Throughout the history of Christianity there have been those claiming a monumental secret. Often centered around the Church of St. Sulpice in Paris and associated with French esoteric circles like Debussy who wrote in a review:
“Perhaps it’s to destroy that scandalous legend that Jesus Christ died on the cross.”
But even Canon Alfred Lilley came back from St. Sulpice questioning the crucifixion. There must have been some documentation in the church that convinced these people of something portentous. BUT now searching links between the history of Rome and the latest Biblical research, we finally reveal the extraordinary facts that prove exactly what the monumental secret was and its validity making the revaluation of Christianity, as we knew it, inevitable.
Links for the book:
MY INTERVIEW WITH THE AUTHOR
When did you know that you wanted to be an author?
I didn’t want to be an author I am a filmmaker and my writing started with film scripts,only because the scripts I received were so bad that I thought I could do better myself.
One of the first books I wrote was about the making of ‘Monty Python’s Life of Brian.’ I not only wanted to describe the difficulties of editing comedy and tell interesting anecdotes from how the film came about (George Harrison putting up the money) to events on the set and finally how it was received, being banned in many countries. (Norway banned it so the Swedes put out an advert saying, “The film that is so funny it is banned in Norway.”)
As the film was attacked by many, I also wanted to show that it was the most accurate Biblical film ever made. I already had a lot of background knowledge as when I was young I became fascinated by the Pyramids and the knowledge of the ancient priests. This led me to the Pythagoreans, which led on to the Knights Templar and Freemasonry and their influence on the formation of America (as witnessed by the Dollar bill). Freemasons trace their knowledge back to Enoch and Solomon and the building of his Temple. That led me back to studying the Old Testament, even trying to understand what exactly was going on in the New Testament.
My aim to show it was the most accurate Biblical film ever was recently confirmed when I was asked to attend a conference held at Kings College London, for Professors of Theology, from round the world, to discuss the importance of the ‘Life of Brian’ to Biblical research.
Prof. Joan Taylor introduced me, and in discussion with Prof. Goodman of Oxford.
I think we can say that the second aim I had when writing was achieved when I was invited over to Limerick to introduce the movie to an audience for the first public showing in Ireland of ‘Monty Python’s Life of Brian’. It had been banned for over 30 years.
What inspired you to write this book?
My research for the‘Life of Brian’ book and the physical attempt to crucify the Pythons for the musical ending of ‘Brian’ led me to believe there was something very odd about the Biblical crucifixion. Plus there were interesting parallels in the Jesus story with the occultknowledge of Egypt, Pythagoras and Freemasonry. Added to that I had just completed a film about the occultist, Aliester Crowley that gave me an insight into esoteric circles in France, especially those based around Saint Sulpice in Paris. For example, Canon Alfred Lilley who died in 1940, after returning from Paris where he had been studying at SaintSulpice, claimed he had incontrovertible proof that the crucifixion was a fraud and that Jesus was alive well after the date of the supposed crucifixion. Then we have statements from people like occultist Claude Debussy who wrote in a review: “Perhaps it’s to destroy that scandalous legend that Jesus Christ died on the cross.”
And even the Christian, Origen Adamantius wrote ‘Crucifixion is teaching for Babes’.
These people were not denying Jesus but were hinting at something else. I discovered five clear beliefs of these groups, some are easy to provethat they are actually true, like their ideas about the crucifixion, but others, like their belief that John the Baptist is more important than Jesus, I cant say I know why? But it is absolutely clear from the paintings of Leonardo that this is true.
Look at his painting of the ‘Virgin of the Rocks.’
There are of course two versions, one in the Paris Louvre and the other in the National Gallery, London. In the Louvre version, it is hard to tell which of the two children is Jesus and which is John the Baptist. I have to correct something from Dan Brown’s ‘Da Vinci Code’. He says the painting was commissioned by the Nuns of the Church of San Francesco. A natural mistake because the commissioners sound like nuns, but in fact Leonardo received his brief in 1483 from the Confraternity of the Immaculate Conception. Not nuns at all but a small brotherhood of Franciscan monks, elected to promote the newly invented Vatican doctrine of the Virgin Mary’s Immaculate Conception, which is the belief that Mary conceived and was conceived herself without original sin, what we call sex! But what Immaculate Conception is Leonardo talking about in this painting? Look againat that strange rock sticking up in the hole on the right, is that not the most phallic thing you have ever seen in your life? Virgin on what rock and hole? Why does everybody ignore it? Are they looking away in embarrassment? What virgin is Leonardo talking about? Is that big rock God’s cock?
Is Leonardo ridiculing the immaculate conception idea? And note the rock, right hand of God on the left. Check the weird way the angel is pointing at one of the babies. Leonardo can paint hands better than that. Why point in this way – and which baby is it she is pointing to, Jesus or John? A later artist added a reed cross (one of John’s symbols) to the London version suggesting the baby the Angel in the Louvre is awkwardly pointing at is John the Baptist. Does the Angel indicate the important child? Wondering about all that I looked at other paintings. Here is a more mischievous finger pointing by Leonardo? If you were not told, there is no way you would work it out with that weird, knowing smile. This is what the National Gallery says about the finger.
‘The finger pointing to heaven alludes to Christ’s future destiny’. Are they blind? With that knowing grin he is supposed to be thinking of Jesus’ death and resurrection? Come on guys, this clearly has absolutely nothing to do with Christ’s passion.
