.g, NOWHERE near Seattle. And as for Cruise and Kidman's final lines,

NICOLE: "There is something we need to do as soon as possible."

TOM: "What's that?"

NICOLE: "Fuck."

I think I would have to agree with English STAR magazine employees Wendy and Tony Duffield, who were purportedly paid over $2000 a day as sex therapists to instruct Tom & Nicole how to produce sparks; it seems the married couple could have learned a lot about banging from Nick and Mrs. Nick! I would have MUCH preferred watching Nick Nightingale reunite with his wife and couple with her to a cantata or two, than be subjected to yet another scene in which Bill and Alice touched each other again like computer keyboards, with Tom Cruise as inert as heavy DEUTERIUM, he a lone neutron in a close orbit with his wife, Alice, a lone proton. They were perfect paragons of heavy water choreography.

Phil Bunton, editor in chief of STAR said, "... unless there is some hidden Scientology agenda I am not aware of, Scientologists are against psychotherapy --- and presumably sex therapy too --- so maybe that has something to do with it." [the total lack of allure in watching Tom & Nicole display intimacy].

In closing, I quote Michael Herr, a former Kubrick scriptwriter, on Kubrick's death: "... [the] often strangely rancorous diatribes that followed his death

... is no small matter."

# # #

***********************************

[continued in Part Two]

click here for the continuation of the EYES WIDE SHUT film review

click here for PART TWO

Note: The disturbing music of Jocelyn Pook used during the sacrifice is actually an ancient Sanskrit Chant called a "SHLOKA," from The Bhagivad Gita, used often in Masonic temple orgies and sacrifices. Below is a feeble attempt to spell it out in English.
"Ahnae Pluto Espiritu KADOSH haisch ohne bluto hapschish tisits nishu noc hasish hnae Pluto KADOSH"

In "EWS", an ancient Sanskrit Chant, called the "SHLOKA" introduction to the Bhagivad Gita, was used as counterpoint in the temple orgy and ritualistic sacrifice of the beautiful model, by Kubrick. We believe he wanted to lament, in song, like the distant Vedic Aryans before him, the loss of the land of Kurukshetra, formerly between the Sarasvati and the Drishadvati Rivers, considered for millenia to be the holiest and mightiest of river confluencies by the Vedic seers. This lament is to solemnly commemorate the capture of this [now mythological rather than historical] land by the Punjabi warriors and their allies, and the tragic aftermath that followed ... still lying at our feet today.

"Ahnae Pluto Espiritu KADOSH haisch ohne bluto hapschish tisits nishu noc hasish hnae Pluto KADOSH "

WHOEVER SAID KUBRICK WAS COLD & SEXLESS WAS PERHAPS DEAD THEMSELF!


SEXLESS ??

ARTIFICIAL INTELLIGENCE [AI], aka, "Is Pinnochio Made of Wood?"


The well read and professorial TOM HANKS, Actor & Esquire, remarking wisely on Kubrick's "2001": " ... I was INFECTED with the virus ... we have discovered that going up into outer space is an extremely difficult and expensive feat, and is, in fact, DANGEROUS[.]"

NEWSFLASH: The NEW YORK POST writes that Steven Spielberg was "knighted" ... so to speak, by Stanley Kubrick, to carry out his schemes, dreams and storyboards for the film on artificial intelligence titled by Kubrick "AI" [aka "Artificial Intelligence"]. What could be more

preposterous

than this outright lie??? Kubrick's idea was to tell the story of an android named David, who could never get his human mother's affection, so he learned that an illegal beverage consisting mostly of hemeglobin gave him ardour and spontaneity almost like a human. Sorry to say, David's mom came to a sudden and painful end. Let's hope this idea of Spielberg running off childishly with a genius's legacy, is only "NEW YORK POST" GOSSIP!! [Notice, June 13th, 2001: Although the Spielberg version of "AI" is having serious setbacks and delays and difficulties, it might still actually come out to the malls near the end of summer!].


Moabite Stone (The), said to have been discovered near the Dead Sea by Klein, in 1868, and broken up by Bedouins in 1869. Mr. Löwy, in 1887, pronounced it to be a FORGERY, one of his arguments being that the stone itself [basaltic volcanic rock, aka either an asteroid or a meteor chunk] was more worn than the letters inscribed upon it, in other words, that the stone was old, but the inscription was quite modern and recently applied to the stone.

