1 00:00:18,000 --> 00:00:22,559 Beneath the starlit glamour of Hollywood, hidden from the flickering neon lights, 2 00:00:22,559 --> 00:00:26,559 lies a tapestry woven with threads of mystery and the arcane. 3 00:00:30,480 --> 00:00:36,159 a realm where mysticism and cinema intertwine in an intricate dance. 4 00:00:36,159 --> 00:00:55,280 [Music] 5 00:01:00,320 --> 00:01:06,879 Here, in this burgeoning world of dreams and silver screens, esoteric and mystical beliefs 6 00:01:06,879 --> 00:01:13,519 found fertile ground. The allure of the unknown beckoned to those crafting cinema'... 7 00:01:45,120 --> 00:01:52,319 Consider Rudolph Valentino, an icon swathed in the mystery of the occult, rumoured to ... 8 00:01:58,159 --> 00:02:02,879 whispered secrets and rumours that echo through Hollywood's corridors even today. 9 00:02:02,879 --> 00:02:19,840 [Music] 10 00:02:25,840 --> 00:02:31,919 His arcane philosophies and enigmatic presence ensnared the imaginations of many... 11 00:02:31,919 --> 00:02:37,360 Elite, creating ripples of occult intrigue that permeated Tinseltown's foundation. 12 00:02:37,360 --> 00:02:43,360 [Music] 13 00:02:43,360 --> 00:02:48,080 As the world trembled on the edge of global conflict, Hollywood's hidden dalliance with 14 00:02:54,719 --> 00:03:01,360 indulging in astrology, divination, and ritual magic, far from the public's prying 15 00:03:01,360 --> 00:03:06,479 [Music] 16 00:03:06,479 --> 00:03:12,800 Hooray for Hollywood. Two decades ago, these words summoned up a glittering dream. 17 00:03:18,080 --> 00:03:23,759 all the money, and all the beauty in the world. These were the wild and wonderful 18 00:04:07,759 --> 00:04:13,919 In the words of producer David O. Selznick, Hollywood is like Egypt, full of crumbling 19 00:04:13,919 --> 00:04:21,040 And the ruins are swiftly being cleared away. Every day there are fewer traces of the go... 20 00:04:24,480 --> 00:04:27,759 The films themselves became vessels for esoteric symbolism. 21 00:04:27,759 --> 00:04:33,759 The Wizard of Oz, for instance, a film teaming with allegorical and mystical 22 00:04:33,759 --> 00:04:38,959 its technicolor surface, stands as a testament to Hollywood's covert dance with 23 00:04:38,959 --> 00:04:42,879 Are you a good witch or a bad witch? 24 00:04:56,959 --> 00:05:00,079 [Music] 25 00:05:00,079 --> 00:05:08,959 She fell from the sky, she fell very far, under Kansas she says, "Is the name of the 26 00:05:16,480 --> 00:05:26,480 busy hatching if I only had a brain. I'd unravel every riddle for Andy in the middl... 27 00:05:26,480 --> 00:05:34,639 With the thoughts you'd be thinking you could be another Lincoln if you only had a brain. 28 00:06:05,600 --> 00:06:09,439 No, I know we're not in Kansas. 29 00:06:09,439 --> 00:06:18,879 The 1960s marked a seismic cultural shift. Mirroring society's gravitation towards 30 00:06:18,879 --> 00:06:25,600 exploration, Hollywood's foray into the occult became more pronounced. The era of 31 00:06:25,600 --> 00:06:32,000 ushered in an infatuation with eastern mysticism, pagan revivalism, and a 32 00:07:14,000 --> 00:07:20,000 Take me in your arms. Oh no, after you've undressed me with your eyes I hunt... 33 00:07:20,000 --> 00:07:24,240 [Music] 34 00:07:24,240 --> 00:07:30,000 Is this woman really a hoodoo witch, conjuring evil spirits to do her sinister 35 00:07:36,000 --> 00:07:42,000 Shocking powers of witchcraft, powers that can even bring a story equal to life. 36 00:07:42,000 --> 00:07:52,000 [Music] 37 00:08:02,000 --> 00:08:12,000 [Music] 38 00:08:12,000 --> 00:08:20,000 [Music] 39 00:08:28,000 --> 00:08:34,000 Hollywood's story, serves as a grim reminder of the occult's more perilous aspects. This 40 00:08:34,000 --> 00:08:40,000 chapter cast a long, ominous shadow, a stark contrast to the city's often glamorous 41 00:09:10,000 --> 00:09:12,000 [Music] 42 00:09:12,000 --> 00:09:18,000 As the 20th century waned, Hollywood's engagement with the occult evolved into a 43 00:09:24,000 --> 00:09:30,000 fascination with the occult, blurring the lines between cinematic fiction and occult 44 00:09:30,000 --> 00:09:36,000 [Music] 45 00:09:36,000 --> 00:09:46,000 [Music] 46 00:09:48,000 --> 00:09:52,000 I beg you, where is she? 47 00:09:52,000 --> 00:09:56,000 [Music] 48 00:09:56,000 --> 00:10:06,000 [Music] 49 00:10:06,000 --> 00:10:14,000 And God made Eve from the rib of Adam, and it was weak and loose the raven on the world. 