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It was sometime ago when I began contemplating the idea that although the Great Work had been expressed in stone, and later in literature, how would it be expressed today? I began watching many classics in order to see if the director, or writer, was attempting to tell us the secret about human transformation. Was it true that cinema was just too profane a medium to attract anyone with the caliber of mind and spirit to do this kind of film? I was in France, doing research for a book that I am co-writing about the French alchemist Fulcanelli, when Stanley Kubrick died. There is also the famous Stephen King story of the phone ringing in the middle of the night.
It was just after his death that I discovered that there was a book of the Great Work fashioned into a movie. Reading through many critical reviews of the film I find it amazing that no one understands what is happening.
It is almost like Stanley built this film so that people at some future date would finally understand it, possibly in the year 2001?
Kubrick, however, proves that he knows what he is doing at every step and this is the real reason why he is not talking about the film to anyone. Let’s begin with a description of the film so that we can place everything in context.
The next few scenes in chapter one show a typical day in the life of the apemen who thrived on earth millions of years ago.
In this second chapter, Kubrick introduces the viewer to visual phones, plastic food and antiseptic environments. After finally landing on the moon Floyd gives a strange speech explaining how they must keep what they have found completely secret.
Kubrick leaves us with the tantalizing possibility that machines will eventually acquire a soul, but the film clearly states by the ending that time has run out for any of that. Before going on to the final sequence in the film it is necessary to stop for a moment and explain where Kubrick is going with all of this and why. It is also important to note that when the apeman throws the bone up into the sky – that is the last time that we see any part of nature again in the film.
As Bowman leaves the Discovery for the final time Kubrick cuts straight to a montage of shots of the monolith. It is interesting to note that Kubrick had originally planned for the planet in the film to be Saturn but the special effects department could not make the rings look realistic enough. In an earlier script, Kubrick and Clarke had the Starchild igniting all of the nuclear weapons that were in orbit around the earth, thereby ending the cold war. It is important to note that the Starchild model was made to look like Keir Dullea, the actor who portrayed Bowman. The stone has given Bowman the gifts that the Philosopher’s Stone has always promised.
In Mystery of the Cathedrals Fulcanelli points out quite clearly – once one understands the key, that this fourth realm of the Tree of Life is physically represented by the very center of our galaxy, the Milky Way.
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Many other films and filmmakers got close, sometimes, to explaining minor aspects of the Great Work, but in the end they all failed. The French, always a class act, devoted the next few nights of their great State-run television station, Channel 3, to the films of Stanley Kubrick. There are some very erudite explanations that do cover parts of the plot, yet no one really gets it. The images of people moving around in the windows of the spacecraft was an ingenious invention that revolutionized the way movies would look from then on. They forage for food, cower from their enemies (mostly portrayed by a leopard) and they exist in a meaningless, never-ending sequence of events, that are mostly concerned with survival. He jumps up and down and begins grunting and chattering as he beholds the magnificence of this monolith. When one considers the entire film it becomes apparent that this is the story of the black monolith. The two main gifts of the stone are total gnosis, or knowledge of the seeker and the immortality of the soul.
The news of this importance could cause severe psychological problems with the good citizens back on earth.
It is subtle, but there is a lunar eclipse going on at the precise moment that the monument begins to emit it’s signal. 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 years ago.
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. Kubrick consciously has chosen Ligeti’s music because it evokes a religious or spiritual feeling within the listener. It seems that Kubrick thought that this ending was too close to the ending of his previous film Dr. Bowman has achieved complete gnosis, or knowledge, and now he has become immortal by overcoming physical death and being reborn. The obvious analogies are the celestial alignments that proceed each of the alchemical transmutations in the film. In alchemy the process for the unfoldment of the soul, that is so necessary to completing the Great Work, is a three-fold process. In this chapter Bowman experiences a universe far more vast and unbelievable than any mortal man has ever conceived. The monolith represents the Philosopher Stone, the Book of Nature and the Film that initiates. With the understanding of what 2001 is actually saying, Kubrick takes his place along side DaVinci, and possibly even Shakespeare, as being one of the greatest artists of all time. The great alchemist Fulcanelli and others have said that a great transmutation of the human species is going to takes place at some time near the end of the 20th century and the beginning of the 21st. He is the co-author of A Monument to the End of Time: Alchemy, Fulcanelli and the Great Cross, with Vincent Bridges. Uncover Alphonsea€™s ulterior motives and save the Queen from his dastardly plan in Hidden Mysteries: Royal Family Secrets. Quick Access is the default but you can change this by opening File Explorer Options, selecting the General tab, and choosing "This PC" next to "Open File Explorer to".
