Dennis Hopper and the number 14
Dennis Hopper at his Hollywood Walk of Fame Star ceremony, March 2010 – Photo by Angela George at http://www.flickr.com/photos/sharongraphics/
Dennis Hopper and James Dean
“Life is a daring adventure or nothing at all”. –Helen Keller, author ( 6/27/1880 (6+27/9+1880/8 = 23/5 life path)
Dennis Lee Hopper, born on 5 17 1936 with a 14/5 life path number (5 + 17(8) + 1936/19/10/1 = 14/5. would certainly be in agreement with Helen Keller’s statement above. A rebel, a visionary, an iconoclast, and a party-hard risk taker who often clashed with those in authority, Dennis Hopper exhibited both the positive and negative aspects of his 14/5 life path number. As a young actor he emulated James Dean. Though they worked together in the films Rebel Without a Cause (1955) and Giant (1956), once off the set, Jimmy went his own way and did not pal around with the other cast members. They were not drinking buddies. Still, the 18 year old Dennis Hopper looked up to Dean, who was 5 years his senior. In his words, “Jimmy was the most talented and original actor I ever saw work. He was also a guerrilla artist who attacked all restrictions on his sensibility. Once he pulled a switchblade and threatened to murder his director. I imitated his style in art and in life. It got me in a lot of trouble.”
The actor (later writer) John Gilmore was a year older than Dennis and a friend of Hopper at this time. In his book Laid Bare: A Memoir of Wrecked Lives and the Hollywood DeathTrip he noted “It was after Jimmy’s death several weeks later that Dennis began to change. His agent and mine at the time, Bob Raison, said, “Dennis has undergone a metamorphosis. He’s lost who he was, and he’s being replaced by this troublesome, unbalanced person.”
Gilmore recalls another incident from this time period “Dennis was peeing in the long trough in a men’s room on the Warner’s lot one afternoon, telling me how he saw in some way that the duty to carry on Jimmy’s enigmatic rebellion had fallen upon his shoulders. Very much alone in this presumption, he said, ‘Only they don’t know it yet,’ and wagged his penis in the direction of the front office. ‘But they’re going to find out, man . . .’ “
Dennis Hopper had anointed himself as Dean’s successor . .. so he did everything he thought a “rebel’ should do…he partied hard, clashed with authority figures, was difficult to work with, was habitually stoned on either drugs or alcohol or both, and was often a loose cannon. In other words, he frequently misused the principle of freeedom that is associated with the number 14.
Shortly after Dean’s death, Dennis got into a confrontation with veteran director Henry Hathaway on the film From Hell To Texas. , Hopper forced the director to shoot more than 80 takes of a scene before he acquiesced to Hathaway’s demands. After the shoot, Hathaway reportedly told the young actor that his career in Hollywood was over. In any case, it did not take long for Warner Bros. to tire of Dennis’ bad boy antics and insolent behavior: in 1957 they did not renew his contract but dropped him “Dennis the Menace” (Hopper’s nickname at the time) had become Dennis, a rebel without a job. Soon afterwards he went back to New York and studied with Lee Strasberg for five years. An outcast, with a reputation as someone whom you would not want to work with, he could not find work in Hollywood for seven years, and did not have a major film role until The Sons of Katie Elder (1965).
After Easy Rider (1969) and before rehab in 1983
Dennis was back on top with the success of Easy Rider (1969), but his stay there was short-lived. Given the success of that film, he was given carte-blanche — total freedom to do what he wanted to in his next directorial effort The Last Movie (1971) – and he blew it. ” One day Ned Tanen, a Universal Studios’ executive connected with the film, visited Hopper in Taos, where he was editing. “I walked in and this enormous orgy was going on — I mean, full-blown. My god, buttocks and boobs going in all directions. I went to Dennis and said, ‘Can I talk to you?’ Dennis was out of his bird, totally gone. I was thinking, ‘What can I do to get out of this business?’ ”
The Last Movie won the Critics’ Prize at the Venice Film Festival, but when it opened on September 29, 1971, it was universally panned. One reviewer called the film “an existential mess”, but bad reviews were not the sole reason for Dennis Hopper’s subsequent banishment from Hollywood. Lew Wasserman, head of Universal Studios, wanted Dennis to re-edit The Last Movie after the Venice Film Festival, but since Dennis had the final cut, he refused in no uncertain terms. His exact words to Wasserman, the powerful head of Universal Studios, were “get f*****.” Wasserman’s reply: ” Then the film will never be distributed.” Without distribution, The Last Movie was dead in the water and Dennis Hopper was once again an outcast, a persona non grata, who would not work in Hollywood for the next eight years.
Many 14s have difficulty learning from experience. They repeat the same mistakes over and over again. This was true of Dennis Hopper, who defied director Henry Hathaway in 1957 and was subsequently exiled from Hollywood for seven plus years , only to repeat this kind of behavior in 1971 when he defied Lew Wasserman and once again was blackballed by the industry. To make matters worse, while spending the better part of a year editing “The Last Movie” , Hopper made a documentary about his experiences then, entitlted “American Dreamer” (1971), that showed Dennis doing drugs, engaging in group sex and walking the streets of Taos, New Mexico naked.
