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Over a long-span of time I thought I wanted to make films in Hollywood, and I have knocked on the door more than once. But over time, it became clear to me why my favorite filmmakers, Clint Eastwood, George Lucas, and even Walt Disney who basically moved his operations to Florida at the end of his life, stayed clear as much as possible of Wilshire Blvd. Every year when I was a kid, the movie Chitty, Chitty Bang, Bang came on network television and I would religiously sit down to watch it. Back then the musicals of Julie Andrews, and Dick Van Dyke over the films Mary Poppins, The Sound of Music, and of course Chitty Chitty Bang Bang filled my imagination with visions of goodness. To this day I have on my Pandora radio a Chitty Chitty Bang Bang station and from that movie this is my absolute favorite scene.
That scene, and movie made me want to make films. But I discovered that Hollywood was not as wholesome as my favorite movies would indicate. In my early twenties I knew a few screenwriters who worked for studios, had agents and were living the life, and they reported to me of gigantic Hollywood orgies, drug parties, and other activities which would be expected of me if I wanted to go down that road—which I didn’t. The more I got to know members of the Hollywood community the more they seemed obsessed with what my Midwestern mind would term as sheer evil. My sensibilities were so insulted by this reality that a writer friend of mine who was one of my early teachers, Linda Nagata sent me a story she ran across from Science Fiction and Fantasy Magazine telling me that I reminded her of the lead protagonist—a detective much like the video game character from L.A. Noire who investigated crimes in and around Hollywood and uncovered all kinds of demonic Aleister Crowley ceremonies involving exotic actresses and sex orgies of extreme debauchery. It was her way of telling me that I needed to get over my Midwestern naiveté if I wanted to work in Hollywood because that was my primary limiting ingredient.
But I didn’t want to associate with satan worshippers, drug addicts, progressives, communist spewing despots, whores and studio bosses of low intellect. I didn’t want to attend drug parties and orgies just to have a screenplay read. The fiction story Nagata had sent to me was not so far off. Aleister Crowley had a following and a lot of them resided in Hollywood and the industry had been irreparably affected. Crowley enjoyed being outrageous and flouting conventional morality. He told John Symonds that he “was in revolt against the moral and religious values of his time”.Crowley’s political thought was subjected to an in-depth study by academic Marco Pasi, who noted that for Crowley, socio-political concerns were subordinate to metaphysical and spiritual ones. Pasi argued that it was difficult to classify Crowley as being either on the political left or right, but was perhaps best categorized as a conservative revolutionary despite not being affiliated with the German-based revolutionary conservative movement. Pasi noted that Crowley sympathized with extreme ideologies like Nazism and Marxism-Leninism, in that they wished to violently overturn society, and hoped that both Nazi Germany and the Soviet Union might adopt Thelema. Crowley described democracy as an “imbecile and nauseating cult of weakness”, and commented that The Book of the Law proclaimed that “there is the master and there is the slave; the noble and the serf; the “lone wolf” and the herd”. In this attitude he was influenced by the work of Friedrich Nietzche and Social Darwinism. Crowley also saw himself as an aristocrat, describing himself as Lord Boleskine; he had contempt for most of the British aristocracy, and once described his socio-political views as “aristocratic communism”.
Crowley was bisexual, and exhibited a sexual preference for women. In particular he had an attraction toward “exotic women”, and claimed to have fallen in love on multiple occasions; Kaczynski stated that “when he loved, he did so with his whole being, but the passion was typically short-lived.” Even in later life, he was able to attract young bohemian women to be his lovers, largely due to his charisma. During same-sex anal intercourse, he usually played the passive role, which Booth believed “appealed to his masochistic side.” Crowley argued that gay and bisexual people should not suppress their sexual orientation, commenting that people “must not be ashamed or afraid of being homosexual if he happens to be so at heart; he must not attempt to violate his own true nature because of public opinion, or medieval morality, or religious prejudice which would wish he were otherwise.” On other issues he adopted a more conservative attitude; he opposed abortion on moral grounds, believing that no woman following her True Will would ever desire one.