Wildlife Artist Bonnie Marris wolves in art prints on sale framed any way you want or unframed. In other words there is deep knowledge built into these edifices that only an initiate can truly understand. But, he says, the new Great Book of Nature is not written on the walls, or in the stone of churches anymore. When considered, it would take a nearly superhuman effort to have all of the disparate talents needed within one single filmmaker.
He insists that he knew nothing of gnosticism or ancient magical traditions when he wrote the book that many have proclaimed to be the best ever in the genre of science fiction. Even Steven Speilberg and George Lucas admit what they owe to Stanley for his ground breaking technical breakthroughs. In fact, Kubrick magically cuts out all of human history in the famous shot where the bone turns into a spaceship.
The next scene shows that the apemen are no longer scrounging for seeds and leaves, instead they are eating raw meat, presumably from an animal that they have just killed with their bone club. In fact, as soon as the apeman has thrown his bone up in the air, at the end of the first chapter, the viewer sees no more of nature.
In a series of shots that still shimmer in the memory of the viewer, Kubrick takes us on a tour of the moon on a space bus. Later it is revealed that HAL is the only one board that is consciously aware of the true mission of the Discovery. Now the machine is reading the astronauts lips, faking technical problems and ultimately murdering everyone on board, but Bowman. It is only when HAL dies that the true reason for the Discovery’s mission to Jupiter is revealed. Now at the very end of the age, at the very end of the millennium, mankind has accomplished much. Again the entire ordeal of the astronaut Bowman, and what he must have had to go through, all alone, in the depths of space, after the death of Poole and the other three astronauts, is dispensed with as being unimportant. The moons of Jupiter, like the moon and sun before, are aligned in a mystical and awe-inspiring way . He brilliantly juxtapositions this music with the sacred geometrical alignments of the monolith and the moons of Jupiter.
The set is that of a both modern and baroque French-style room with, startlingly, modern lighting coming up through the floor. Finally, right after the scene where Bowman breaks the wine glass, the monolith appears again for the last time. In the final realm of the Kabbala the seeker can swim in the ocean of the mind of God – which is represented by the sephireh named Kether. He realizes that life would be completely meaningless if it were not for the intervention of the monolith, or the stone.
Furthermore he gave an important spiritual context to his visions so that they made sense instead of just being mindless hallucinations that went nowhere.
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The great architects and artists had a very clear idea of what it was that they were attempting to transmit.

This new version, this modern version (this was in the 1800’s) of the Great Work, had changed from the symbolic to the written word. Out of these three new forms of communication, cinema was the most obvious to attract someone who might want to etch the Great Work onto film. This person would need the knowledge of alchemy, astronomy, anthropology and the true history of the human race. This gives the picture a resolution and color that we just cannot hope to get in the United States.
Written in 1953, it tells the story of a group of astronauts who discover an artifact on the moon that is left by an alien race. Like Citizen Kane, the vision and power of the film changed the way that all of cinema would look after it. And the first answer to this great question has to do with these stunning, magical alignments of celestial bodies.
The quatrains of Nostradamus, the inscription on the mysterious cross at Hendaye, and many other examples show that this secret alchemical language unfolds this way for a reason.
Kubrick completely dispenses with everything that has happened to the human race and goes directly to the very next human encounter with the monolith.