There is an even more significant pointing finger in Leonardo’s ‘The Burlington House Cartoon’.
You’ve probably never noticed that the design appears perfect, but then hardly visible is the weird out of scale finger pointing upwards. Here is the National Gallery description:
‘The Virgin Mary sits on the lap of her mother, Saint Anne. The Christ Child blesses his cousin Saint John the Baptist. Leonardo also treated the meeting of the two children in his two painting of the Virgin of the Rocks. Both works are set in a wild mountainous landscape.’
What nonsense, that older woman is not Mary’s mother, Ann. The older woman has to be, Elizabeth the mother of John the Baptists who was said to be too old to have children. But the finger! No mention of the finger indicating what?
And what do you make of Leonardo’s painting of the Last Supper, where a disciple is thrusting the one finger up into Jesus’ face. It is made to stand out against the dark background. Do you buy that ‘the finger pointing to heaven, alludes to Christ’s future destiny’. No, clearly there is another explanation of all this finger pointing but only an understanding of the beliefs of the esoteric groups in France can explain it.
If you could sell this book in one sentence what would it be?
“Spoil Christmas for someone special!”
Sorry my work in comedy always gets the better of me.
What are you up to next?
In the film world we never know, I have several scripts which one toutes around. I suppose I would really like to do a film of George Bernard Shaw’s ‘Man and Superman’, what Shaw calls “a comedy and a Philosophy”. Comedy and Philosophy is right up my street. The play has a structural problem that required meas the person who structured the amorphous comedies of Monty Python, to solve.
But also Shaw’s play needs cutting down and that required someone like me who is not only in total sympathy with the ideas of Shaw but also with those of Friedrich Nietzsche as it is from Nietzsche that Shaw takes the ‘Superman’ concept and much of his lead character’s dialogue. I know all this having written the play ‘Twilight of the Gods’ an exploration of the philosophical argument between Nietzsche and Richard Wagner’. Of my adaptation, the Shaw estate’s expert announced that they could have no objection to the screenplay since it follows so faithfully the stage play. In fact it fillets the dialogue by half and restructures the whole of the last act to make it finally work as a motion picture. As the play takes place in the Turin Lunatic asylum where Nietzsche was taken after his collapse, and there he is confronted by the ghost of Wagner, it was simple to film. It was described by ‘Philosophy Now’ as ‘masterful’ and the movie is now used as a teaching aid in American University departments of Philosophy. https://goo.gl/ofmqeo
Who is your biggest inspiration?
I wrote and directed a film called ‘Love Potion’ that was about drug addicts in an institution. I was living with a girl who was a drug addict at the time and I wanted to inform people about the problems for the addicts and those who live with them. I had to tell the story in as interesting and entertaining way with a surprise ending. One critic described it as ‘Hitchcockian’ and that was a real compliment for me as I just loved his skills at taking an audience on a wild ride.
Nowadays I like certain films but then the director might not make another. Take Steve Kloves who wrote and directed one of my favourite films, ‘The Fabulous Baker Boys’. The script was faultless the performances amazing – What other films has he Directed? He has been writing the scripts for Harry Potter! What a waste of a great talent. Actually Jeff Bridges who stars in the ‘Baker Boys’ is also in another of my favourites ‘The Big Lebowski’. Now the Cohen Brothers who made it are also a stars in my eyes.
ABOUT THE AUTHOR
JULIAN DOYLE is the editor of ‘Life of Brian’ and is also one of the world’s most versatile filmmakers. He has written and directed his own films, and edited, photographed and created Fx on others. He is most famous for editing the Monty Python Films and shooting the Fxs for Terry Gilliam’s movies ‘TimeBandits and ‘Brazil’, which he also edited.
He has written and directed three feature films. ‘Love Potion’ about a drug rehabilitation centre, described as Hitchcockian. ‘Chemical Wedding’ featuring Simon Callow about the outrageous British occultist, Aleister Crowley and described by one American reviewer as ‘Thoroughly entertaining although at times you wonder if the film makers have not lost all there senses’. He has also directed award winning pop videos such as Kate Bush’s ‘CloudBusting’ featuring Donald Sutherland and Iron Maiden’s ‘Play With Madness’.
He recently wrote and directed the play ‘Twilight of the Gods’ investigating the tumultuous relationship between Richard Wagner and Friedrich Nietzsche and described by ‘Philosophy Today’ as ‘Masterful!’ the film version now being used as a teaching aid in US Universities.
Julian was born in London and started life in the slums of Paddington. His Irish father, Bob, was one of the youngest members of the International Brigade that went to fight against Franco’s invasion of democratic Spain. His mother, Lola, was born in Spain of an Asturian miner who died early of silicosis. She was thereafter brought up in a Catholic orphanage in Oviedo.
Julian started his education at St. Saviours, a church primary school. He went on to Haverstock secondary school, one of the first comprehensive schools in England. His first job was as a junior technician to Professor Peter Medawar’s team, which won the Nobel Prize soon after Julian’s arrival. Not that he claims any credit for that. At night school he passed his ‘A’ level exams and took a Zoology degree at London University. After a year at the Institute of Education, he taught biology before going to the London Film School. On leaving he started a film company with other students. Besides film making, Julian is well known for his Master-classes in Film Directing.
Monty Python’s Terry Jones described Julian as a Polymath.
While still at school, Julian had a daughter, Margarita who was brought up in the family. He then had two further children, Jud and Jessie.
Author website: http://www.juliandoyle.info