The Neverending Story (1984) – Film Analysis

April 25, 2011 14 Comments

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.  Read more of this post

Filed under Apologetics, Books/Literature, Conspiracy, Culture, Esoteric/Speculation, Film Review/Analysis, Philosophy, Psychology/Sociology, Religion, Video Tagged with , , , , , , , , , , , , , , , , , , , , ,

The Dark Crystal – Esoteric Analysis

February 27, 2011 11 Comments

Henson's Dark Crystal

By: Jay

 Much like Labyrinth, Jim Henson’s The Dark Crystal is one of those kid’s films all of us who grew up in the 80s seem to have a strange affinity for. And, much like Labyrinth, it is chock full of Henson’s same occult proclivities. While Labyrinth, in my analysis, constituted the inner journey into Sarah’s psyche (much like Inception is an inner journey into Cobb’s labyrinthine psyche), Dark Crystal is more of an exterior journey.

 We are told in the beginning the setting is a long gone “age of wonder” on another world where time comes and goes in thousand-year cycles, or aeons. Such terminology may be said to be of another world, but as the symbolism necessarily goes, such films (and all stories in general) function as statements relative to the human story. Thus, the two great races that arise in the age of the Dark Crystal are symbolic of two kinds of people (passive and aggressive/followers and elites), which is itself a manifestation of the film’s obsession with duality. Indeed, the film follows perfectly in a long train of gnostic nostalgia, elsewhere reviewed by me.

 The notion of a 1,000 year cycle is also a Hindu theme, similar to the theory of Kali Yuga, where we are currently entering an age of dominance of chaos, the demonic, strife and dischord. This is also similar to the notion espoused by other occultists that this is the aeon of the child, etc. Occultist Madame Blavatsky also formulated bizarre theories of numerous other races and worlds that preceded our own, as well as the Babylonian Talmud mentioning such ideas. It becomes evident that Henson, like Lucas, borrowed heavily from the mythology of various cultures in creating these fantasies.

 The eastern dualist conceptions are marked in the film, as mentioned. The Skekses represent the left hand path of severity and cruelty, control and empire, while the “gentle mystics” are supposed to represent the “gentle ways of natural wizards.” The Skekses, then, are harbingers of technology and power – they harness the Dark Crystal for the purpose of advanced control mechanisms and even brainwashing (yes, brainwashing), while the mystics are purported to be in tune with nature and the forest. The Mystics, as is worth noting, chant the Buddhist “Om,” further reinforcing the eastern dualist religious conceptions, while the Skekses are busy enacting the “Ceremony of the Sun” for the passing of the Emperor, which brings to mind ancient Egyptian theology, and it’s identification of Pharoah as son of Ra. Read more of this post

Filed under Conspiracy, Culture, Esoteric/Speculation, Film Review/Analysis, Philosophy, Psychology/Sociology, Religion Tagged with , , , , , , , , , , , , , , , , , ,

Bowie’s “Labyrinth” – Esoteric Analysis, pt. 2

April 16, 2010 1 Comment

By: Jay Dyer

In the first part, we saw that the Henson/Lucas/Bowie Labyrinth is itself a labyrinthine maze of Sarah’s psyche in a long journey towards something…But what? In part two we will see. We left off with Sarah entering the Labyrinth, an image of her subconscious (which is also an entry into the “spiritual” world, or other dimensions), and landing in a bizarre land of fairies, gnomes and other fantastical oddities.

Things are not as they seem – the fairies bite and the gnomes piss in the pools. This is interesting, because there is a bit of Freudianism at work here, where Sarah, in her subconscious, is immediately confronted with sexuality and bodily functions – a theme that will continue in the labyrinth.

We have already seen obelisks (images of the phallus), and Sarah is immediately confronted with bodily functions where Hoggle relieves himself in a pool as we see both obelisks and “pissing” at 4:53-5:06:

Again, this is all related to Sarah’s transition from childhood to puberty. And, bizarrely, as we move further into the “labyrinth” of sexuality, we will find some very graphic innuendos will begin to emerge in Sarah’s psyche. But before we get to that, one thing that is interesting to note is the film’s subtle racial views. Not that I so much mind speaking in terms of races and nations, but ironically, the pseudo-liberal, Kabbalistically-minded Lucas-Henson duo have no problem mocking Asians, various Europeans and blacks. Read more of this post

Filed under Conspiracy, Culture, Film Review/Analysis, Psychology/Sociology, Video Tagged with , , , , , , , , , , , , , , ,

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