To the tune of Strauss’ Blue Danube, Kubrick has us soar through a circular, spinning space station in a futuristic Pan-American Spaceship.
It’s also a safe bet that it was placed there by the same forces that created the encounter between the monolith and the apemen. Three of the four chapter ends with the influence of this mysterious stone as the point of redirection.
Again Kubrick astonishes us by showing that the two astronauts don’t even wonder, or question, what it is they are doing.
He is trying to tell us something in this strange associations of images from history and the future. The very last shot in this sequence is the monolith crossing at a ninety degree angle with the moons of Jupiter.
In this experience of passing through the monolith, or the single stone, Bowman is shamaniclly transformed by a completely psychedelic experience. The second time it appears it saves the human race from the technical domination of this age. Again this mirrors the alchemical lore about the black stone causing the transmutation of the alchemist. This on it’s own may appear to be uninteresting but one of the great alchemical secrets concerns the position of the center of the galaxy. The best description of this process is that it is like a caduesus with its two writhing snakes on each side of a central rod. The first is the earthly realm, represented by Malkuth, which is the sephireh located at the very bottom of the Tree of Life. First one must remember that everytime the monolith, the magical stone, appears in the film there is a strange beautiful celestial alignment occurring. This would have been appropriate to what he was attempting to convey because the tetrahedron is the building block of the third dimension. 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 the ultimate alchemist-artist of the late 20th century. What are we to make of the strange date that Kubrick picked out for the final transformation of the human species? All prints are professionally boxed and insured and guaranteed to arrive in mint condition.
Hugo identifies the works of William Shakespeare as containing the ancient alchemical knowledge of human transformation wrapped up in a set of theatrical plays. But, as I looked out at the landscape of the history of cinema, I could not find the Great Work on film. Besides an insatiable curiosity, they would have to understand the real nature of the human condition and of our place in the universe. I heard the rumor that Stanley had a provision in his contract at Pinewood Studios that the sets for 2001 could not be torn down for two years after the shoot was completed.
Especially all science fiction films, which all seem to pay homage to 2001 in one way or another.
One of the main tenets of alchemy is that planetary and celestial alignments cause dramatic events to occur on Earth.
They dance and scream as they frightfully contemplate this strange and beautiful arrival into their mundane existence.
Finally, he ends the first sequence with the confrontation by the water hole, again, with the other tribe of apemen. In fact the two promises of the Philosopher’s Stone are what is actually accomplished by the monolith through the course of the movie. The only one on board who seems to understand the there is something funny going on is HAL.
In the first sequence we find that this group of apemen, who are vegetarians and gentle, are transformed by the monolith, the single black stone, into tool users who conquer and kill. The dance that is now taking place is a majestic, incredible ballet between the monolith and the celestial bodies of the Jupiter system.
The light seems to glow out of the bottom of the scene causing everything to carry this numinous, incandescent quality to it.
Without the intervention of the monolith this course would lead to certain extinction also. Bowman will be a new human, just as different from Homo Sapiens as Homo Sapiens are different from that apeman who picked up that bone all that time ago.
Kubrick has brought the viewer of the film through the four realms of the Tree of Life, all brilliantly evoked in the right pattern with enough intricate knowledge of the Kabbala to give one a long pause for consideration.
And one must remember that every celestial alignment in the film is followed by a monolith, that is, except for one.
When you look into their eyes they seem to see so much farther and know so much more than we do.
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This knowledge would have to be coupled with the skills of filmmaking and the business acumen to pull the project off. I began to realize that no filmmaker, except possibly Welles, had the sense of composition and light like Kubrick possessed.
After completing a couple of interesting documentaries, he directed five commercial films over the next 8 years. Kubrick would come by the studio, late at night, always alone, and walk through the sets very slowly.
It actually was my favorite film until I began to unravel the truth that Stanley Kubrick embedded into his masterpiece 2001: A Space Odyssey. Each one will expand out into more vast realms that mirror those of alchemy and the Great Work.
Kubrick even creates a scene of a pathetic wrangling between two tribes of the apemen over a watering hole.