"You know what Mr. Spielberg?

"What honey?"

"Why are you so envious of Stanley Kubrick?"

I guess luv, it's because he can read the Voynich Manuscripts and I don't have a clue!"

DAILY UPDATE ON THE PROGRESS of

"Artificial Intelligence,"

the filmscript now credited to "SS" Steven Spielberg


ShowBIZ Data reports:

"Steven Spielberg confirmed reports that he plans to bring Stanley Kubrick's 80-page treatment for A.I. (artificial intelligence) to fruition this summer. The science-fiction tale of a boy robot who "LIVES" during a time following the MELTING OF POLAR ICE CAPS had long been in the works by Kubrick."

click here to read SPIELBERG vs. KUBRICK in the Wars over who owns Kubrick's script for "AI" [Artificial Intelligence]

GREGORY FEELEY,

a science fiction writer [unlike Steven Spielberg] ... who

knew

Kubrick, wrote recently in the New York Times, about the film

"ARTIFICIAL INTELLIGENCE, THE PINNOCHIO STORY"

that Kubrick worked on for many years and wanted to be his last testament, rather than EYES WIDE SHUT.

" [...] "AI" ["Artificial Intelligence"] would have been Kubrick's most intense and definitive vision of humanity ... in the throes of becoming something other than human: a science-fiction epic of enormous ambition.

[...] Kubrick saw the movie [AI] as a QUEST in which the robot DAVID seeks to become a real boy as a way of winning his mother's love ... the Aldiss story behind "AI" ... published in 1969 ... is about a withdrawn English boy named DAVID and his talking teddy bear, which is actually a robot that was given to the boy by his worried parents for THERAPEUTIC purposes. At the end of the story, the reader discovers that DAVID is also a robot, a sophisticated model that is supposed to behave like a real child but that can't please the childless couple who purchased him, despite the teddy bear's coaching, and despite the boy's artificial beauty, like the Blue Boy of the painter Gainsborough, on which Kubrick modeled his character.



[...] Kubrick wanted David [the star boy robot of his "AI" script] to be kicked out of what we referred to as TIN CITY ... a sort of skid row for old robots where they were worked as slaves until they fell apart.

[...] It was the relationshiop between David and his mother [a human] that most occupied Kubrick and Ms. Maitland [his co-scriptwriter]. An alcoholic whose Bloody Marys David would mix for her in a vain attempt to win her affection, the mother was the emotional center of the film.

At the story's conclusion, the robots that have INHERITED THE EARTH use David's memories to reconstruct, in virtual form, the apartment where he had lived with his parents. Because his memories are subjective, the mother is much more vividly realized than the father, and his stepsister's room is not there at all; it is just a hole in the wall.

For Ms. Maitland, the film would end with David preparing a BLOODY MARY for his mother, the juice a

BRIGHTER RED THAN IN REAL LIFE"

... Kubrick, however, wanted a coda in chich the NEW RACE OF ROBOTS, because of a technological limitation, CANNOT keep the mother alive AFTER REVIVING her."

#######

click here for link to "What was Kubrick's A.I supposed to be about?" essay in full

Our movie critic reviews Steven Spielberg's film of Stanley Kubrick's 80-page treatment ... "ARTIFICIAL INTELLIGENCE [AI]," ... click here now!


click here for Teleportation Technology of Alien Operations on Earth

VIVA KUBRICK !!!

click here for "The Infinite Mind: AI, ARTIFICIAL INTELLIGENCE"

Surrounding the Earth, beginning at an altitude of 1,000 miles and extending an additional 25,000 miles, lay lethal bands of radiation called the Van Allen radiation belts

....now that alleged Apollo 11 astronaut Buzz Aldrin has thumped a man who claimed that his moon landing was actually filmed in the Nevada desert. This man, one Bart Sibrel, has made documentaries called A Funny Thing Happened on the Way to the Moon and Conspiracy Theory: Did We Land On the Moon? and confronted Aldrin, 72, in a Beverly Hills hotel earlier this week. Sibrel, 37, demanded that Aldrin swear on a Bible that he had really landed on the moon. Aldrin declined to do so, and then his fist really landed on Sibrel's face.

Sibrel claims to have uncovered 33-year-old footage that shows the Apollo 11 crew falsifying part of their photography. Which at least might get Kubrick off the hook [Kubrick had been asked by NASA before Apollo11 to fake a moon landing to which he vehemently refused].. He claims that the Apollo 11 crew put a transparency of the Earth in front of their space-capsule window and then taped the transparency as they made a "journey" to the moon.

