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Hollywood’s Early Occult Underbelly Revealed Through Film



21st Century Wire says…

As so many can attest to, there are indeed many levels to Hollywood’s circles of hell…

Director Stanley Kubrick tried to open up the basement door with his film Eyes Wide Shut, although some of the most harrowing and revealing details were left on the cutting room floor after studio executives got hold of it before its release. Director David Lynch made similar efforts (see below).

Other aspects of this decadent world of make-believe, the glamour galaxy affectionately referred to as Hollywood were revealed by Kenneth Anger in his work entitled, Hollywood Babylon. Watch this rare documentary exposing the sordid roots and depraved accounts of early tinsel town’s criminal and occult underbelly, available here:


Others have concealed insight and meaning, carefully embedded in there works ironically produced by the very machine they were covertly exposing through their art. It’s debatable whether filmmakers such as these could be considered occult ‘whistleblowers’, or are they merely introducing subversive images, ideas and concepts into the subconscious minds of viewersor a bit of both.

One such artist was filmmaker David Lynch. The celebrated director achieved a cult following from fans through his challenging representation of stories and characters, with so much hidden between the lines in his art.

‘I learned that just beneath the surface there’s another world, and still different worlds as you dig deeper.’
– David Lynch

Here’s one writer’s excellent analysis of Lynch’s classic film, Mulholland Drive

Hollywood Occult Brainwashing in Lynch’s ‘Mulholland Drive’

Jay’s Analysis

The Academy Award-nominated 2001 work of David Lynch, Mulholland Drive, is remembered by most as a macabre, satirical nightmare dreamscape of Neo-noir centering around a typical girl next door’s dream of becoming the next Hollywood starlet. 

That is about the only thing viewers can agree the film is about.  Reviewers speak of “surrealism,” “imagination,” “nightmares,” and a few of the more philosophical pieces look at semiotics in relation to the performance at ‘Club Silencio’, yet no one seems able to truly crack the language of Mulholland, even with Lynch’s clues and hints.  In my analysis, I want to propose something radically different – Mulholland follows Lost Highway as a similar story of Hollywood dark side, but with a new twist, revealing actual occult brainwashing techniques.  Not only that, Lynch’s film will make “twilight language” references to a host of esoteric subjects, including the Manson Murders and the CIA’s MKULTRA mind control programs.


Before delving into that topic, author Michael Hoffman defines “twilight language” as follows in his Secret Societies and Psychological Warfare:  “The path to unlocking this gnosis was centered in “twilight language,” a once nearly universal subliminal communication system used din Egypt, Babylon, the Indian subcontinent and among the Aztecs, consisting of a combination of numbers, archetypal words and symbols, which in our time are sometimes embedded in modern advertising, and in certain modern films and music…. In Oriental Tantra, the mantra (including dharani, kavaca, yamala, etc.) is sonically calculated to induce a particular action.  It forms part of the original sanskrit concept of sandhyabhasa (twilight language).  In Tantra, ‘Sandhyabhasa…is a language of light and darkness…in this higher type of discourse, words have another, a different meaning: this is not to be openly discussed.”  (pg. 207)

In my Lost Highway analysis, I mentioned that David Lynch is a fan of Buddhist and zen philosophy.  Presumably, he is also aware of this Tantric conception of twilight language and its significance in terms of using and manipulating symbols and events.  The opening of that analysis is appropriate for Mulholland Drive, as well:

“The telling of the story is non-linear, yet influenced heavily by classic 1940s Noir. Lost Highway is influenced by zen philosophy and Jungian dreamscapes, but as for the deeper occult elements, it’s necessary to understand why the stories are presented in a interlinking duality, as they are in Mulholland Drive. Zen philosophy is concerned with duality and its transcendence, as ultimate principles, as well as with the individual’s particularized psyche, and its relation to the whole of reality. Zen is therefore a quasi-religious philosophy concentrated on ultimate metaphysical principles, known in philosophy historically as the problem of the one and the many. For Lynch, these philosophical questions are not just abstract philosophy, but also relate directly to the psyche in its conscious and unconscious/sleep states.”

In terms of decoding films and life in general, Lynch himself has said: “We all find this book of riddles and it’s just what’s going on.  And you can figure them out.  The problem is, you figure them out inside yourself, and even if you told somebody, they wouldn’t believe you or understand in the same way you do.  You’d suddenly realize that the communication wasn’t 100 percent.  There are a lot of things like that going on in life, and words just fail you.”  (Lynch on Lynch, pgs. 25-6)  From this platform we can further posit that Lynch does have a secret significance for his films and the symbolism has a definite, although obscure, meaning, if the viewer is skilled enough at decoding the “twilight language.”   

