Coronavirus: Black Magic Goes Viral?

3

By H.B.Gardner

In this article on a serious topic, we go a-musing on the themes of occult poisons, satanic plague, and an occult horror theory of the Nova Coronavirus (COVID-19) as a form of Oriental black magic …and the ancient Chinese idea of “Let your food be your medicine.”

“Bugs on a plate”. That’s one interpretation of Gu or Ku, the ancient Chinese ideogram pictured here. The actual strokes of the first character above depicts three “insects” in a “pot” or “bowl. The bottommost portion of the character is the same as for a bowl or dish such as one will find on a menu or in a cook book in Japan or China; but it may be more broadly interpreted as a vessel. The simplified modern form (on the right) depicts one bug in a pot or jar. “Bug” or “insect”  is a rather oversimplified term here as, in this case, the characters also encapsulate a wider range of creatures including snakes, spiders, worms,  scorpions, centipedes, frogs and other creepy-crawly “pests”.

The meaning of Gu or Ku has some various interpretations; but it mostly relates to a slow-working venomous poison of the black magical kind which we may loosely interpret as “Chinese sorcery” or “witchcraft”. This line of thinking may also lead us to extrapolate upon an esoteric interpretation of these Chinese characters as not so much as “bugs in a vessel”, but “worms in the belly / body”, suggesting a nefarious viral or parasitic invasion of the human body. To suggest our theoretical linking of such sinister connections between Chinese black magic and the COVID-19 or new coronavirus, permit us to endarken you on some  ideas in “traditional Asian medicine and sorcery” as we look for the Devil In the Details, and offer some interesting insight into some possible contributing factors to this confounding viral epidemic.

18B1926E-7609-4A28-97E9-9848E0B787B0

“This art of black magic …is usually focused on poisoning at a distance, creating disease, controlling a lover or for causing death.”

maskoffumanchu5

1932’s extremely racist The Mask of Fu Manchu (with Boris Karloff as the evil Chinese villain) has a scene with this type of Oriental Black Magic used for nefarious purposes. A “venomous serpent” is caused to bite a black slave whose blood is then drawn to be included in a magical serum to gain control over another character.

“Gu or Ku is an ancient form of oriental black magic in which toxins are concentrated in order to wield occult powers over others.”

800px-蠱-oracle.svg

Oracle Script for Gu “Poison” or “Bewitch”.

This Gu or Ku is an ancient form of oriental black magic in which toxins are concentrated in order to wield occult powers over others. This has been depicted onscreen in 1932’s The Mask of Fu Manchu, starring Boris Karloff as the nefarious villain planning to conquer the world.yjimage

The Chinese ideogram itself dates back to the 14th century BCE Shang Dynasty bone oracle inscriptions meaning “poison” or “bewitch”. The typical method of this Ku sorcery is the collecting of various venomous or poisonous creatures such as snakes, lizards, centipedes, scorpions, and worms which are enclosed within a vessel in order to fight it out. The survivor in this death match – having killed and devoured the others – is then considered to be extremely potent in its toxicity by having absorbed the poisons of the others. This creature, the Ku, may then serve as a prized familiar spirit and/or as the main ingredient of either a love potion or toxic poison, usually administered in food or drink to an unknowing victim.

“Its a serious problem. Wild animal farming to supply exotic substances for “health tonics” for China’s wealthy elite – a “small percent” of China’s population which is nearly equivalent to the entire population of Japan.”

800px-蠱-seal.svg

Seal Script for Gu “Poison” or “Bewitch”.

This magical practice is reputedly often accomplished in the southern regions of China in the hot and humid season (5th day of the 5th lunar month),  which certainly provides an ideal condition for the growth of bacteria.

This art of vengeful black magic and it’s particular methods is usually focused on poisoning at a distance (in both space and time), creating disease, controlling a lover, or for causing death. Descriptions in antique Chinese texts report incidents of slow poisoning and death, sometimes weeks after imbibing the toxic dose. Medicinal antidotes are also often cited such as ginger and licorice root. (This makes visceral sense as, here in Japan, sashimi is served with pickled ginger as well as wasabi horseradish as condiments to aid the safe digestion of raw fish).

fa2462f7fc68828cbaf5ce94bd6dfe71

The occult works of Kenneth Grant offer some knowledge on The Cult of the Ku.