In a world of scrub bushes, sharp rocks and dangerous animals, the apeman has never seen anything like the object that stands before him.
There is also little doubt that Kubrick knew this all the time and it isn’t accidental in anyway. Kubrick reveals, in this scene, the contempt that our masters of the Military Industrial complex hold for us. Now that everyone on the ship has been murdered by HAL, it is only Bowman that hears the message.
Whatever we have gained from the gift of toolmaking, we have lost just as much through the slow death of our souls.
Bowman is just following orders and he must now investigate the strange monolith that is circling Jupiter.
In fact, the Bow-Man of Sagittarius is shooting his arrow right into the heart of the Milky Way galaxy. In the case of the film, the final realm of the Tree of Life can be only attained by one man and this can be done only with the help of the monolith, or the stone. People have come up to me at shows and tell me that they've felt it was the first time they've connected with a wolf.
I began to realize the possibility, at this point, that my search for the Great Work in the cinema was probably in vain.
Visually his films were incredibly stunning and they had an amazing ability of holding up against the erosion of time. When the sets were finally torn down it was rumored that Stanley went into a deep depression. Of course his film of King’s book was disowned by King, who clearly does not understand what Stanley was doing. I realized also that Stanley Kubrick was not just a great filmmaker, he was the greatest filmmaker.
The first time that this black stone appears in the film it is revealed in a very religious and spiritually-styled motif. The other tribe goes into their ritualized shouting and gesturing in order to show that they can dominate the water hole.
He, and everyone else in the scenes of this techno-celebration, is completely lifeless and emotionless.
The truth of something amazing must be held secret from us until we are conditioned to receive it. Again, the men eat revolting food as they blandly discuss, what is apparently, the most important discovery in all of human history. It is also the one that is most involved with actually telling a story in the way that Hollywood prefers. As we replace nature with technology, we also replace our souls and individuality with a hive-like mentality.
He is the first man who has ever experienced the truth of the monolith and what it has to offer. Kubrick has evoked the spiritual and physical evolution of our race as it has been transformed by this magical black stone.
In order to pass from one realm, or aspect, of the Kabbala one must use one of these three central pillars, or processes.
The third realm is that of the sun, or the sephireh named Tiperoth, and the final realm of the Tree of Life is that of the ultimate being or consciousness, represented by the sephireh named Kether. So the question arises – if we are to stay within the rules that are prescribed in the rest of the film – where is the monolith that is supposed to follow that first alignment? It is said that Kubrick himself created the first drawing of what the monolith would look like, including it’s dimensions. The answer to this important question, according to the alchemists, was the very transformation of the human spirit.
The works of Shakespeare do hold within them all of the intiatic knowledge that is also on the walls of the cathedrals. I hope to reveal to you, oh, gentle reader, that this film actually evokes all aspects of the great work of alchemy. Right away Kubrick is showing the viewer the relationship between the philosopher Frederick Nietzche and the film, between transformation and extinction. This stone, this monolith, has invaded the apeman’s reality and he will be forever altered by this encounter. I will show that Kubrick is actually telling us that the monolith is the film, and conversely, the film is the monolith, but that will come later.
This is done with such a masterful sleight-of-hand that it is never really considered much by the viewer. Superficially, he is telling us that the monolith is not a great and compassionate guide because it was the cause of the first killing.

He knows that he is in a prison of his own design, which is the meaning of the last few scenes in the hotel-like room.
This is also echoed later in the Beyond the Infinite sequence where Bowman witnesses an exploding galaxy. In order to understand the Kabbalic significance of this sequence it is important to understand, that in the original script, by Arthur C. Kubrick has simultaneously taken the viewer through the history of humanity, through the realms of the Tree of Life, or the Kabbala, he has shown that the transmutation of the human species is created by the intervention of a single, black stone, he has revealed that this transformation can only take place when certain celestial, magical alignments are happening. The monolith itself doesn’t show up in the film for ten more minutes after that first celestial alignment, so what gives here?