“The “hypnotic courier,” on the other hand, provides a unique solution.  I was involved in preparing many subjects for this work during World War II.  One successful case involved an Army Service Corps Captain whom we’ll call George Smith.

Captain Smith had undergone months of training.  He was an excellent subject but did not realize it.  I had removed from him, by post-hypnotic suggestion, all recollection of ever having been hypnotized.

First I had the Service Corps call the captain to Washington and tell him they needed a report of the mechanical equipment of Division X headquartered in Tokyo.  Smith was ordered to leave by jet next morning, pick up the report and return at once.  Consciously, that was all he knew, and it was the story he gave to his wife and friends.

Then I put him under deep hypnosis, and gave him — orally — a vital message to be delivered directly on his arrival in Japan to a certain colonel — let’s say his name was Brown — of military intelligence.  Outside of myself, Colonel Brown was the only person who could hypnotize Captain Smith.  This is “locking.”  I performed it by saying to the hypnotized Captain:  “Until further orders from me, only Colonel Brown and I can hypnotize you.  We will use a signal phrase ‘the moon is clear.’  Whenever you hear this phrase from Brown or myself you will pass instantly into deep hypnosis.”  When Captain Smith re-awakened, he had no conscious memory or what happened in trance.  All that he was aware of was that he must head for Tokyo to pick up a division report.

Read more at http://intellihub.com/hollywood-occult-brainwashing-lynchs-mulholland-drive/#HXbZtEQAuhjg2ouc.99

“The hypnotic courier”, on the other hand, provides a unique solution.  I was involved in preparing many subjects for this work during World War II.  One successful case involved an Army Service Corps Captain whom we’ll call George Smith.

Captain Smith had undergone months of training.  He was an excellent subject but did not realize it.  I had removed from him, by post-hypnotic suggestion, all recollection of ever having been hypnotized.

First I had the Service Corps call the captain to Washington and tell him they needed a report of the mechanical equipment of Division X headquartered in Tokyo.  Smith was ordered to leave by jet next morning, pick up the report and return at once.  Consciously, that was all he knew, and it was the story he gave to his wife and friends.

Then I put him under deep hypnosis, and gave him — orally — a vital message to be delivered directly on his arrival in Japan to a certain colonel — let’s say his name was Brown — of military intelligence.  Outside of myself, Colonel Brown was the only person who could hypnotize Captain Smith.  This is “locking.”  I performed it by saying to the hypnotized Captain:  “Until further orders from me, only Colonel Brown and I can hypnotize you.  We will use a signal phrase ‘the moon is clear.’  Whenever you hear this phrase from Brown or myself you will pass instantly into deep hypnosis.”  When Captain Smith re-awakened, he had no conscious memory or what happened in trance.  All that he was aware of was that he must head for Tokyo to pick up a division report…

Continue this story at Intellihub

READ MORE HOLLYWOOD NEWS AT: 21st Century Wire Hollywood Files

Before delving into the film, an important influence on Lynch should be considered.  Sunset Boulevard, the dark 1950 film directed by Billy Wilder, shares many parallels to Mulholland Drive.  Sunset is the famous story of a washed up silent movie actress who loses her mind and becomes lost in an obsessive fantasy of her own making, leading to the death of a young screen writer who becomes her consort.  For its time, Sunset was an extremely bizarre movie, underlining the dirty underbelly of fame and fortune that most 1950s Hollywood fairy tales ignored.  Though not entirely evident, it is arguable that Norma Desmond (the washed up actress) dissociates into a completely fictitious mental world where she remains a glamorous starlet.  In the same way, Diane/Betty (Naomi Watts) in Mulholland will embrace the same fate as Norma.  This is why Rita/Camilla first stumbles onto “Sunset Boulevard” at the beginning of the film, following her car accident, and why Diane/Betty’s apartment features classic Hollywood posters adorning the walls.

