It appears that there are four types of films:
1) Benign storytelling.
2) Malevolent storytelling, or deliberate propaganda, like the films listed to the right.
3) Whistle-blower storytelling, or a film trying to expose something.
4) And what is often referred to as "revelation of the method" storytelling; this is where the Illuminati clowns must provide full disclosure of their plans ahead of time. While anyone has yet to provide any documentation of this rule, it seems to make a lot of sense given the intense legalism of the Pharisee code of "ethics."
What then are we to make of the 2004 romantic fantasy-drama Eternal Sunshine of the Spotless Mind? The film is definitely about MK Ultra, or Monarch-type mind control; the question is: is this a 2, 3, or a 4? Or could it even be a 1, having benign intent, but being heavily influenced by screenwriter Charlie Kaufman's own repressed memories, which he mistakes for creativity. Look at some of Kaufman's other projects:
Being John Malkovich: A puppeteer finds a portal into the mind of actor John Malkovich. "In the first draft of the script, Lester and his friends weren't using Malkovich's portal as a means for extending their lives, but in a plot to take over the world in the name of Satan. Satan was the mysterious 'Flemmer' that the Merton-Flemmer building was half named after." (IMDb)
Adaptation: A neurotic and depressed screenwriter, Charlie Kaufman, struggles to adapt a book to film. With the help of his twin brother Donald (doppelganger), he is able to finish the script and find romance. This Donald is even listed in the film's credits.
Confessions of a Dangerous Mind: A game show host has a secret life as a CIA assassin.
Synecdoche, New York: A theater director traumatized by divorce begins a major project to duplicate the city--complete with the people in it (doppelgangers). By the end, there are so many worlds within worlds that the line between fiction and reality is completely lost.
Doppelgangers, alter egos, puppeteers, reality and illusion blurred... these are some of the major motifs of Monarch mind control. Noting the persistence of these themes in Kaufman's films, what are we to deduce? Whether he is a sinister programmer (probably not popular enough for this) or a Monarch slave (too heavily awarded for this it would seem) we have no way of knowing. Or perhaps it's all just a series of fascinating coincidences. Maybe more of an opinion will form after looking into this film.
The film opens with Joel Barish calling in sick and taking the train to the beach on Valentine's Day. Normally, one considers walking along the beach a romantic endeavor, cliched even. But here, Joel is alone, holding a briefcase, and it's cold. This is the opposite of romantic, this is sad. This romance/anti-romance theme will gain more significance by the end of the film.
Joel keeps a journal, which is mostly blank. This, he tells, is his first entry in two years: a frightened man hiding under the stairs. The blank journal is obviously a symbol for the blank mind, and Joel is the man hiding.
Montauk, New York. Major mind control red flag here. It was here at Montauk Point, Camp Hero, that all kinds of weird experiments took place, to include Project Monarch. There are many websites covering this topic; one of which can be found here.
On the train from Montauk, Joel meets Clementine Kruczynski.
If we had any suspicions as the the mind control theme of the film before, Clementine confirms them. Most noticeable is her bright orange multicontextual sweatshirt. At first we assume that she likes orange because of here namesake, the Clementine orange. The song "Oh My Darling, Clementine"--a ballad about a lost love--is also mentioned several times during the film, lost love being the film's main, overt theme.
Associating Montauk with orange, one can't help but recall the orange Monarch butterfly.
We also notice that the orange itself makes a perfect metaphor for Monarch-type mind control: a whole broken into segments, or alters.
On the subject of her frequently changing hair color, Clem tells Joel, "I can't tell from one moment to the next what I'm going to like."
Joel we find in deeply introspective and brooding, Clementine, on the other hand, is outgoing and whimsical, more of a free spirit; both are rather dysfunctional in their own way.
Joel and Clementine begin dating. Here they lie on the ice looking up at the stars next to large cracks in the ice.
Glass or mirrors are frequently used as cinematic symbols of the shattered mind. In the above scene, the glass has been substituted for ice. They are both victims of Monarch mind control methods.
The definitive text on Illuminati mind control programming is Cisco Wheeler and Fritz Springmeier's The Illuminati Formula Used To Create And Undetectable Total Mind Controlled Slave.
This shattering of the mind process is created by excessive trauma inflicted onto a person, usually a child. The human brain protects itself from the effects of the trauma by cutting off synapses to certain parts of the mind/brain, thereby compartmentalizing the trauma into a separate "file" or alternate personality. These alters can then be programmed to perform certain functions, like assassinations.
Joel later learns that Clementine went to a company called Lacuna, meaning gap, to have him erased from her memory.
In the film, it is the ending of the relationship that serves as the trauma; indeed, the first act is filled with shots of Joel in anguish, crying, burying his head in his hands.
The astute reader will also notice that the trauma is coincidental to the "break up." The breaking up of the relationship causes the breaking up of the mind.
Clementine's willingness to go to Dr. Howard Mierzwiak at Lacuna serves as an analogy for the mind's natural ability to protect itself from the trauma.
Joel later asks Dr. Mierzwiak for the same procedure.
As the film progresses, and as Joel undergoes the procedure, the distinction between real life and Joel's mind become more and more confused. The words on signs disappear and people's faces go blurry as Joel memory of his experiences with Clementine are erased.
Later Joel realizes that he doesn't want to erase her from his memory; he wants to abort the procedure, but can't as his body has been rendered unconscious.
He and Clementine begin running in an attempt to hide from the erasures--this we recognize as an attempt to "stay together," both relationship and mind.