The black, single stone becomes the container of creation and the alchemical cube at the same time. Although it is true that the symbols and the geometry of the cathedrals was designed so that only a true initiate of the mysteries could really understand their significance, the builders and creators of the Great Work knew that everyone who experienced the cathedrals would come away transformed. Clark Kubrick was able to bring in these Gnostic, alchemical ideas through the convention of science fiction. The apemen go to sleep in their cave with the cries of the nocturnal carnivores filling their ears. Its rectangular edges are flawless and exquisite as it stands like a sentinel in the middle of the sleeping apemen. One more time, as the music on the soundtrack becomes more numinous, he attempts to touch the absolutely pure and straight edge of the visiting slab of rock. These critics also claim that he couldn’t get his actors to emotionalize very well on film. The Pentagon, NASA, or someone, is hiding the most astonishing fact of all from the rest of the human race. Apparently, a simple magnetic survey of the moon, done by the Americans, has revealed that something was giving off an anomalous signal, just 5 meters underneath the surface of the moon.
Inexplicably we are on this ship with two live astronauts, and three others, who are in frozen hibernation. The real mission of the Discovery is to find out why this strange monolith, buried by some outside force, sent a signal towards the planet Jupiter. On a deeper level though, he is also saying that the gift of the stone is a very great spiritual and evolutionary event. The light is so intense that, for a brief moment, the viewer can’t see what is happening on the bed. Bowman’s ultimate realization that he is trapped is made symbolically by Kubrick with the breaking of the wine glass.
Clarke and Kubrick, the space craft Discovery was heading towards the planet Saturn, and not Jupiter. I hope to prove that Kubrick did this with great intention and that he knew what he was doing at every step.
Zarathustra is the great god of the Zoroastrians, who are the early holders of the alchemical tradition.
And everyone on the screen shakes their head in approval without considering the import of what it is they are doing. The astronauts, Poole and Bowman, are even more lifeless and soulless than the people in the previous scene. Bowman is experiencing overload and looks like he might not be able to handle the amount of information that is being given. As stated earlier, Kubrick was forced to switch to Jupiter because the rings of Saturn proved too difficult.
Even hot-blooded, radical atheists are stilled by the beauty of Notre Dame or Chartes Cathedral. Shakespeare and the cathedrals both have this ability to appeal to many disparate layers of society.
The black stone is the stone of transformation, and even more important to this argument the stone of projection. Both in Paths of Glory and Spartacus Kubrick reveals that he is capable of showing a vast spectrum of emotions. They discover that it is a black monolith buried under the soil of the moon that is emitting these frequencies.
These things may very well also be true, but the ultimate trick of Kubrick’s is embedded in the idea that the monolith must appear after every one of these magical alignments. This black stone of creation is also one of the main features in the Islamic religion, where a black meteorite sits near the kaaba, or cube of space, in the Arabian city of Mecca.
Both bring about a small transformation inside the human mind that makes all of us realize that we can do great and beautiful things. Indeed many thousands of hours were taken up in coffee houses and dormitories, in universities and colleges, discussing the various possible meanings that the ending was describing.
These magical, celestial alignments are dotted throughout the film and hold a key to the main theme. The way that the fingers of the apeman brush gently along the smooth sides of the monolith are as sexual as this film is going to get.
In 2001 he is displaying mankind in the techno-future built by the masters of the Military Industrial Complex.
When it is finally seen, we find that it is exactly like the first monolith that the apemen encountered in chapter one. No plants, no animals, just two banal astronauts who go about their chores servicing the ship, playing chess and shadow boxing.
We have outside intervention that causes us to shed the limited view of reality which we had before. His own fallibility thrusts the scene towards it’s climax as the old man dies on the bed and sees the monolith for the last time. There are three conscious entities aboard the Discovery spacecraft and there are three unconscious entities, the men who are in hibernation. Kubrick has combined these many deeply held spiritual traditions and symbols and refashioned them into the monolith, or stone, that is constructed in the same dimensions as the movie screen on which it will be projected. Indeed, this intiatic school seems to be saying that the transformation of the human spirit from the barbaric to the angelic can only come through great works of art.