50 00:10:22,000 --> 00:10:28,000 In today's Hollywood, the dance with the mystical realms continues, albeit in a new 51 00:10:28,000 --> 00:10:38,000 The occult, once a shadowy participant in the narrative of cinema, now basks in the 52 00:10:48,000 --> 00:10:58,000 [Music] 53 00:11:08,000 --> 00:11:18,000 [Music] 54 00:11:28,000 --> 00:11:38,000 [Music] 55 00:11:48,000 --> 00:11:52,000 [Music] 56 00:11:52,000 --> 00:11:58,000 What can we glean from this intertwining of Hollywood and the occult? Is it merely a 57 00:11:58,000 --> 00:12:04,000 of humanity's unending quest for knowledge beyond the material? Or does it hint at a 58 00:12:18,000 --> 00:12:28,000 [Music] 59 00:12:28,000 --> 00:12:36,000 [Music] 60 00:12:46,000 --> 00:12:50,000 Let us delve deeper into the chronicles of Tinseltown's Mystique. 61 00:12:50,000 --> 00:12:56,000 The 1920s, an era of rapid change and cultural upheaval, saw the rise of 62 00:12:56,000 --> 00:13:02,000 theosophy. Hollywood, always a mirror of the times, reflected this fascination in its 63 00:13:06,000 --> 00:13:24,000 [Music] 64 00:13:24,000 --> 00:13:30,000 The allure of the unknown drew figures like Houdini, who, despite his skepticism, became 65 00:13:36,000 --> 00:13:40,000 echoed the dual nature of Hollywood itself. 66 00:13:40,000 --> 00:13:42,000 [Music] 67 00:13:42,000 --> 00:13:46,000 The 1940s and now the 1950s. 68 00:13:39,200 --> 00:13:45,200 The 1940s and 1950s, 69 00:13:45,200 --> 00:13:49,200 a period marked by both innovation and paranoia, 70 00:13:49,200 --> 00:13:52,200 saw Hollywood grappling with its identity. 71 00:13:52,200 --> 00:13:56,200 Amidst this, the industry's flirtation with the occult lingered, 72 00:13:56,200 --> 00:14:00,200 a hidden undercurrent beneath the era's conservative veneer. 73 00:14:08,200 --> 00:14:10,200 500? 74 00:14:10,200 --> 00:14:13,200 Well, it's a lot more than I expected, but welcome just the same. 75 00:14:13,200 --> 00:14:16,200 This will bring you an opportunity to meet me. 76 00:14:16,200 --> 00:14:18,200 I'm not too happy. 77 00:14:18,200 --> 00:14:22,200 I'll be like a flower, 78 00:14:22,200 --> 00:14:24,200 bend an end to breeze, 79 00:14:24,200 --> 00:14:26,200 bend with me, 80 00:14:26,200 --> 00:14:28,200 sway with you. 81 00:14:28,200 --> 00:14:32,200 Red, you go. 82 00:14:35,200 --> 00:14:38,200 Frankly, my hair, I don't give a damn. 83 00:14:38,200 --> 00:14:44,200 Let's take it, take me on. 84 00:14:44,200 --> 00:14:48,200 In the end... 85 00:14:48,200 --> 00:14:50,200 No, no, no! 86 00:14:50,200 --> 00:14:52,200 Oh! 87 00:14:52,200 --> 00:14:59,200 The French are pled to die for love. 88 00:15:04,200 --> 00:15:08,200 But I prefer a man who lives... 89 00:15:08,200 --> 00:15:12,200 Stars like Jane Mansfield, later in the 1960s, 90 00:15:12,200 --> 00:15:16,200 became emblematic of Hollywood's complex relationship with the occult. 91 00:15:16,200 --> 00:15:20,200 Mansfield's rumoured involvement with Anton Leves, 92 00:15:20,200 --> 00:15:22,200 founder of the Church of Satan, 93 00:15:22,200 --> 00:15:25,200 added a layer of intrigue and controversy. 