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

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.

Not because Lucas-Henson are necessarily “Judaic” per se, but rather because they are occultically-minded and thereby have transcended “natural,” national, and racial boundaries, as those who occupy the eye of the pyramid are beyond the distinguishing characteristics of those who make up the bricks of the base of the pyramid. Notice that the worm Sarah encounters is Australian. The little guy with a temper who pops up and changes the blocks is Italian. When Sarah encounters the two dualistic doors, they are Scottish.

The dualistic Scotty Dogs who pose riddles to Sarah. Note the yin yang on the shield.

Sarah confronts the apparent duality of reality – particularly as she figures out the relationship of male to female. Reality seems to continue to change for Sarah. She thinks she has it figured out, and assumes she has solved the Scotty-dog’s riddles, but as a result ends up “falling” even deeper into her subconscious. Ending up in an oubliette, a place of forgetting things, she is able to haggle with Hoggle, who appears to be an image of the typical “Jew.” Hoggle has a prominent nose and is crafty and deceptive, welcoming Sarah’s bribery with fake “jewels.” Consider the traditional affinity of “Jews” with Jewelry. The occult masters are not so much concerned with some racial supremacy as they are Satanic supremacy.

Alchemical Androgyne embodied in the androgynous Bowie

Recall also that Jareth is androgynous: Sarah is attracted to Jareth as we shall see – but not exactly as a male. Jareth appears to embody the union of male and female – an alchemical goal par excellance. But back to the racial element – when Sarah encounters the small midget characters on sticks that torment the large puppet Ludo, they speak in some kind of Asian gibberish. We see that racial stereotyping is perfectly acceptable to the occult masters, but forbidden and rejected for anyone else: as long as it’s Freemasonic-Kabbalistically minded Lucas and Henson doing it, it’s kosher.

Princess Diana at the Premier

Ludo is a kind of elemental spirit, connected with rocks in this case, who occupy an important place in alchemy. Ludo is also Sarah’s version of the popular kid’s book Where the Wild Things Are, which was seen in Sarah’s bedroom at the beginning, and soon to be released as a film as well. As Sarah and Ludo progress further, they encounter the “fierys” – savage, jungle-like creatures that play basketball with their own heads, who are all voiced by black actors. Their “heads” are removable and often float away: in other words, blacks are mere savages who have no rational faculties. See for yourself at 2:40-6:00:

In Part three, we will see Sarah’s attendance at the ball will be much more than an innocent fantasy dance, but more along the lines of a veiled orgy, wherein Sarah is initiated into something much more evil.

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  1. Bowie’s “Labyrinth” – Esoteric Analysis, pt. 1 « Jay's Analysis

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