Hitler Youth Movement
I’m finding that there is a plentiful list of shared themes evident in one way or another across the entertainment ‘board’. Because the Hitler Youth Movement is alive and well today, it is no wonder that Hugo’s hair style directly emulates the appearance of Adolf Hitler. There’s not much more to say other than if you disagree, well, there’s no point in analyzing films for New World Order paradigm ‘tells’.
“Hugo is the astonishing adventure of a wily and resourceful boy whose quest to unlock a secret left to him by his father will transform Hugo and all those around him, and reveal a safe and loving place he can call home.” – Paramount “Hugo is the Neo-Nazi resurgence in total disguise. It has CPS, DHS, FEMA, NASA, and mind control written it” – Dismantle The Beam Project
Director Martin Scorsese pays homage to NASA with his first 3-D movie based on Brian Selznick’s, “The Invention of Hugo Cabret”.. a journey and a “train set” of a movie. It is not, however, a source of endless delight to the movie’s eponymous 12-year-old orphan hero who lives in Paris’ Montparnasse Train Station when seen with the understanding that the movie is telling another story.
Hugo’s guardian, a time keeper who maintains the train station clocks, disappears leaving him to cover for the disappearance and stay out of the orphanage. He does the job in secret, steals food and tools to stay alive and do his work, and traverses through underground tunnels careful to avoid the station inspector, who has a zest for orphan-catching. Hugo is showing us what it will be like at a time when we all must hide, hide to survive, and hide to preserve ourselves at their mercy.
Today, our very own Child Protective Services division of the United States Government is at war with our children. This tactic, however, is under the guise “separation from the parents” due to abuse they considerdhild neglect.. CPS is a money revenue scam, but on deep inspection, it is to create orphans that will be absorbed ultimately by the military complex. This, incidentally, includes the social networking sites Google, Facebook, and so forth as part of the intelligence gathering, tracking, and profiling community.
Hugo Cabret has an affinity for fixing mechanical objects. After the death of his father who had been restoring a human-like machine known as an automaton, continues the mission to complete the work and get it to perform its mysterious function. Hugo needs a heart-shaped key to fit the automaton’s key hole and once he meets the films heroine, Isabelle, happens to be his connection to Hugo’s future indoctrinator, Georges Méliès.
Hugo is finally adopted as the prodigal son of Georges Méliès, his future mentor and pseudo father figure. Georges’ character role in the beginning is as the disgruntled train station shop keeper, Georges Méliès, who happens to reference, or mimic, ‘Josef Mengeles’ mind control tactics on young boys. Méliès is what I consider as the MKUltraesque overseer staged to handle the future of technicians and space travelers in our generations of children. Our yout are growing up with these films like Hugo. Watch it, then come back and read the rest.
Georges Méliès was a real person, but the credits state that all persons in the film are fictional. This is not unusual to fantasy stories even when there are characters based on real historical figures. The character of Georges is “fictional” in the sense that the things that he says within the film are not necessarily claimed to be actual actions and words by the real person. When looked at as a form of conspiratorial efforts in ‘messaging’ using persona relationships, it is clear that Georges is not a figment of my imagination. Their are too many coincidences in this and every film I observe tell otherwise.
Méliès represents the dictator, an ‘Illuminated’ one, who poses as the keeper of abandoned prodigal children. The magic he performs is the same as the fantasy films of make believe with extraordinary purpose. That goal is to condition with action ideas while at the same time plant ideals.
The Eye of Horus
As Georges Méliès relates his past, we learn that he built the Automaton before making his first film to make his first movie camera. However, when Hugo finally repairs the same Automaton, it finally creates an image from Georges Méliès’ most famous film “A Trip to the Moon” . This image may have been imagined before Georges actually made the idea into a film. The ‘tell’ that is recorded in the movie Hugo of the picture updated by a century is symbolic. It happens to be drawn like the space craft that looks exactly like the Great Pyramid stone lattice seen on the back of the dollar bill.
Note that the illustrated sketch is of a rocket that has plates resembling the stones of the Great Pyramids. The ship has a pyramid like shape in Hugo, but depicted in Méliès original black and white film made in 1902 as an artillery shell shot from a cannon.