Joel and Clementine realize that in order to hide from the erasures, they must go to memories that are outside the context of their relationship, such as when Joel was a child. In the above scene Clementine has taken the place of Joel's mother. At one point the girlfriend/mother lifts her skirt to show her boyfriend/child her crotch.
This allusion to incest is quite disturbing considering what can be found in the Wheeler/Springmeier text in regards to the parents of Monarch mind slaves being the ones to inflict the sexual/rape trauma onto the children.
Compare the above scene's distortion effects that make Joel seem like a child with an excerpt from the text:
"The Programmers like to manipulate. Children are set in front of circus mirrors that make them taller or smaller for programming. They are set in front of mirrors which duplicate their image. Here in Oregon, there is a site with a magnetic anomaly which bends light. It is called the Oregon Vortex. The Programmers take small children there for programming. Anything that creates an illusion, seems to be noticed by the Programmers and is put to use somehow.
"The CIA has employed magicians like John Mulholland to help them create illusions. Magician John Mulholland wrote a manual for the CIA on how to deceive unwitting subjects. Under drugs and hypnosis, when a small child is set in front of a mirror that elongates its body and or then shortens, the reality of the programming script seems real. The programmer can hypnotically call upon the child’s mind to totally hallucinate seeing something, or he can support the illusion by handing the child a doll and telling it that it is a child, or handing the child a pencil and telling the child it is a flower. A great deal of acting and props are used during the programming.
"What child can tell fool’s gold from real gold? The bottom line is that generally, no matter which way the Programmers do it, whether by an illusion or an outright hypnotic-suggested hallucination, the event for the child is real. The majority of traumas are real events, but the scripts that are given are after the trauma are fictional."
Later, in another weird, repressed memory, Joel succumbs to peer pressure and beats a dead animal with a hammer. Forcing a child to do things like this is one of the trauma methods listed in the text.
We later find that Dr. Mierzwak had an affair with his secretary Mary, and she too had her memory wiped. Dr. Mierzwak tells her, "We have a history. I'm sorry. You wanted the procedure. You wanted it done so you could get past..."
Because of this, Mary will later reveal this secret to all the patients.
The last memory to go is the day they met at Montauk.
Before it's totally erased, Clementine whispers in Joel's ear, "Meet me at Montauk." This is why he later returns there.
They meet again and are attracted to each other. The difference this time is that Mary has sent all the clients a letter explaining what they have done as well as included the tape recording each client has made explaining why they want the procedure done.
When Clementine picks up her mail, just as she did at the start of the film, she find the tape; they listen to it in Joel's car. They both hear all the terrible things she said about him.
Joel finds a similar tape in his mailbox; on it are all the reasons he can't stand her--all the quirks he once found charming or cute.
Now they realize that they had a previous relationship but had their memories erased. They have just met, yet they have a long history together. Aside from being an interesting question for couples on the surface (would you do it all over again?), this situation is what Springmeier would call a "double bind"--two contradictory statements. From the text:
"These are the type of double-bind self contradictory statements that Satanists love to spew out. Monarch slaves are programmed full ofdouble-binds. With the Satanist's penchant for blurring reality in mind, read the following quote where the President of theTheosophical Society admiringly describes the Wizard of Oz, 'Part of Baum's joke is that things are never what they seem. Dorothy seems to be a simple and harmless little girl, but it is she who kills the wicked witches of both East and West. The Scarecrow seems to lack brains, but he has all the ideas in the company. The Tin Woodman seems to lack a heart, but he is so full of sentiment that he is always weeping. The Cowardly Lion seems to be a coward, but he takes brave action whenever it is called for. The Wizard seems to be great and powerful, but he is actually a humbug. Oz seems to be a glorious and delightful land and Kansas to be dry, gray, and dull--but Oz is a world of illusion and Kansas is really home. Things are not what they seem, in Oz or Kansas.'"Just think of all the "double-bind" statements we find in every day life: the economy is tanking, the economy is recovering, for example.
Their answer is yes; even though they know what is going to happen, they decide to start their relationship anew. And lest Kaufman be accused of romanticizing mind control, we leave Joel and Clementine running down a cold, snow-covered shore-- the exact opposite of our conventional notions of a romantic walk along the beach.
We are left to question whether they will stay together this time, or if they will continue in some kind of loop wherein they fall in love, break up, have their memories erased, fall in in love... and so on. This is the intent of the final scene; there is no resolution. And while this may come across to many as a "happy ending," it has been determined that this lack of resolution is not without its consequences:
"Lack of resolution to a trauma, born of avoidance, may demonstrate itself in a number of ways, including avoidant or dissociative post-traumatic symptomatology, evidence of self-blame and other cognitive discord, lack of acknowledgment that a crime has occurred, and lack of meaning attributed to and growth from the situation.Joel and Clementine will suffer no further victimization because they are mere fictional characters, but throughout the film fiction and reality have been blurred, so might not the above excerpt apply to the viewer as well [assuming the film is a programming tool]? This would make perfect sense in terms of protecting the criminal and blaming the victim, and thereby exacerbating the cognitive coping strategy.
"Moreover, all of these outcomes potentially impose greater risk that a woman will be revictimized. Not only might peritraumatic experience signal the beginning of an avoidant psychological course, but the woman's social context, necessarily shaping her both prior to and subsequent to an assault, may further exacerbate this default cognitive coping strategy." (Peritraumatic Dissociation, Lack of Resolution, and Revictimization in Survivors of Sexual Trauma: An Avoidance Dilemma?)
So as to the motivation of the film, who knows? But is it a mind control film? Absolutely.