"Surrounding the Earth, beginning at an altitude of 1,000 miles and extending an additional 25,000 miles, lie lethal bands of radiation called the Van Allen radiation belts," Sibrel tells me. "Recently uncovered footage of the crew of the Apollo 11 staging part of their mission proves that the astronauts never made it beyond Earth orbit."

Footage purportedly from the moon shows the US flag fluttering in the lunar breeze. "How could there be a breeze when there is no atmosphere?" Sibrel asks. Sibrel is one of many who believe the moon remains untouched by human space-boot. Ralph Rene, author of Nasa Mooned America, says that Nasa photographs, allegedly from the moon's surface, show scenes supposedly lit solely by sunlight, but they contain shadows that do not run parallel with each other, indicating supplemental artificial light. Sunlight would cast shadows that would never intersect, he claims.

But the best hoax theorist is Bill Kaysing, author of We Never Went to the Moon. He claims: "The astronauts would have been overwhelmed by the sight of trillions of stars. But not one picture has ever come back from the alleged trip to the moon showing the stars in all their magnificence, nor do any of the astronauts comment on the stars."

Kaysing reckons that the Challenger space shuttle really did blow up in 1981, but that it was no accident. It was exploded by Nasa because "Christa McAuliffe, the only civilian and only woman aboard, refused to go along with the lie that you couldn't see stars in space. So they blew her up, along with six other people, to keep that lie under wraps."

 

The year 2001 has come and gone!! NOW !!! Bryan Adrian's analysis of EYES WIDE SHUT is also just a short scroll below!

... but HAL the computer is NOT with us anylonger ! ---->>>

THE NEW YORK TIMES:

"HAL Computer Perishes"

"[...] Even in the staid world of supercomputers, life sometimes imitates art. Like its literary namesake, HAL Computer failed to survive 2001.

[...] in "2001: A Space Odyssey" ... the HAL 9000 is a supercapable computer that runs amok ... in the end the plug is pulled on HAL.

[...] HAL Computer Systems, based in Campbell, Calif. ... stands for the surnames of the company's founders ... founded with a $40 million investment form Fujitsu, Japan's largest maker of business computers[.]

[...] The only comment [today] from ... a spokesman for Fujitsu America Inc., ... "HAL's development mission was completed."

------------------

JAN HARLAN: "Kubrick actually didn't leave his house, ever, unless he had to. When he was working in his office and he could see [Christiane] outside painting somewhere in the distance - that's what he liked."

MATTHEW MODINE: "There was a postponement, and my wife and I were invited to go to Malaga, Spain. Kubrick said, "Why do you want to go there?" I said, "This person invited me." He said: "Yeah, but you've come all this way - have you seen anything in England?" He couldn't understand why anybody wanted to go anyplace. Why his children would want to go to university. "You could take home university classes. You don't have to go away to find something. Everything can be brought to you." He was crazy about that."

CHRISTIANE KUBRICK: "Stanley thought it was boring away from home. He liked all his stuff around him, all his telephones and televisions and fax machines. Also, we have a zoo. We have a lot of animals and he liked those and he liked the children and later the grandchildren. He liked being at home. But not like a hermit - he had lots of friends - they just weren't in the film business. He talked to everyone - he just didn't talk to the press."

-----------------


click here to read a review of Calista Flockhart's performance in BASH, by Niel Labute. Should it be awarded a Tony?
Sketch ABOVE by BILIANA KRAPTCHEVA, a 39 year old Bulgarian-Canadian artist currently living in Toronto, Canada / email address:
biliana@honson.com [she needs new projects, did you get the hint?]


Scandinavian photos of the excised scenes from EYES WIDE SHUT

The REVIEW of "EYES WIDE SHUT"

or, "Eye's Unshut/Corpses Undead -- How I Learned to Love Being Awake!"

[editor's note: this review is all the more interesting today now that Nicole and Tom are in the divorce court and fighting bare knuckled over child custody]

*****ANALYSIS******

by Bryan Adrian

THE SWORD IN THE BED BETWEEN THEM:

NICOLE: "We were in the DESERTED CITY and our clothes were gone, we were naked. I was angry cause I thought it was your fault. You left ... as soon as you were gone it was quite different. I felt WONDERFUL!! I was stretched out naked in the GARDEN ... and a man walked in out of the woods -- it was the NAVAL OFFICER ... he stared at me and then he just LAUGHED! -- he just LAUGHED at me!"