The values of Aleister Crowely because of his support of communism filtered into the Hollywood revolution of the 40s and 50s shaping many of the crazy beliefs they utilize today. In Hollywood, if it has not yet been noticed, the rite of passage of young people into adulthood is to see them publicly defowered, we are seeing it with Miley Cyrus, Justin Bieber, the ripping off of the top of Janet Jackson, the lesbian kissing of Brittney Spears and Madonna, the lesbian scene of Star Wars actress Natalia Portman in The Black Swan, the utter desecration of Nichole Kidman after the film Eyes Wide Shut, and of course the extreme deflowering of the nice little actress Anne Hathaway in several films after The Princess Diaries which she co-starred with Julie Andrews.
Female former Disney stars seem to be the primary target of these purity sacrifices and none was more obvious than the 1981 film S.O.B. where Blake Edwards, who was married to Julie Andrews at the time talked her into a topless scene so to destroy her caricature of purity to the eyes of the world. Andrews was a gigantic star on the stage of entertainment and her films Mary Poppins and The Sound of Music are absolute gifts to goodness. They are wonderful films and like my favorite, Chitty Chitty Bang Bang fed the mind of young people such as myself with the yearly showings on network television which at that time were still being run by World War II generation conservatives—relatively speaking. Not any longer—the networks are now run by some of those types Linda sent me stories on and were part of the new Hollywood culture that seemed to have a deep-seated belief that symbols of purity such as the women mentioned above, needed to be sacrificed to the spirits of evil in order to sanctify success. These beliefs were on full display in Stanley Kubrick’s Eyes Wide Shut. That was and is modern Hollywood.
There seems to be a sincere desire to erase from the mind of the public the good ol’ fashioned musical classics that have brought so much joy to so many people. There was no sex, profanity, or detrimental behavior in Chitty Chitty Bang Bang, Mary Poppins, or The Sound of Music. They are films with songs about the essence of the human spirit—yet in 2014 Hollywood, and America in general, there seems to be a very real effort to suppress those influences with tabloid headlines of the latest Hollywood drug addict, or up skirt picture of a new 19-year-old actress to appease the vile necessity of some un-named demon.
There was an astounding level of criticism toward Carrie Underwood who performed a live stage re-enactment of The Sound of Music for NBC television on December 5th 2013. I do not believe the anger is over her performance which was quite good for live television; it was because of the attempt to resurrect The Sound of Music on national television. There is a very real desire by the embodiment of evil to suppress anything which brings to the human mind an image of goodness. It is not something that is obvious, or can be placed on a t-shirt, or even described in a church service. I cover the roots of this evil in other articles. CLICK HERE for review.
Even my praise of the Lord of the Rings and Hobbit films by Peter Jackson are not made in Hollywood, but in New Zealand. A film like Jackon’s explorations into the roots of evil would not be concocted in the bars of Santa Monica, the brunches on Wilshire Blvd, or the shopping complexes of Brand Blvd. Hollywood doesn’t make movies or support stories like that anymore. Only a very narrow few filmmakers have made it passed the pressure cookers of pure evil and found the freedom to tell their stories rightfully, such as Jerry Bruckheimer, J.J. Abrams, and Steven Spielberg. But for every one of them, there are thousands of parasites who believe to this enlightened day that purity must be sacrificed to the gods so that box office totals can secure their job for one more year and another line of cocaine. Agents, producers, directors and other ornaments of the entertainment industry talk these girls into sacrificing their purity to evil so that success will fall upon them—and when someone like Carry Underwood comes along who believes in Jesus, and goodness, and is trying to do the right things—they tear her down hoping that the demons of injustice will blow kisses in their direction.
I was lucky, very lucky—to have remembered a time when television still put on shows like Chitty Chitty Bang Bang every year and built the event up as a sacred ritual. Those old films made a sincere attempt to find the good in human nature and tell a story driven by it—and I relish it deeply. I despise evil, drugs, vile behavior, stupidity, boot licking, and sexual promiscuity. So because Hollywood cannot produce such musicals as original material any longer, I will stick with the classics and enjoy them the way I did as a kid and share them with my own family. Because there are fewer moments better in my opinion in film history than that music box piece from Chitty Chitty Bang Bang—and it didn’t involve nudity, violence, or a gross joke—it was just good for the sake of good, something that Hollywood has long forgotten.
Dick Van Dyke for President! And thank God for Pandora radio!