94 00:15:31,200 --> 00:15:33,200 I don't know what to do. 95 00:15:33,200 --> 00:15:35,200 I don't know what to do. 96 00:15:35,200 --> 00:15:37,200 I don't know what to do. 97 00:15:37,200 --> 00:15:39,200 I don't know what to do. 98 00:15:39,200 --> 00:15:41,200 I don't know what to do. 99 00:15:41,200 --> 00:15:43,200 I don't know what to do. 100 00:15:43,200 --> 00:15:45,200 I don't know what to do. 101 00:15:45,200 --> 00:15:47,200 I don't know what to do. 102 00:15:47,200 --> 00:15:49,200 I don't know what to do. 103 00:15:49,200 --> 00:15:51,200 I don't know what to do. 104 00:15:51,200 --> 00:15:53,200 I don't know what to do. 105 00:15:53,200 --> 00:15:55,200 I don't know what to do. 106 00:15:55,200 --> 00:15:57,200 I don't know what to do. 107 00:15:59,200 --> 00:16:01,200 I don't know what to do. 108 00:16:01,200 --> 00:16:03,200 I don't know what to do. 109 00:16:03,200 --> 00:16:05,200 I don't know what to do. 110 00:16:05,200 --> 00:16:07,200 I don't know what to do. 111 00:16:07,200 --> 00:16:09,200 I don't know what to do. 112 00:16:09,200 --> 00:16:11,200 I don't know what to do. 113 00:16:11,200 --> 00:16:13,200 I don't know what to do. 114 00:16:13,200 --> 00:16:15,200 I don't know what to do. 115 00:16:15,200 --> 00:16:17,200 I don't know what to do. 116 00:16:17,200 --> 00:16:19,200 I don't know what to do. 117 00:16:19,200 --> 00:16:21,200 I don't know what to do. 118 00:16:21,200 --> 00:16:23,200 I don't know what to do. 119 00:16:23,200 --> 00:16:25,200 I don't know what to do. 120 00:16:27,200 --> 00:16:29,200 I don't know what to do. 121 00:16:29,200 --> 00:16:31,200 I don't know what to do. 122 00:16:31,200 --> 00:16:33,200 I don't know what to do. 123 00:16:33,200 --> 00:16:35,200 I don't know what to do. 124 00:16:35,200 --> 00:16:37,200 I don't know what to do. 125 00:16:37,200 --> 00:16:39,200 I don't know what to do. 126 00:16:39,200 --> 00:16:41,200 I don't know what to do. 127 00:16:41,200 --> 00:16:43,200 I don't know what to do. 128 00:16:43,200 --> 00:16:45,200 I don't know what to do. 129 00:16:45,200 --> 00:16:47,200 I don't know what to do. 130 00:16:47,200 --> 00:16:49,200 I don't know what to do. 131 00:16:49,200 --> 00:16:51,200 I don't know what to do. 132 00:16:51,200 --> 00:16:53,200 I don't know what to do. 133 00:16:55,200 --> 00:16:57,200 I don't know what to do. 134 00:16:57,200 --> 00:16:59,200 I don't know what to do. 135 00:16:59,200 --> 00:17:01,200 I don't know what to do. 136 00:17:01,200 --> 00:17:03,200 I don't know what to do. 137 00:17:03,200 --> 00:17:05,200 I don't know what to do. 138 00:17:05,200 --> 00:17:07,200 I don't know what to do. 139 00:17:07,200 --> 00:17:09,200 I don't know what to do. 140 00:17:09,200 --> 00:17:11,200 I don't know what to do. 141 00:17:11,200 --> 00:17:13,200 I don't know what to do. 142 00:17:13,200 --> 00:17:15,200 I don't know what to do. 143 00:17:15,200 --> 00:17:17,200 I don't know what to do. 144 00:17:17,200 --> 00:17:19,200 I don't know what to do. 145 00:17:19,200 --> 00:17:21,200 I don't know what to do. 146 00:17:23,200 --> 00:17:25,200 I don't know what to do. 147 00:17:25,200 --> 00:17:27,200 I don't know what to do. 148 00:17:27,200 --> 00:17:29,200 I don't know what to do. 149 00:17:29,200 --> 00:17:31,200 I don't know what to do. 150 00:17:31,200 --> 00:17:33,200 I don't know what to do. 151 00:17:33,200 --> 00:17:35,200 I don't know what to do. 152 00:17:35,200 --> 00:17:37,200 I don't know what to do. 153 00:17:37,200 --> 00:17:39,200 I don't know what to do. 154 00:17:39,200 --> 00:17:41,200 I don't know what to do. 155 00:17:41,200 --> 00:17:43,200 I don't know what to do. 156 00:17:43,200 --> 00:17:45,200 I don't know what to do. 157 00:17:45,200 --> 00:17:47,200 I don't know what to do. 158 00:17:47,200 --> 00:17:49,200 I don't know what to do. 159 00:17:51,200 --> 00:17:53,200 I don't know what to do. 160 00:17:53,200 --> 00:17:55,200 I don't know what to do. 161 00:17:55,200 --> 00:17:57,200 I don't know what to do. 162 00:17:57,200 --> 00:17:59,200 I don't know what to do. 163 00:17:59,200 --> 00:18:01,200 I don't know what to do.