TOM: "Tell me the rest of the dream."

NICOLE: "He was kissing me and then we were making love and then there were all these people ... hundreds of them ... everyone was fucking and then I was fucking other men, so many I don't know how many I was with -- I wanted to make FUN of YOU so I laughed as LOUD as I could. That must have been when you WOKE ME UP!."

"AWAKE!!"

[click above]

Nicole Kidman and Tom Cruise, in their final discussion before the final credits roll at the end of EYES WIDE SHUT, embody the hidden meaning in Kubrik's title. In effect, they both [in character] gloat over their newly discovered AWAKENESS; they both make on-screen affirmations to becoming for the first time in their lives,

"AWAKE!!"

[click above]

Did anyone else find the "MAN WHO FELL TO EARTH," by Nicolas Roeg, another great film director, with David Bowie and Candy Clark, a whole LOT SEXIER than Tom Cruise & Nicole Kidman??




The two characters in EYES WIDE SHUT had been

SPLEENING

[click above]

in preceding scenes about the choice of living in a boring bourgeois HELL, as a cowardly and uncourageous man and wife, with their eyes wide shut, or to LIVE FOREVER, TOGETHER with their eyes never shut again. This end is touching in that Tom and Nicole make mutual testimonies [in a TOY SHOP of all places] upon their decision to LIVE TOGETHER ... ETERNALLY ... FOREVER, because their new WAKEFUL state WILL BE so much more rewarding than living in the shadows of reality like they used to. They are now among the "holy of the holies". Hi HO!! Alice blithely declared, "I was willing to give up my WHOLE fucking future, EVERYTHING!"

IN A TOY STORE, last SCENE of Eyes Wide Open:

ALICE: "What do you think we should do? I think we should be grateful that we have survived through all of our adventures whether they were real or only a dream."

BILL: "Are you sure of that?"

ALICE: "... am I sure??? ... The important thing is we are awake now and hopefully for a LONG TIME to come."

BILL: "Forever".

ALICE: "Forever!"

BILL: "FOREVER."

ALICE: "Let's not use THAT word ... it frightens me."




Alice (Nicole Kidman) told her husband Bill (Tom Cruise) about the dream she had just experienced immediately after his return at dawn from a lugubrious Temple Party, in which a woman traded her life in exchange for Tom Cruise's life (due to his crashing of a secret organization's most secretive "party" of the annus, [annus is OLD FRENCH for year]). The naval officer with whom she had been smitten (or bitten) on Cape Cod was inside her copulatory stream of consciousness, and even though he was the one who had most probably invited her to the orgy, ... she respectfuly fucked him first and then afterwards -- quite laciviously lunged into fornication with whomever was nearest her (excepting her husband). Luckily, their daughter, the one that Bill and Alice treat throughout the film like a new HOME APPLIANCE, was not within hearing range when such strong articulations were made.

Bill seemed much more surprised to see the mask he had lost at the Temple (when his life was threatened and the mask had been part of his poor disguise) on the bed next to his wife's head, than to hear about her alleged bad "dream".

Alice's vulvar indiscretions may not have been only reveries. The poignant and tragic point here is that Kubrick had been very adamant in controlling the filming of the Temple Party sequence so that the Judge and Patriarch of this very solemn event had been shown making a STENTORIAN speech about " ... when a promise is made here there is NO TURNING BACK ... a single word to ANYONE and the most dire consequences for you and your family." Just that one little chance that Alice wasn't dreaming, and in effect, was AT THE TEMPLE PARTY also, the same one as her husband Bill, could have unpleasant interpretations for their long lasting state of togetherness.

In a way ... their new state of wakefulness and overconfident longevity, is " ... not a disease, but an alternate state of being that can offer uncounted possibilities to explore life in varieties not viewable to a normal person."

At this point, before getting into the knitty gritty of a PROBING ANALYTIC REVIEW, I want to take a look at 4 instances where I believe the mastercut that Kubrick left behind just days before his sudden death, seems to have been tampered with in patterns that are as vivid as the stripes on a tiger's back -- I mean LITERALLY, quite a few amateurish inserts and re-edits -- that were done behind Stanley's back! Also, I would like to quote a few passages from the hackneyed works of Arthur Schnitzler, so that even a child in a TARZAN movie audience would come to the conclusion that Kubrick was merely toying with the Schnitzler works, and most certainly not enthralled by their quality nor durability.

