Big Trouble in Little China (1986) – Esoteric Analysis

"Have ya paid yer dues?"
"Yeah, the check's in the mail!"

By: Jay

 Big Trouble in Little China is another one of those goofy 80s films that you’re presently assuring yourself has no deeper relevance. You’re smugly saying, “Oh come on Jay, seriously? Another 80s esoteric analysis of something completely silly, like BTILC?” Well, dear reader, let me assure you of your error, and further promise to deliver juicy esoteric tidbits to sate your hunger as you journey on. Consider the opening scene that Fox mandated be added (where Egg Shen recounts the adventures of Jack Burton).  The actor is Jerry Hardin who played “Deep Throat” early on in the X-Files. Interestingly, the ambiguous government agent played here is similar to Deep Throat. What is also interesting is the obelisk on the desk behind him, initiating the viewer into what will be an occult journey.

Egg Shen reveals that the tale ahead will be one of Chinese “sorcery and black magic.” As proof, Egg Shen offers typical 80s blue lightning, of the Force variety. According to IMDB, the Chinese script in the beginning title sequence reads, “Evil spirits make a big scene in little spiritual state,” meaning the film will feature the primeval ancient religious tradition of the higher aeons or gods incarnating themselves in lower, visible, solid forms. This is almost universal in ancient cultures, from Greece and Rome, to China, and lends credence to the view that polytheism and monotheism come from a single religious tradition, as described in Genesis 1-12.

Note also that Egg Shen conceives of the usage of good and evil magic by both sides. Magic, in this view, may be used by the dark side and the light side, in what the dualistic scheme of most world religions views as the ultimate template for all reality. Eastern religions in particular have this dualistic focus, with the binary opposition never being transcended in this life, apart from “enlightenment” that results in some kind of dissolution or absolving into “pure being,” “thusness” or “nirvana,” or some state of being beyond the present world, which is often identified as “evil” and the domain of the fallen spirits and demons. The problem with this type of worldview is that it is self-defeating and contradictory. It claims to seek transcendence of the material and of all binary opposition, but its answer is to seek it in absolute impersonality. Since particularity and form in this world are the sources of “evil,” all particulars must dissolve. The result is monism and collectivism, and the history of eastern cultures demonstrates this enslavement clearly. Read more of this post

Footloose (1984): Absurd Analysis

Teen millworkers of the world, unite!

By: Jay

Baconista: n., A dance, dance revolutionary.

Footloose is fabulously absurd: a butt-cut Kevin Bacon is swept up into a revolution that overthrows church and state. However, this is no classical union of the proletariat: this is a revolution fueled by music. The Beatles? The Sex Pistols? Metal? No, a revolution of Kenny Loggins, Shalamar and Foreigner. The absurdity lies precisely in this—the adults in this near-Denver town are afraid of soft 80s pop.

Note, however, that the town chosen is somewhere near Denver. I have mentioned elsewhere the importance of the Denver locale in certain films and novels, and my reading of Footloose is essentially that of a vague formula for revolution through music. Kevin, “The Bake,” arrives from Chicago and mystifies the locals with his cavalier attitude and free-flowing gymnastic jocularity. In fact. The Bake is able to dance like no one’s business when alone in a factory at midnight (following upon one beer and one cigarette). The film was actually shot in the Mormon-named city of Lehi, Utah.

The Bake gets a job at the local mills, so we know he is a working class revolutionary, and not part of the bourgeoisie. This gives him the requisite time to practice his flips and snag the town hotty, who happens to be the daughter of Rev. Lithgow who has a thirst for near death experiences and making out. Her name is Ariel, and Ariel is of course a reference from Isaiah for Israel. So the daughter of the male authority/patriarchy/God figure is Ariel, who is led astray by Pan, as a kind of pied piper. The pieces of the puzzle begin to fall in place. Pan is the ancient Greek god of woods, flute dancing, and sex. And dancing is a metaphor for sex. So Pan seduces the Ariel and overthrows the established order. Bacon’s character is named “Ren,” which is the Confucian expression of rightness, or a kind of golden rule. The Bake even teaches his redneck friend Chris Penn how to snap to a beat. Are there actually people who can’t snap?

(You also fry Bacon in a pan!)

So Ren/Pan represents equalization and “justice” against a supposed despotic Baptist theocracy that controls the establishment to the point of local cops being able to write tickets for teens attending rock concerts (?). Are there are any Baptist towns on theocratic lockdown? How is that actually possible, since Baptists believe in strict separation of church and state? I can’t imagine having to drive out-of-town to see Foreigner, and for that matter I can’t imagine seeing Foreigner, period. Meanwhile, Rev. Lithgow listens to Haydn, which we are supposed to believe is boring. Seriously? Kenny Loggins is superior to Haydn? Read more of this post

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