“The Saint” – Esoteric Analysis, pt 2

By: Jay Dyer

In part one, we saw how the cold fusion “science” was also a veiled reference to the sexual tension felt between Val and Dr. Russell. Val is torn, but ends up stealing the formula. Tretiak comes after Val and won’t pay, but Val eludes and ends up in Russia as Tretiak’s doppleganger, tricking him into paying.

About to leave Russia, Val is apprehended, along with Dr. Russell (who had flown to track him down) by Tretiak’s controlled Moscow police. Together they escape and end up in the snowy streets of Moscow. Val falls in the frozen water and develops hypothermia. Hearkening back to “cold fusion,” Val almost freezes to death, and has to get frisky with Dr. Russell to restore the necessary “heat,” as they are hidden by a prostitute in a slum.

Frozen Val reveals his real name to be Simon the Magician, because he did “tricks.” The “priests took Agnes (lamb in Latin), and killed her.” Simon rejects religion based on sacrifice because he sees it as something that kills love/lust. Simon Templar, the magician, blames the Church for his problems and for killing his crush. They again escape, this time into the “underground” of Moscow, where they meet black market art dealers selling icons – particularly the “Icon of the Virgin of the Damned.” This scene perhaps signifies the underground gnostic and fraudulent elements within the Church (whether Catholic or Orthodox).   As researcher Daniel Jones notes, “the Icon of the Damned recalls the breasts of Persephone as she has to nurture the babe Dionysius back to health, transitioning him from the ‘old man’ to the ‘new man,’ much the same as the reborn Horus rushes to Isis.”   Read more of this post

The Saint (1997) – Esoteric Analysis, Pt. 1

By: Jay

I loved the 90s. It was a fun time in my life and one film that sticks out as a kind of goofy, tongue-in-cheek indulgence is The Saint, starring Val Kilmer and Elizabeth Shue. At first glance, the movie is entertaining, but doesn’t stand out as a great film of the 90s. However, like many other instances, I’ve come to notice subtle, hidden meanings and themes that run throughout the film.

“Simon Magus was a magician and a sorcerer…” We see in the opening shots Val Kilmer’s character at a oprhanage reading a comic book of the famed medieval and puportedly Satanically-inclined sect, the Knights Templar.

Simon Magus was the arch-heretic of the book of Acts and believed by many of the Apostolic Fathers to be the first gnostic, giving spawn to a series of libertine and flight-from-reality sects, popularized in modernity as “gnosticism.”

This theme of secret knowledge will run throughout The Saint. Val’s young character refuses to say his name and is punished by the headmaster of the orphanage – a refusal to be connected with the actual saints, as he already has an interest in the alter “saints” condemned by the Church in 1312, known as the Templars.

Instead of miracles, this saint, through trickery and deceit, unlocks the orphanage food and feeds the other children who are being deprived of a meal as a punishment – a take on Jesus’ feeding of the 5,000. Next, we see “Simon Templar” (his new name) running through the streets engaged in more mischief doning a cape with a Templar Cross. In the esoteric, receiving a new name is an important step in the process of gnostic apotheosis. Failing to attain his hero’s kiss from his young love, she slips, falls from the balcony, and dies. Flash forward to the modern Simon Templar, ever-bruised from his youthful tragedy, the rogue agent is busy infiltrating the large Russian Tretiak Oil and Gas Industries building.

Read more of this post

Follow

Get every new post delivered to your Inbox.

Join 155 other followers