FOUR (4) HYPOTHETICAL LOCATIONS WHERE KUBRICK'S MASTER EDIT WAS TAMPERED WITH: [there is an ancient Greek word for this type of fooling around with an original and tampering with its intactness, called "GOETES," and I think it applies here]

#1)

In one of the opening scenes, in a Mr. Ziegler's mansion, the Tom Cruise and Nicole Kidman married couple are attendees of his party. It is glamorous. But before they go home, Bill, a physician, is called upstairs to help Mr. Ziegler out of a quandary. He has had sex with a supermodel, who nearly died after doing a speedball to get through sex with him. This young lady, whose full frontal nudity reminded me of some studio art courses I took in Life Drawing, had her life saved by Dr. Bill's ministrations. She later would be his savior, at a secret cult meeting that he had naively invaded. Look carefully at the end of this scene, when Cruise, Ziegler, and MANDY, are all in frame. Then, as will happen at least FOUR MORE TIMES throughout the film, if not more, the lighting changes in hue, as if newly inserted film footage were spliced in, and various original characters are FAKED IN --- just like the ridiculously puritanical PAIR of black-robed partners that were digitally installed to MASK all the goings on at the orgy in the American edition. Zielger, in this particular scene, becomes DIGITAL, and wavers like a vibration, much like the image on your home VCR when you hit the Stop-Pause button, while a new Cruise snatch of dialogue is inserted " ... you're going to need some re-hab" he tells Mandy. Well! I have never ever seen a Kubrick film EVER, where he literally PREACHES!!! It takes no technical expert to see the difference between several takes that Kubrick may have pondered himself, to insert where he may, and a COUNTERFEIT addition done by other IMBECILIC hands. Even my dog howls at such affrontery.

#2)

In my first viewing on Premiere night in Manhattan at a Broadway cinema, the Chris Isaak song BABY DID A BAD BAD THING [that had also been used in the Warner promotion trailer], somehow let the last THREE NOTES of the song bleed into the next scene, sloppily, early in the movie. Mysteriously, this aural atrocity was NOT in the version I saw one week later at a different cinema, in the East Village.

#3) The HIV Test Results Scene:

Dr. Bill returns to the big hearted prostitute's shabby Village apartment. She is not there. Her colleague and roommate Sally is in. Cruise wants sex but she says no, it would be better that they should talk.

"There is something I think I should tell you. Why don't you have a seat ... [Domino] got the results of a blood test this morning and it was HIV positive."

AT THIS POINT the alarmingly different lighting and coloring are evident, a jerk of the editing flow, and Cruise, awash in an alien light that wasn't there before says, "I am very sorry to hear that." Sally, the hooker roommate, is suddenly a fuzzy and frozen digital figure that fills the corner of the scene as her image slightly waivers like a desert mirage in the Kalihari or on the plateaus of the Mongolian desert. Cruise then says, in the same botched insert, "... I think maybe I'd better be going."

#4)

When Ziegler and Dr. Bill confront one another near the end of the movie, over the death of MANDY the supermodel, and the attendance of Tom Cruise at the Temple Party, uninvited, Cruise asks [after Ziegler has told him that hired goons of the Temple hierarchy have been following Cruise, ordered by Ziegler himself, and reporting back to him]

BILL: "Was she the woman at the Party?"

ZIEGLER: "Yes she was."

BILL: "What kind of CHARADE ends with SOMEBODY turning up DEAD?"

ZIEGLER: " ... you've been WAY out of your depth for the last 24 hours ... you TOLD HER YOURSELF, REMEMBER?"

Ziegler is refering to the VERY same scene as depicted in hypothesis #1 above, in which Cruise told MANDY to "get some rehab." Ziegler is making it seem to the Cruise character, and the audience, that she was doomed by her own character flaws to end up OD'd in a cheap hotel room at DAWN.

Paradoxically, the story of her overdose had been reported in the "New York Post" in its early bird, earliest morning edition, on the very same day that a nurse at the hosital had officially declared Mandy dead at 3:45 PM, much later in the afternoon. That is, for re-emphasis, pronounced dead at 3:45 pm IN THE AFTERNOON, according to the head nurse at the reception desk of the very same hospital where Cruise went in to have one last loving look at Mandy, naked of course, in the corpse cooler, in a strangely erotic Kubrick scene.

