The Neverending Story (1984) – Film Analysis

Original Film Poster

By: Jay

These 80s cult classics do well for analyses. Vitrually all the classics children of the 80s like myself grew up with were loaded with deeper, esoteric symbolism, as our series has demonstrated, and The Neverending Story is no different.  In fact, the more I contemplated it and researched it’s geist, the more surprised I was.  The Never Ending Story, I discovered, was influenced by some of the more overt and bizarre strains of occultism in the previous century.  The film is based on a children’s book of the same title by author Michael Ende, a German writer, whose works are influenced by Rudolph Steiner’s Anthroposophy, a German movement that split from Madame Blavatsky’s equally occult Theosophy, which influenced Nazi ideology. As the German biography notes there, Ende was also influenced by other pagan movements:

“Michael Ende hat sich in der Tat ein Leben lang für alle philosophischen Systeme interessiert, denen ein magisches Weltbild zugrunde liegt: “Edgars Sohn suchte auch bei anderen Weisen und Esoterikern Erkenntnis, in des legendären Christian Rosenkreutz’ Chymischer Hochzeit wie in des infernalischen Altmeisters Aleister Crowleys Manifesten, bei Indern und Ägyptern, beim Zen, in der Kabbala, bei Swedenborg, Eliphas Lévi, Sören Kierkegaard, Friedrich Weinreb.”

Which is:

“Michael Ende has a lifelong interest in all philosophical systems based on a magical worldview. “Edgar’s son was always lookng for other paths and esoteric knowledge, like the legendary Christian Rosenkreutz ‘Chemical Wedding,’ as well as the infernal old master Aleister Crowley, the Indians and Egyptians, Zen, the Kabbala, in Swedenborg, Eliphas Lévi, Soren Kierkegaard, and Friedrich Weinreb.”

Thus Ende’s worldview influences are clear. Anthroposophy shared many of the same new age notions of theosophy, but was banned by the Nazi party.  Ende had attended a new age Waldorf School, which based it’s curriculum around anthroposophical ideas, both of which have United Nations affiliations.

["A world that is vast and eternal...." Comment: Uh, no, Fantasia gets blasted to smithereens by the Nothing. So, it's not eternal, really. -Jay]

What becomes clear as one researches this subject is the parallels between the United Nation’s globalist ideology, along with it’s parallel idea of a single, unified global religion as a tool of a superstate which replaces all previous nationalities and traditions, forcing everything into an amalgamated muck where individuality is lost in a collectivist blob, subservient to the deified world state.  Amazingly, my articles still have commenters who dispute these public globalist policies, which have been known for decades. I even attended a new age-ish elementary school for the gifted in my younger years associated with UNESCO that enforced these globalist ideologies along similar lines to Steiner’s syncretic mysticism.  Make no mistake about it, it is very real, very public, and very much an open tool of the globalists.  I was surprised, however, the last time I watched this film how overt it’s paradigm was.  Continue reading

Hanna (2011) – Jay’s Film Analysis

"Adapt or Die"

 By: Jay

Hanna is an awesome film. As a story and entertainment, it is top notch. However, as the message goes I have some stuff to bitch about (as usual), and this time it’s not really gnosticism. Well, it is a little bit, but not primarily. Hanna is the story of a young girl who is mysteriously unaware of her origins (played by Saoirse Ronan), raised by her father in an utterly secluded cabin in Finland. Her father gives her intelligence agent training, while simultaneously keeping her from all modern luxuries. Hanna is thus a trained hunter and assassin. From the trailer, we see that it will be a take on a fairy tale, and that is what will develop. One of the few things she reads in her cabin, along with the Encyclopedia, is Grimm’s Fairy Tales, which comes up as a subtle sub-theme throughout the narrative.

Initially, she fixates on the Cinderella story, which is a story of mythical transformation—precisely what the film is about. Something like A.I. meets Run Lola Run, Hanna is about the future generation. Since we have descended into a post-post-modern nihilism, all that is left is the return to myth. The Enlightenment scientism has been discovered to be another form of mythology that, while producing interesting artifacts, is unable to quantify and calculate the sum totality of man’s existence into a materialist, pragmatist framework. Thus, what happens in this stage of cultural devolution is that man’s nihilism returns to myth as a larger narrative structure for life. Hanna, as the film makes clear, is the genetically altered future, which the scientific establishment will attempt to control, but which, in fact, cannot be controlled.


Once upon a time….

After a long journey of self-discovery and rugged survivalism, Hanna has interfaced with modernity and found it absurd and empty. Ironically, being raised in a completely sheltered environment, she is simultaneously “from the forest” (as girls often are in fairy tales) and the next level in human development as a result of science. Hanna represents the establishment’s attempt at a totally controlled and engineered human godchild—the stuff of myth and legend. The great voyage of discovery is that she herself is abnormal because she is superior. She is a genius who has had “empathy” bred out of her, though she displays empathy in certain cases. Continue reading

Batman Begins – Esoteric Analysis

Batman becomes the dark side.

By: Jay

See Also: Batman: The Dark Knight Rises – Esoteric Analysis

Batman Begins marks a substantive renewal for the popular franchise. Taking the story in a much more serious direction from the 90s version (replete with Prince flopping around, humping the ground), the new version is much more sophisticated. And, along with being much more sophisticated, it also calls for an esoteric analysis. Just as with Christopher Nolan’s Inception I analyzed, so his earlier Batman Begins was modeled along the same lines of Jungian psychoanalysis, mixed with occult and gnostic themes, as well as other prevalent popular conspiracy theories and secret societies, as we will see.

The film begins with Bruce Wayne experiencing childhood trauma where he falls down a well, breaks his leg, and is terrified by a sudden battalion of bats. Falling down wells and trips to the underworld are common in Jungian, gnostic and literary exploits. It’s an archetypal scheme for both the inner subconscious, as well as the exterior metaphysical realm of the dead. The “underworld” of Homer and Virgil, is also, by association the subconscious from which our dreams arise, manifesting archetypal patterns. Bruce Wayne’s falling down the well is also a window into his unconscious mind, just as are the several layers of dreams in Cobb’s subconscious in Inception.

Childhood traumas and fixations are often formed from this stage in development, as both Freud and Jung noted, and this is precisely where Bruce Wayne experiences the defining moment of his future existence—he will eventually become the thing he fears—the dark and the demonic. Now that may sound strange, given that Batman is a good guy, and the Joker and others villains, but once one understands the pagan and gnostic scheme of reality, these words end up purely relative denominators. “Good” as an actual, absolute category is non-existent in this relativistic scheme. This is why Bruce Wayne’s journey will be to become his “higher self,” the alter ego “Batman.” Batman is the embodiment of Bruce Wayne’s “shade” or shadow self, his dark side incarnate.

Batman is not bound by laws, but is instead a Nietzschian vigilante overman, beyond good and evil: rex lex. Since the normative social structure of Gotham City is corrupt, Batman is a law unto himself. This is why Bruce is the billionaire capitalist: he is the representation of elite capital, but which also provides Gotham its vast social programs and welfare system, as well as public transportation, etc. This is yet another hint at the actual system that runs the real world—it is controlled by those at the top who are neither capitalist nor socialist. They are elitist, and who (in their minds) transcend dialectics. The Cold War, for example, was a closely steered conflict that allowed a vast intelligence and surveillance grid to be established under the auspices of nuclear threat. Now, our threats are repackaged as environmentalism and the “global war on terror.” Bruce Wayne thus embodies the “third way” which is where we are headed—a global corporate financial system that is the synthesis of communism and capitalism, under the guise of world “democracy.”

Continue reading