“Descriptions in antique Chinese texts report incidents of slow poisoning and death, sometimes weeks after imbibing the toxic dose.”

41FYN7057QL._SX303_BO1,204,203,200_

 

Above: Chinese coins depicting the 5 poisons.

005_the_masque_of_the_red_death

1964’s The Masque of the Red Death

COVID-19

The “New Bug” Going Around

Now, another mysterious virus has seemingly arisen to spread rapidly over the globe. With the SARS, MERS and Ebola outbreaks still fresh in memory, the recent news of the Wuhan Nova Coronavirus COVID-19 spreading outwards from China – with over 6,000 reported cases and causing over a hundred to die (update from original time of writing: as of March 17th there are now 7426 deaths reported globally); and the recent estimates pointing to the virus reaching its peak at the end of this April or May (at the time of writing) – we thought it of interest to outline the occult links to this issue because, in our estimation, there are always esoteric links to every imaginable and unimaginable phenomenon.

640px-Europe_a_Prophecy_copy_K_plate_07

Artist: William Blake. Women before a blazing cauldron with a child’s corpse. A magical attempt at resurrection?

There is no telling with 100% certainty where this coronavirus disease originated – whether from a fish and wild animal market in Wuhan, China as many have speculated, or from a nearby infectious disease lab where – much like the Ku spirit nurtured in a vessel containing centipedes and snakes – viruses are cultured and grown in Petrie dishes. We can say that – whether by accident or insidious design – this “New Bug“ has escaped its containment vessel and somehow managed to jump the species barrier.

CHINESE MAN DOG RABBIT

Dogs and bunnies for sale at a Chinese food market. This is no pet shop. Feces, urine, blood, pus, parasites etc.. are showered down from cage to crowded cage upon suffering animals.

Note that the viruses mentioned here have all been animal linked diseases. According to the World Health Organization (WHO)  SARS coronavirus (identified in 2003) is thought to be an animal virus from an as-yet-uncertain animal reservoir, perhaps bats, that spread to other animals (civet cats) and first infected humans in the Guangdong province of southern China in 2002. 

MERS = Middle Eastern Respiratory Syndrome came from camels in contact with humans. These are animal viruses which have somehow been transferred to humans.

The Ebola crisis that happened in Africa is also linked to bats.

“In China it is often the case that animals sold for food consumption in certain open markets are often crammed tightly together in conditions that most would consider unthinkable.”

The-Satanic-Rites-of-Dracula-1973-1

A Satanic plague is unleashed upon the world by a circle of wealthy elites in 1973’s The Satanic Rites of Dracula.

In China it is often the case that animals sold for food consumption in certain open markets are often crammed tightly together in conditions that most would consider unthinkable. Its a serious problem. Wild animal farming to supply exotic substances for “health tonics” for China’s wealthy elite – a “small percent” of China’s population which is nearly equivalent to the entire population of Japan. Consider the energy of whatever you imbibe or digest as literally in-forming the substance of your being. The food we consume has an effect on our entire system. This is both magical thinking and scientific fact.

23773278-0-image-a-11_1579784331690

How about some bat soup?

“Let Your Food Be Your Medicine”

But it isn’t only for rare black magical purposes for which certain exotic creatures are sought as ingredients in Asian culture. There are also medicines and cuisine to consider! It seems to us no mere coincidence that the new corona virus outbreak happened to coincide with celebrations for the 2020 Chinese Lunar New Year holiday of January 25th! A holiday which sees the massive movement of people traveling to visit family and loved ones for special family gatherings …and special meals.

“China has a very ancient and venerable history of traditional medicine.”