Kubrick used much extensive research on inimitable Masonic-like Temple ceremonies and rituals. This pursuit is to say at least, absolutely NOT for the weak of heart, and Kubrick must have completed his painstaking investigations, depending on nothing other for his support than on his rigorous sense of inner logic, and his penchant for research and analysis [Kubrick was in addition to being a movie master, also a chess master --- for those who didn't follow his playing career, he won competitions when he was only 17 --- of the highest chess order]. It could even be said that Kubrick gambled on his life by even making EYES WIDE SHUT, in a well calculated exit from the stage.

Kubrick's Classicism


Kubrick's detailed research even led him to populate the walls of the bedroom of Dr. Bill's generous hooker, Domino, with THREE shamanistic MASKS -- they each looked like they were borrowed from the LOUVRE or the Met, even though her entire apartment contained only one lonely book, "Introduction to Sociology," propped up near her work bed.

A very special theory emailed to us here at our offices!: Jack Valenti's MPAA was trying to cloak the naked women in EYES WIDE SHUT because they may have been menstruating [in the orgy scenes], rather than merely conceal their nudity due to our virtuous and puritanical mores here in the United States -- it is common knowledge that Temple rituals, going way back to Solomon's Temples, NEVER ALLOWED WITHIN THEIR WALLS a menstruating woman because this was strictly forbidden. So thanks MPAA, for guiding us through this protocol. Murderous longings and deeds, however, in violent imagery and action and sound, are peddled shamelessly to all ages by the MPAA throughout our corporate film kingdom.

The long emotionally explosive and terror revealing centerpiece of EYES WIDE SHUT are the ancient rituals TEMPLE sequence (here played out in a rich supermansion on Glen Cove, Long Island) in which a young statuesque woman named Mandy Curran (played by JULIENNE DAVIS], offers her soul as a replacement for Tom Cruise's character's condemned life, due to his unwitting stumble into a secret organization's most secret ceremonies by his learning of the password: "FIDELIO".

The nearly naked 'savioresse', portrayed as a fetching and robust woman quite unashamed of her corporeal existence, looms majestically like a state-fair red heifer prize winner, from a towering mansion balcony (this is no normal mansion), transporting the movie audience into a deep sense of compassion and concern when she bemoans dignantly

"STOP! Let him go ... take ME ... I AM READY TO REDEEM HIM!"

[continued in Part Two]

click here for the continuation of the EYES WIDE SHUT film review

MUCH MORE ON THE CAREER OF STANLEY KUBRICK, BELOW!! Come back here after you click onto the conclusion of the EYES WIDE SHUT Review.

click here for PART TWO

Note: The disturbing music of Jocelyn Pook used during the sacrifice is actually an ancient Sanskrit Chant called a "SHLOKA," from The Bhagivad Gita, used often in TEMPLE orgies and sacrifices. Below is a feeble attempt to spell it out in English.
"Ahnae Pluto Espiritu KADOSH haisch ohne bluto hapschish tisits nishu noc hasish hnae Pluto KADOSH"

In "EWS", an ancient Sanskrit Chant, called the "SHLOKA" introduction to the Bhagivad Gita, was used as counterpoint in the temple orgy and ritualistic sacrifice of the beautiful model, by Kubrick. We believe he wanted to lament, in song, like the distant Vedic Aryans before him, the loss of the land of Kurukshetra, formerly between the Sarasvati and the Drishadvati Rivers, considered for millenia to be the holiest and mightiest of river confluencies by the Vedic seers. This lament is to solemnly commemorate the capture of this [now mythological rather than historical] land by the Punjabi warriors and their allies, and the tragic aftermath that followed ... still lying at our feet today.

"Ahnae Pluto Espiritu KADOSH haisch ohne bluto hapschish tisits nishu noc hasish hnae Pluto KADOSH "

WHOEVER SAID KUBRICK WAS COLD & SEXLESS WAS PERHAPS DEAD THEMSELF!

SEXLESS ??

ARTIFICIAL INTELLIGENCE [AI],
aka,
"Is Pinnochio Made of Wood?"

The well read and professorial TOM HANKS, Actor & Esquire, remarking wisely on Kubrick's "2001": " ... I was INFECTED with the virus ... we have discovered that going up into outer space is an extremely difficult and expensive feat, and is, in fact, DANGEROUS[.]"