It is not surprising that offers for acting jobs were few and far between and that he would fade into obscurity for much of the 1970s. He would take work where he could find it, making occasional films in Europe and Australia. Fueled by copious quantities of drugs and alcohol, he gave a bravura performance as a strung-out photojournalist in Francis Ford Coppola’s Apocalypse Now in 1979. After managing to complete roles in “Rumble Fish” (1983) and “The Osterman Weekend” (1983), Hopper finally hit rock bottom. Later in 1983, during the shooting of a small film called Jungle Fever, a naked strung-out Hopper was found hallucinating and babbling, hiding in a Mexican jungle. He was sent back to Los Angeles and put in a hospital. After a few visits to psychiatric wards and rehabilitation centers, Hopper finally began to sober up.
Misuse of drugs and alcohol can relate to both the numbers 14 and 16. If we think of having too much too drink as partying and self-indulgence, it relates to the number 14, but if drinking problems are addictive and relate to insecurities, then it’s probably number 16 we’re talking about. In Hopper’s case, both numbers are involved. By adding the day and month of Dennis’ birth 5 17/8 to 1983/3, we learn that 1983 was a 16/7 personal year for him.. What makes this more significant is the fact that the soul urge of his known name “Dennis Hopper” also adds up to 16/7, indicating that 1983 was a year in which his philosophy of life would be tested.
The Rebirth of Dennis Hopper and the Renaissance of his Career
In 1983 Dennis Hopper was determined to reclaim his career. He survived detoxes and shakes that lasted many months and unlike many of today’s celebrities, he wasn’t in and out of rehab four or five times. He made a clean break with alcohol and drugs and that was it – no relapses. Rather he attained a sobriety that was to last the rest of his life. He was only out of rehab for two months in 1986 when he appeared on the set of David Lynch’s Blue Velvet and he wasn’t sure that he could do a good job without the crutches of alcohol and drugs. — but he did. As the villain Frank Booth, Hopper finally seemed to come into his own as an actor.
As Ann Hornaday noted in her assessment of Dennis Hooper’s legacy in an article for the Washington Post shortly after his death “As the sexually compulsive, pathologically troubled villain Frank Booth, Hopper — three years clean and sober — found a way to combine the knife-edge madness he had always possessed with newfound powers of control and discipline.”
She goes on to say It’s an irony Hopper himself surely appreciated that the man who embodied antiauthoritarianism at its most anarchic finally realized his best artistic self when he embraced self-control.”
The peerless psychiatrist , Carl Gustav Jung, who was born with 14 letters in his name, once said ”There can be no freedom {5]without self [1]-discipline [4]” and this is a statement that holds true for Dennis Hopper and all others who have the number 14 prominent in their numerology. Above, I gave you Ann Hornaday’s assessment of Hopper’s legacy for a specific reason. I wanted to present you with a critique of Hopper’s life from the perspective of a person who is not a numerologist. As you can readily see, her words back up my own.
After Blue Velvet, Dennis Hopper never stopped working. 1986 was an especially good year for Dennis; his success in Blue Velvet, was soon followed by Hoosiers, for which he received an Academy Award nomination, and River’s Edge in which he again mesmerized audiences with his portrait of the drug dealer Feck. Dennis the Menace of counter culture fame transformed himself from drug-addled rebel to a respected character actor, who was known to be one of the hardest workers in Hollywood and an actor who could be counted upon to give a top notch performance. As if making up for lost time after a hallucinogenic meltdown in 1983 led to sobriety, Hopper rarely turned down work. He has almost 200 film and TV credits, plus an equal number of appearances on talk shows and awards ceremonies, narrating jobs and more.
Numerology, Karma, and Dennis Hopper
People born with a 14 life path number have the karma to correct abuses of freedom that stem from a former lifetime. During the 1980s and 1990s, Dennis Hopper was noted for his psychopathic roles, but if we take a closer look at some of the characters he portrayed, we’ll find that he often gave us portraits of people who misused the principle of freedom in some way. I could cite many instances in Dennis’ own life time where he abused freedom and all that it represents, but he sort of makes up for creating this bad karma, by acting in roles which give us a better understanding of freedom and what the number 14 truly means. In short, by playing bad guys, he gives us insights into the principles that these bad guys are violating and thereby he gives us a better understanding of what freedom is all about.
For example, let’s take a look at the movie Speed (1994) in which Hopper plays the demented Howard Payne who rigs buses to explode once they reach 50 miles per hour. In this instance, perhaps, Dennis was called upon to play this role because of a related experience from his own life time. As John Gilmore in his book Laid Bare: A Memoir of Wrecked Lives and the Hollywood DeathTrip recalls:
” Driving with Dennis in his little red Austin Healy sports car could be scary. Always giving it gas when the light was turning yellow, he never looked both ways before racing ahead. At a bus zone he’d block traffic to tell the waiting commuters he’d seen the bus several blocks back and it was on the way. They would thank him and he’d pull away laughing. I never understood the prank-one of many he’d claim he was pulling to “put people on.”
