By: Jay Dyer
Guy Ritchie films are often full of esoteric and conspiratorial themes, and The Man From U.N.C.L.E. is no exception. If we recall the first Sherlock Holmes film Ritchie directed, we discover the villainous Lord Blackwood to be modelled on the infamous figure of Crowley. In the sequel, we learned Moriarty was in fact behind the many false flag attacks that involved anarchist groups from France, as well as the infamous murder of Archduke Franz Ferdinand, and as must be noted, Professor Moriarty was a member of the British elite intent upon sparking a World War and profit from that machine. Indeed, it has long been whispered that British Intelligence was behind the Black Hand’s assassination of the Archduke, and a figure no less than Dr. Carroll Quigley that defended these World Wars of the Atlanticist establishment as necessary for “global democratic principles” (see his final chapters).
With UNCLE, our setting is a very 007-esque Cold War pastiche, with Napoleon Solo (henry Cavill) tracking down an East German hottie by the name of Gabby Teller (Alicia Vikander) seeking escape. Solo, a former thief recruited into the CIA to avoid a prison sentence, arranges an extraction with the intention of using Gabby in a plot to locate her father who had been coaxed into aiding a shadowy Fascist International into helping to develop an atomic bomb. Early on, mention is made of Gabby’s father being Dr. Edward Teller, a pioneer in the atomic experiments and the Manhattan Project (as well as one of the fathers of weather modification and atmospheric aerosol geoengineering) in relation to Operation Paperclip. Paperclip, as most now know, was the secret plan to co-opt former German scientists such as Werner Von Braun and many others, into working on projects in the post war allied nations.
JFK speeches are shown, hyping the East/West divide as Gabby and Solo find safety in the West, only to be informed they will be working with their KGB enemy counterpart Illya Kuryakin (Armie Hammer) to seek out the shadowy SPECTRE-Syndicate-like group that is working on supposed nuclear bombs. As the spies scurry about Rome and Europe, their respective handlers in the CIA and KGB discuss the absolute necessity for this contest, to “save the human race from extinction.” In other words, the myth of the great nuclear threat and its imminent terrorism component began taking shape during the Cold War.
Thus, Ritchie seems to be conveying the message that the psychological warfare attack on mass populations concerning the so-called “war on global terror” actually has its origins in the Cold War and the nuclear threat. Never mind the irrational and incoherent nature of what a global nuclear war would actually mean, in terms of how unworkable it would be in praxis, the film subtly hints at the contrived nature of the nuclear proliferation crisis (and thus at the phony nature of the war on terror). Interesting side note, the actor that played Moriarty (Sylvester Groth) is Napoleon Solo’s handler, Uncle Rudy.
Thus, the joining of the intelligence establishments of the East and West, under the guise of the threat of international fascist terror, is the motivating impetus for UNCLE’s existence, and hints of Operation Gladio are even referenced, with the source of the organization being Italian fascists. VinciGuerra may have reference to old Venetian nobility, whose banking system would later be adopted by the Rothschilds and UK establishments. It is also worth noting the VinciGuerra logo for their race team is quite clearly a masonic square and compass, bringing to mind P2 and the Grand Orient connections of that secret society. The Italian fascists are thus allied with former Nazi doctor Udo, a kind of Josef Mengele who intends to extract information through torture and mind control from Solo.
VinciGuerra also owns an aerospace company, as well as shipping which hearkens to Diamonds Are Forever, and the breakdown Basil Valentine and I gave of that film. Fleming’s Diamonds seemed to have coded reference to possibly the Onassis and/or Niarchos shipping, and Ritchie could be conveying the same idea with this Italian shipping and aerospace empire. In fact, the 007 associations are made clear by the film’s reference to Count Lippe, whom Illya kills. Count Lippe is a SPECTRE operative who appears in Fleming’s Thunderball. The reference supports both theses that Ritchie is connecting both Fleming’s works and ancient black nobility. Indeed, the room the UNCLE spies inhabit in Rome is 707, very similar to 007.
Several months back I typed a piece arguing SPECTRE is real. In it, I commented:
Diamonds Are Forever might be more appropriate, but in Fleming’s 1958 novel Dr. No, No makes an equally prescient and insightful statement about black market operations and their fierce master, shadow government:
“Mr. Bond, power is sovereignty. Clausewitz’s first principle was to have a secure base. From there one proceeds to freedom of action. Together, that is sovereignty. I have secured these things and much beside. No one else in the world possess them to the same degree. They cannot have them. The world is too public. These things can only be secured in privacy. You talk of kings and presidents. How much power do they possess? As much as their people will allow them. Who in the world has the power of life and death over his people? Now that Stalin is dead, can you name any man except myself? And how do I possess that power, that sovereignty? Through privacy. Through the fact that nobody knows. ” (pg. 161)
My thesis seems to be confirmed, at least in the trajectory popular spy fiction is taking, with the shadowy international organization continually manipulating dialectical tensions and rivalries. We have seen this displayed in the strategy of tension between the US and Russia during the Cold War, and again in our day over the Ukraine, as well as the invocation of the evangelical America’s “crusade” against them durn jihadis. The irony is that fiction and film are more accurate than the mainstream news propaganda, inasmuch as there really is an international criminal organization that plays nation-states off against each other.
While in our day that organization is not made up of Italian fascists, it is instead a corporate fascism of McDonald’s, Monsanto, Apple and Pepsi, atop a sugar cube pyramid mirroring the one Udo builds in UNCLE. The pyramid scene is intentional, and atop the real world’s SPECTRE we don’t find fascists, but international banksters. Indeed, we discover in the end Gabby was not a refugee coaxed into aiding UNCLE, but rather an operative for MI6.
Just like Mission Impossible 5: Rogue Nation, it is British Intelligence that is sneaking around the background of the dialectical rivalry of East versus West, manipulating both sides. It’s as if Guy Ritchie and company read JaysAnalysis, too! I jest, but the parallels are striking, just as they are in Quantum of Solace, Skyfall and Rogue Nation, where yet again it is MI6 pulling strings, through Waverly (Hugh Grant). Is Ritchie suggesting the East-West convergence plan of the CFR is actually a plot of the Royal Society? The fact of the matter is, it was and is. Ritchie’s homage to one of my favorite film genre’s was well done, and worth viewing. On the esoteric level, it is worth paying attention to, since once again (as I noted, stating “G.I. Joe runs Cobra”), we must face the fact that it is the Fascist International that actually runs U.N.C.L.E. Did you catch that stunning femme fatale Victoria was British?