NEWSFLASH: The NEW YORK POST writes that Steven Spielberg was "knighted"

... so to speak, by Stanley Kubrick, to carry out his schemes, dreams and storyboards for the film on artificial intelligence titled by Kubrick "AI" [aka "Artificial Intelligence"]. What could be more

preposterous

than this outright lie??? Kubrick's idea was to tell the story of an android named David, who could never get his human mother's affection, so he learned that an illegal beverage consisting mostly of hemeglobin gave him ardour and spontaneity almost like a human. Sorry to say, David's mom came to a sudden and painful end. Let's hope this idea of Spielberg running off childishly with a genius's legacy, is only "NEW YORK POST" GOSSIP!! [Notice, June 13th, 2001: Although the Spielberg version of "AI" is having serious setbacks and delays and difficulties, it might still actually come out to the malls near the end of summer!].


Moabite Stone (The), said to have been discovered near the Dead Sea by Klein, in 1868, and broken up by Bedouins in 1869. Mr. Löwy, in 1887, pronounced it to be a FORGERY, one of his arguments being that the stone itself [basaltic volcanic rock, aka either an asteroid or a meteor chunk] was more worn than the letters inscribed upon it, in other words, that the stone was old, but the inscription was quite modern and recently applied to the stone.

"You know what Mr. Spielberg?

"What honey?"

"Why are you so envious of Stanley Kubrick?"

I guess luv, it's because he can read the Voynich Manuscripts and I don't have a clue!"

DAILY UPDATE ON THE PROGRESS of

"Artificial Intelligence,"

the filmscript now credited to "SS" Steven Spielberg


ShowBIZ Data reports:

"Steven Spielberg confirmed reports that he plans to bring Stanley Kubrick's 80-page treatment for A.I. (artificial intelligence) to fruition this summer. The science-fiction tale of a boy robot who "LIVES" during a time following the MELTING OF POLAR ICE CAPS had long been in the works by Kubrick."

click here to read SPIELBERG vs. KUBRICK in the Wars over who owns Kubrick's script for "AI" [Artificial Intelligence]

GREGORY FEELEY,

a science fiction writer [unlike Steven Spielberg] ... who

knew

Kubrick, wrote recently in the New York Times, about the film

"ARTIFICIAL INTELLIGENCE, THE PINNOCHIO STORY"

that Kubrick worked on for many years and wanted to be his last testament, rather than EYES WIDE SHUT.

" [...] "AI" ["Artificial Intelligence"] would have been Kubrick's most intense and definitive vision of humanity ... in the throes of becoming something other than human: a science-fiction epic of enormous ambition.

[...] Kubrick saw the movie [AI] as a QUEST in which the robot DAVID seeks to become a real boy as a way of winning his mother's love ... the Aldiss story behind "AI" ... published in 1969 ... is about a withdrawn English boy named DAVID and his talking teddy bear, which is actually a robot that was given to the boy by his worried parents for THERAPEUTIC purposes. At the end of the story, the reader discovers that DAVID is also a robot, a sophisticated model that is supposed to behave like a real child but that can't please the childless couple who purchased him, despite the teddy bear's coaching, and despite the boy's artificial beauty, like the Blue Boy of the painter Gainsborough, on which Kubrick modeled his character.



[...] Kubrick wanted David [the star boy robot of his "AI" script] to be kicked out of what we referred to as TIN CITY ... a sort of skid row for old robots where they were worked as slaves until they fell apart.

[...] It was the relationshiop between David and his mother [a human] that most occupied Kubrick and Ms. Maitland [his co-scriptwriter]. An alcoholic whose Bloody Marys David would mix for her in a vain attempt to win her affection, the mother was the emotional center of the film.

At the story's conclusion, the robots that have INHERITED THE EARTH use David's memories to reconstruct, in virtual form, the apartment where he had lived with his parents. Because his memories are subjective, the mother is much more vividly realized than the father, and his stepsister's room is not there at all; it is just a hole in the wall.

For Ms. Maitland, the film would end with David preparing a BLOODY MARY for his mother, the juice a

BRIGHTER RED THAN IN REAL LIFE"

... Kubrick, however, wanted a coda in chich the NEW RACE OF ROBOTS, because of a technological limitation, CANNOT keep the mother alive AFTER REVIVING her."

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click here for link to "What was Kubrick's A.I supposed to be about?" essay in full

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