Everyone agreed that it had something to do with transformation but no one knew really much more than that.
With the sacred music mixing with the magical alignments Kubrick is saying that this is a great spiritual moment.
Kubrick then brilliantly shows the other apemen in the tribe come forth and pound their bone weapons on the body of the dead apeman.
This is very important because in the Kabbala, one can switch places between the Sun, or Tiperoth, and Saturn. There is a monolith that appears right after the opening sequence with the magical, lunar eclipse. As soon as the leader apeman has gotten up the nerve to touch the monolith, Kubrick cuts to a dynamic shot of the monolith lying directly under a magical moon, sun alignment.
In the next shot Kubrick tracks his camera into the very body of the monolith, coming from the direction of the bed. He shows us that this humanity, imprinted by technology, television and the disappearance of nature, is also now void of emotions or feelings. How can a great spiritual and evolutionary leap forward also be the cause for murder and violence?
This man also understands that he is trapped in a jail that his own consciousness has designed. Is it a coincidence that this third chapter, which was originally intended to be about a voyage to Saturn, is also about the third realm of the Kabbala – Tiperoth? He shows the meek apemen pounding their bones on the dead body and acting as if they had done something incredible in this act of murder.
They begin snapping photographs of themselves in front of the strange, black slab of stone. As humanity has acquired more and more technology it has lost more and more of it’s soul. 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.
When one considers this switch is allowed in the rules of the Kabbala this sequence comes to represent the third realm of the Tree of Life. The leader of the apemen, the first murderer, howls victoriously and throws his bone into the air.
Here in this lonely spaceship, at the outer edge of human experience, the occupants appear to have completely lost their souls. 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.
In the rare interviews that he gave, concerning the film, he again refused to discuss the content at all. This is where Kubrick magically transforms the bone into a spaceship and rejects all of human history in one-twenty-fourth of a second. He is now showing us the future as envisioned by the same insane technocrats who destroyed the entire world in his previous film Dr. Conversely, the machine that they built, and which they allow to run their entire lives, has begun to wake up to consciousness.
Most critics at the time thought that Kubrick simply did not know how to conclude the movie so he contrived this ending.
It’s light strikes the black monument for the first time since it has been buried, presumably four million years ago. It is beginning to question the reasons for it’s existence and the mission, which is something that neither of the two astronauts ever does. Completely hidden, from critic and fan alike, is the fact that Kubrick consciously designed his film to be the monolith, the stone that transforms.
Kubrick is clearly showing that this intervention is a descent, in a way, both for the ape and for man. At first, as chapter two unfolds, with it’s vistas of moon bases and space stations, we begin to believe that Stanley is as soulless and emotionless a man as the future that he is portraying. As the light strikes the monument it suddenly emits a high pitched signal that pierces through the ears of the men.
The human race must go to hell before it can even begin to understand the might of the gods. Like the monolith, the film projects images into our heads that make us consider wider possibilities and ideas. And so our introduction to a wider reality, inspired by the monolith, and realized through the making of weapons, immediately turns the apeman with a bone into a spaceman with a rocket ship.
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. He is telling us that the apemen’s encounter with the monolith and whatever is about to happen in this film is vastly more important than all of the wars, famines, births, marriages, deaths, disasters, discoveries and art of the last 4 million years. Stanley is showing us this world in order to prepare us for the later nightmare that ensues with HAL the computer. The spinning, circular space station in the sequence immediately after the first chapter is a celebration of the gift of the monolith. It is in that ending that Kubrick reveals his deep inner profound knowledge of alchemy, gnosticism and the ancient view of the spirit domain. The soul of man, if allowed to continue on its present course will eventually be snuffed out, probably by the machines. Apparently, according to Kubrick, there has been no further encounters with the monolith in the intervening four million years.
All of the technology that graces the film is the direct result of that fatal encounter all those years ago.

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