The casted character Asa Butterfield who plays the young title role of Hugo has that same bland presence that the character ‘Milo’ did in the animated presentation of Mars Needs Moms with a painfully narrow range of facial expressions. Humphrey Bogart used to joke about his narrow range, but when the camera cuts to Hugo Cabret, he is either looking determined or with a blank stare just as the automaton’s. Below: A visual reference I believe to be an important thematic element regarding an unknown real life female. She is characterized as a control, or overseer factor. There is some alien or person in which this important part outside the theatrical setting is being ruled over. when I ‘get it’, I’ll share it…
It has become popular in films made today to include the elements of trains
In Hugo, the train goes without saying, but many shows where the locomotive is not a major thematic element or made into an important mode of transportation when other modes can be used, these movies seem to emphasize them with particular focus on the train’s whistle. Whether the train is seen or not, the whistle in the background threads through from beginning to ending of a film. In Hugo’s trailer, but not the film itself, is the distinct sound of a diesel horn instead of the steam whistle that is shown on screen. The question as to why this is so may be explained with the rational only a conspiracy theory can explain.
In War Horse, for example, while there is no true element of the train or the sound that comes from a train, there is an important sound made to be unique and is strikingly similar to the whistle of a steam engine that it is beyond uncanny. It is the call that the owner of “joey” Albert, trains his horse, Joey, with that is unusual from that of the typical shrill whistle, snap of the finger, or hoot or holler. It is the sound made between two hands coming together as a bladder and blown into it. The method is a two ‘beats’ sound that mimics a train horn correctly. It is without a doubt the same.
Above: In a scene from War Horse, Albert makes the sound of a train whistle by cupping his hands and blowing into it.
Again, the question asked is why is this so? The reason may be in an effort to enchant the movie goer with the sound of trains for the predicted slaughter of humans taken by train to the slaughter house just like in Nazi Germany the early 40’s. If one looks at the growing rail system within our cities across the nation, it becomes evident that something is happening. And, that something isn’t the repair of degrading bridges, roadways, and the improvement of our transportation system other than rail lines. You can see the striking interchangeable costume of Polar Express conductor uniform to that of the train station patrolman of Hugo. These are subtle elements of the police state that repeat themselves cross films of different genres and for a variety of target audience markets.
Law Enforcement, detention, and punishment
The 1960’s series spawned a modern day Occult driven film maker, Ronnie Howard, who in various venues has expressed the ideals of the New World Order. His methods are evident in the films he creates. In Hugo, it is not a conductor that Hugo contends with, it is with the only law enforcement agent on patrol in the train station. Why, in the hustle and bustle of so many people that there is one man with a completely lame leg in charge of security? It is to keep all of us thinking that we are in control when in fact all transportation hubs will be under ultimate security along with a multitude of guard dogs.
Above: Another example of ‘training’ is evident in the animated movie Polar Express which invites us to board any train. The film is eerie, souless eyes & mechanical
The television series The Andy Griffith Show with its spin off Mayberry R.F.D., which stood for rural free delivery, taught Americans to trust the police force. Andy Taylor as a police officer and family man exuded wisdom and genuine discretion as to the guilt or innocence of the residents and supposed guilty persons in each episode. All the while, a bungling counterpart, Barney Fife, implicated everyone, townspeople alike, with everyone he came in contact with. The two were juxtaposed as a statement as to the shift in our current law enforcement protocols revolving around the removal of our Constitutional rights. To keep the masses under the spell of authoritarian trust, those of us who grew up watching these shows and ones similar expect that these ideals continue to prevail.. it’s wishful thinking my dear friends. Barney and Andy confuse us as to what to believe, how to feel comfortable when under scrutiny, and what our rights for privacy really are. The two meddle in our affairs with the conditioning that they play an important role in our personal lives, when really, this is not true. Nice or not, fatherly figures or not, family oriented or not, we do not need them. If we did, it is only for the reason we pay for their services at the time an intruder invades our property. Back then, these shows were living room inviting, but now, they jeapordize us having set a belief system that they will be there when the police today, militarized and thankless (blank stares) as they are, have no intention of helping when help is needed.
To the right is the Paris train station in the early 1900’s. It is bleak, dark, prison like and not attractive. These are the techniques that illustrate the reality of a time that is near. Read about a small city’s advancing neo-Nazi hub designs in progress.
A predatorial fixation is set. Today, new shows or movies stage the single law enforcement individual. They do this within the expanse of a military like hub, such as the train station in Hugo. The stage it seems is endless in size. There is an “inspector” who cannot even chase anyone because of a physical impairment. The audience identifies with compasion for this, but the real police of today are not physically impaired. In Hugo, his nemesis is this decrepit train depot inspector. A Station Inspector? What’s he inspecting? And, how much enforcement power does he really have? He is staged to instill the notion that there is a way to escape incarceration. Truth is, the opposite is so. Look up NDAA.
The Station Inspector is bungling like Barney and structured like Andy, but a person who can go either way with his decisions. This is how the powers will act with citizens by the illusionistic portrayal of a safety regulator, but not with you.. you are expendable and easily caged in a small confined wired box as with the handling of Hugo in Hugo’s train station jail.