We know the first half of the film is Betty’s mental projection or dream of what happened.  What we can gather is that she went to Hollywood to become a movie star, but ended up a drugged out whore.  She won a dancing contest that provided her an opportunity to move to Hollywood, and the first clue given is that following the sock hop, we see the two old people as the camera fades to the perspective of Betty crawling into bed to die (as she commits suicide at the end of the film).  It is also the same bed Betty and Rita discover as they sneak into the apartment looking for “Diane Selwyn” (Betty’s real identity).  As with Lost Highway, the end of the film is the beginning, with the split personality lead character becoming lost in a cyclical maze of their own delusions and dream realities.  We know this because it is the same red pillow.  When you crawl into bed, you do it to sleep, or die, which is an image of both death, dreaming and dissociating into an alternate personality.  In other words, Betty represents the aspiring American actress who has lost her identity in the Hollywood machine, which is something other than the illusory image presented to most.

However, there is a much deeper current at work here.  Mulholland Drive the actual street has a connection to the Manson murders that few have noticed.  Esoteric writer Peter Levenda explains in his Sinister Forces, Book II:  “Helter Skelter was Manson’s “program” for the brainwashed murderers; it provided a context, and it also influenced their choice of bloody graffiti at each scene, thus attempting to lay the crimes off on the Black Panthers….The brilliance behind these crimes had nothing to do with Manson himself.  The brilliance was in selecting Manson and his assassins as the hit team, for it obscured the real motives and thus the real powers behind them.  Further, due to the sensitive nature of the victims involved and their incestuous relationships with Hollywood, occultism, drugs, and “alternative” sexual practices-much of it captured on videotape-there was little danger of their friends running to the police with information that could get the real masterminds in trouble….the blood had splattered all over Benedict Canyon in an aerial spray that reached Mulholland Drive, Beverly Hills, Bel Air, North Hollywood and Malibu, and the back lots of studios all over town.  Drugs, murder for hire, sadomasochistic sex on videotape involving celebrities, and satanic rituals…The “scarlet thread of murder” never ran so red as it did  on August 9, 1969 at 10050 Cielo Drive.”  (pg. 103)

Levenda’s entire Sinister Forces trilogy is devoted to analyzing, among other events, the Manson murders and Hollywood, noting the connections and associations in relation to the MKULTRA mind control program of the CIA and covert intelligence agencies.  Hollywood, Levenda argues, is a mass mind control operation that ties into the occult and psychological warfare operations.  His correlation between Manson and Mulholland Drive is also echoed by famed Manson investigator Vincent Bugliosi, who writes quoting Manson associate Tex Watson: “They drove somewhere along “Benedict Canyon, Mulholland Drive, I don’t know [which street] …until we came to what looked like an embankment going down like a cliff with a mountain on one side and a cliff on the other.’  They pulled off and stopped, and ‘Linda threw all the bloody clothes over the side of the hill…’ The weapons, the knives and gun were tossed out at ‘three or four different places, I don’t remember how many.’” (Helter Skelter, pg 245).

I think it is highly likely Lynch has this in mind, as Levenda elaborates:  “In January 1969, shortly after the discovery of Marina Habe’s body in a gulley off Mulholland Drive, several events occurred which are relevant to our study.  CIA operation OFTEN was initialized by Dr. Sidney Gottlieb, based partly on documents which came into his possession after CIA Agent WIlliam F. Buckley (who would later be tortured and murdered by Arab terrorists) tossed the premises of Dr. Ewen Cameron, he of the “sleep room” and “psychic driving” experiments in Canada.  Initially, Operation OFTEN was a joint CIA/Army Chemical Corps drug project…” (Ibid., 87)

OFTEN was one of many MKULTRA associated programs, relating the infamous CIA goals of manipulating the psyche of soldiers and other unwitting subjects with the intent of determining whether a perfect spy could be created.  Could an alternate personality be created that housed secret information that only a handler with the correct “keys” or code words, could unlock?  As I have shown here, the programs were wildly successful, originating with wartime hypnosis studies:

The names associated with the programs are Dr. Ewen Cameron, Dr. Sidney Gottlieb, Dr. Jose Delgado, Dr. Jolyon West, Dr. George Estabrooks, and others.  While this itself is easily tracked down in terms of the existence of the programs, what is lesser known are articles like Dr. George Estabrooks’ article from the April 1971 Science Digest, Hypnosis Comes of Age.  Included in the article are some striking admissions, especially since the OSS, CIA and FBI utilized Estabrooks and his skills.   The article mentions, first of all, Estabrooks’ claim of the use of secret couriers and keywords that function as the triggers in the operative:

Read more at http://intellihub.com/hollywood-occult-brainwashing-lynchs-mulholland-drive/#HXbZtEQAuhjg2ouc.99

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