Alex Fulton of Project Crypto K returns to Divulgence for another deep dive into the films, methods, symbolism, and mysteries of Stanley Kubrick.
This time, we turn our attention to Kubrick’s 1956 noir masterpiece The Killing—a film Alex believes contains far more beneath the surface than its tightly constructed racetrack-heist story suggests.
Going frame by frame, Alex explores strange numerical patterns, recurring appearances of 237, carefully positioned background characters and objects, apparent continuity errors, visual alignments, black-and-white symbolism, Kubrick’s fascination with time, and connections he sees stretching across The Killing, The Shining, 2001: A Space Odyssey, Full Metal Jacket, and Eyes Wide Shut.
The investigation becomes even stranger when we get into Men in Black. Alex presents a remarkable connection involving the number 504, the headquarters seen in both films, the World Trade Center, and his broader theory that The Killing contains imagery and symbolism that can be interpreted through the lens of 9/11.
We also examine Rodney Dangerfield’s bizarre early appearance in The Killing, coincidences involving the dates and lifespans of Kubrick's actors, the symbolism of Sirius and the dog, American Airlines, the film’s famous airport ending, flying paper and money, and “language of discontinuity”—people and objects seemingly disappearing or moving between shots, similar to the famous spatial and continuity anomalies found throughout The Shining. Are these simply filmmaking mistakes, or was Kubrick deliberately manipulating continuity as another layer of cinematic language?
It’s another journey into Kubrick at his strangest: hidden numbers, synchronicities, visual riddles, cinematic sleight of hand, and the possibility that the missing fragments of his films can reveal an entirely different picture.
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