Above: The Montparnasse Train Station is filled with an endless supply of people. All day long. These scenes are designed to acclimate the viewer for a time when they will be shipped from locations to concentration camps. In a scene where Hugo and his new found friend, Isabelle, fight for their lives under the trampling feet of the depot’s travelers of epic proportions, it is evident that it is known that people will be mindless, uncaring, and become self preservationalists. If the same scene occurred in reality, people would stop to assist because a young child’s life saved is more important than one’s destination. We see this in Hunger Games in which the children are left to defend themselves.
Movie ‘Magik’ and the role of the Illuminati
Georges Méliès’ role is complex. A magician, an illusionist on stage and in film, he creates happiness in people’s lives that can only be attained on screen when he states; “Happy ends only found in the movies”. We are taught Movie Magic. We are subjected to mainstream news. We all know that the papers lie too. Magic, as I know it, is the method by which the global elitists cheat. All is an illusion and it was fabricated by them to keep us in ever lasting ignorance. In Hugo, Georges adopts the kid into his force of many in which worlds are built in distant off world places such as the Moon and Mars. Hugo is nothing more than one representing a mechanical technician needed to build automated robots that serve the elites.
They’re doing this at a time when human beings are systematically eliminated.
“My friends, I address you all tonight as you truly are; wizards, mermaids, travelers, adventurers, magicians… Come and dream with me” – Georges Méliès
An example of the method by which the movie magicians operate comes from an observation posted on the Hugo ‘Goofs‘ page at IMDB.com. These are not mistakes. “When Hugo follows Georges to his apartment, he appears to be walking close behind Georges, but in the cemetery. Hugo is shown by himself and there are no footprints ahead or around him either. Neither are there footprints when Hugo returns through the cemetery, a longer shot in dim light.” This may illustrate the idea that Georges is the fictitious character that in reality, is the parallel to the shape shifting Thurns who represent the ‘Illuminated’ ones in the film John Carter
Like several sci-fi film and television sequences where people are fixed, or mesmerized, by a light, In the film ‘John Carter’ too do we see the suspension of people using some sort of light source. The University of Arizona among other schools has been funded with extraordinary funds and support for what is called suspended animation which is part of the cryogenics technology. It could be assumed that they have the capability to freeze people into a comatose condition.
Preparing the masses for future space program travel is a project that has gone on for quite some time. For decades we have told fairy tale stories such as Rip Van Winkle, Sleeping Beauty and in science fiction including the Aliens franchise. They propagate suspension of the human life span. The story of Rip Van Winkle, of course, was not originally set to condition the masses, but it was ‘pushed’ generation after generation and kept popular as a device keeping the idea hidden & alive.
Suspended animation is something that has taken an interest with the medical universities that are being hugely funded to research. I took note of this when reviewing the movie Cowboys and Aliens where the abducted people were hypnotized in a suspended state of paralysis. It is also clear that in Prometheus, the movies that preceded it, and several science fiction films utilize technology that suspends people for time or long distance space travel.
“If you’ve ever wondered where your dreams come from, you look around… this is where they’re made” – Georges Méliès
Right: A scene in Georges Méliès 1902 film A Trip to the Moon. The reason I question the significance to Mars and seemingly trying to make a puzzle piece fit, Atlantis rising is one of them, when apparently it doesn’t is for the reason all other secret society symbols, elements, and ideas are set into place. The costume that Georges Méliès wears shares the same color scheme as that of John Carter’s costumes on Mars and in the movie Mars Needs Moms as well as role playing characters in many films and comic books. The colors representing Mars are orange and blue, but not yellow, purple, green, red, black, white, etc.
In Georges Méliès film A Trip to the Moon it is there that a complete aquatic environment is set as a stage. It is a reference to Atlantis. The big question is why not a trip to Mars? The reason may be because before children are encouraged to space travel to Mars, building an outpost on the moon is a first order during the next phase of the international space program.
But, in A Trip to the Moon, upon returning to the Earth it is unknown whether the aquatic setting is here or taking place on Mars in the latest version of Méliès adaptation in Hugo.
Finally, it is my contention that in several films I’ve noted have the element of an underground crypt, or cavern scenario always with some sort of fire breathing dragon protecting a treasure. It is seen in so many films I can’t name them all, but the 2010 movie Lost Treasure of the Grand Canyon has it written into the script. I believe that fear is being implanted in the minds of would be gold hunters into ancient pyramids on this continent as a diversion from some fantasy water world that has little to do with treasure.. Atlantis. Why are there so many disjointed themes in Georges Méliès film A Trip to the Moon?