Misuse of freedom and the number 14 can also relate to sexual matters. Certainly, Hopper’s chilling portrait of psychopathic Frank Booth in Blue Velvet is an example of sexual depravity at its worst and misuse of freedom as it applies to terrorism and political freedoms was dealt with in the first season of TV’s 24 in which Dennis Hopper played the role of Serbian warlord and mercenary Victor Drazen. But it was Easy Rider (1969) that displays Dennis Hopper’s most notable contribution to an understanding of what freedom and the number 14 are all about. Significantly, this film about the freedoms which the number 14 symbolizes premiered on July 14 in 1969.
To get a clearer understanding of how this film relates to 14 and freedom. read my review of Easy Rider, which was written shortly aften the film came out, and is posted below.
reviewed by Daniel Heydon (photo left)
first published in the NYC entertainment review magazine ABEL, September 1969
“the highway is for gamblers, better use your sense take what you have gathered from coincidence. . .” — Bob Dylan
Escaping to the road on an easy run through the primeval beauty of the Southwest, cyclist Wyatt (Peter Fonda) and sidekick Billy (Dennis Hopper) find that violence as well as innocence is elemental in Eden. This is a film about primitivism: of freedom unfettered by identity crises, rebellion or generation gaps — of wanderers made outcast by their own blank interiors.
Whether you are pro or anti-dropout, Wyatt and Billy have little to recommend them as examples of anything but the life force itself. They neither elate nor depress you. The overgrown child Billy can’t see much further than his stomach — his range of vision limited by the immediacy of his appetites. Wyatt, introverted and inarticulate, a diffuse vision depriving his instincts of insight, remains troubled and ill-at-ease in both friendly and hostile locales.
Wyatt is passionless spirit and Billy is uncomprehending body (neither one is whole in himself and together they remain inconclusive) yet “Easy Rider” gains its strength partly because of the inaccessibility of its heroes. A Rosencrantz and Guildenstern of the New West, they remain spectators to the life that goes on all around them, until the violent ending with devastating clarity catapults their right to be free into meaning.
“Easy Rider” achieves its impact through the poetry of its realism: the glittering metal of the bikes against the expansiveness of open space, the authenticity of the regional hate mongerers, the Last Supper portraiture of the hippie commune, the
cryptic language of the grass smoker. Actually, we don’t need Billy and Wyatt to comment on the action. The camera says all and their private sentiments are better reflected in song by the likes of Dylan and Steppenwolf than the vague platitudes of Wyatt.
Still the importance of their passive involvement is underscored, when Wyatt and Billy are joined by George Hanson (Jack Nicholson) articulate and enthusiastic, a would-be dropout of another day. Whereas Mardi Gras is a point on the map to the cyclists, it is a place to get laid to fun-loving George, whose humour and joie de drunken vivre have a passion lacking in the detached put-downs of Billy. Nicholson’s George Hanson has a personality that grabs you, and yet a drunkard, his life on the ledger of what’s important is probably no more meaningful than the others. It’s just his style is different, and in what is important to this film, he is a blood brother to the cause of being free.
It is he who defines for the others the threat their freedom represents. Yet despite an excellent delivery, his words seem pretentious, until his own violent death shortly after makes them apt and the critic sorry that he ever used words like “pretentious”. For his death matters, is horrifying because you care for him, because he has gotten you involved in a way the others haven’t, yet the tragedy that befells his two comrades on the highway transcends death on the personal level, obscures it, sharply refocusing our attention to an elemental scrutiny of life and death per se. Our psyches are shaken by what Bob Dylan calls “the pettiness that plays so rough”: our own instinct for life cries out in truly righteous defense live and let live. That suddenly we care about Wyatt and Billy — really care — about two people we don’t know or perhaps don’t even like is why “Easy Rider” makes sense. The truth that these wanderers represent but are unable to verbalize or fully enjoy is clear — that breath in the lungs entitles one to life or at least its free flow should not be wantonly, senselessly aborted.
Though “Easy Rider” has its hippies and drugs, and an occasional platitude and symbol that almost work against the film’s meaning, it should not be passed off as another do your thing sermonette. To think of Wyatt and Billy as longhairs, hippies, youth today is to indulge in the same type of hasty labeling that brought about their deaths. “Easy Rider” is an ode to primitivism, an exploration of its violent and non-violent aspects, both of which if misused threaten the freedom that the film espouses.
P.S. For those who prefer to think synchronistically, the Dylan song on the soundtrack should lead you back to the album “Bringing It All Back Home.” Listen to all of Side 2, think of Billy, Wyatt and George, let the images of the film and record merge, and you’ll know what “Easy Rider” is all about – (or better yet, view the embedded clip from Easy Rider below)
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14, Easy Rider, Famous People, karmic numbers, Life Path, Movies, Numerology
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14, Blue Velvet, Bob Dylan, Denis Hopper, Dennis Hopper, Easy Rider, Giant, Hoosiers, Jack Nicolson, James Dean, kamic number 14, karma, karmic number 14, Numerology, Peter Fonda, Rebel without a cause, River's Edge, The last movie
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