The first thing to be understood is that – like most Asian and Eastern cultures – China has a very ancient and venerable history of traditional medicine. In China, one significant idea regarding one’s health is expressed as “Let your food be your medicine”. This is good advice in general. But the lists of rare, exotic ingredients for certain traditional formulae has sometimes led to the hunting and near extinction of certain species of animals such as the black rhinoceros, musk deer, tigers, snow leopards and all manner of rare beasts and birds in order to obtain portions of these creatures and their organs which are reputed to cure particular ailments or illnesses, or to give certain desired health benefits.

“This, in conjunction with the lists of exotic ingredients for traditional medicinal formulae, has sometimes led to the hunting and near extinction of certain species of animals…”

China Outbreak Lessons from SARS

Man looking at raccoon dogs (Yes, there are such things.) at a market in China.

Medieval-Witches-Cooking-witches-Medieval-Sketch

Fire burn and Cauldron bubble: European Witches adding a cockerel and a snake into a blazing vessel. Sorcery performed for fortune, fame and power, for cursing or for love, appears to be systemic to the human race.

It comes as no surprise that the epicenter of the current corona virus outbreak has constellated around a fish and wild animal market in Wuhan, China – a region which also happens to host a nearby disease lab. This market had all manner of beasts in cramped and dirty cages all stacked together in highly unsanitary conditions where their immediate slaughter for food could also be carried out. Blood, urine, feces, pus and the standard sicknesses, viruses and parasites natural to wild animals all blending and stewing in a melange of filth. This is not so unlike a giant Ku poison pot, an unwholesome alembic or Petrie dish, if you will. Which brings us back around to the poison magic known as Ku. The witches cauldron containing “eye of newt and toe of frog” appears to be a universal phenomenon. Sorcery performed for fortune, fame and power, for cursing or for love, appears to be systemic to the            human race.

“Witchcraft performed for fortune, fame and power, for cursing or for love, appears to be systemic to the human race.”

910CED9E-9266-4B87-A22D-49A2C9613C90

Asian centipedes grow large and carry poison.

It is impossible to say how many people engage in the riskier food and health practices constellating about these potential centers of pestilence. But it is likely a smaller portion of the population which knowingly imbibes or absorbs these substances. A simple search online will turn your stomach to watch Asian men eating live baby mice or pretty young women tasting writhing centipedes, for instance. Far fewer are those who dare to dabble in poisons such as in Ku magic. But greedy and intemperate scientists and the administrative powers which support and finance them – not only in Asia but worldwide – know no bounds when it comes to dabbling in these unseen forces which are ever at the ready to exploit a weakness in the human immune system. While many folks are content to try an occasional exotic delicacy, the truly nefarious deeds are being done in labs and factory farms around the globe, with or without government approval. 

We must also admit the deplorable conditions of our own factory farming practices – and of puppy mills – in the good old USA and other Western nations. The wretched un-lives lived out by animals farmed and raised for meat, eggs, dairy and pets are also swarming with filth, disease and suffering beyond the limits of any diabolical horror movie. Until people wake up to these heinous practices, the suffering will continue and the chances for potential outbreaks of disease loom imminently over the land.

masque-of-the-red-death-1964-movie-review-prince-prospero-killed-party-vincent-price-roger-corman-edgar-allan-poe

Vincent Price meets The Masque of The Red Death (1964)

The Affair of the Poisons

Catherine_Deshayes_(Monvoisin,_dite_«La_Voisin»)_1680

Catherine Deshayes, aka “La Voisin” was burned at the stake for being involved in poisoning and satanizing.

Sometimes an outbreak of magical poisoning may be the result of a more amorous type. There is always the possibility of passionate intrigue, occultism and love spells gone awry. Attempts at poisoning, or concocting aphrodisiacs or “Spanish Fly”, such as the Affair of the Poisons (1677 – 1682) is one famous example that scandalized the court of King Louis the XIV. The Sun King’s own mistress, Madame de Montespan, bought aphrodisiacs to remain in the king’s favor and performed Black Masses with Catherine Deshayes, a known fortune teller, poisoner and abortionist, known as “La Voisin”, who was later burned at the stake in 1680. Eventually the scandal and criminal cases surrounding The Affair of the Poisons led to the execution of 36 people while many others received life sentences or were sent to the galleys.

habu small

Habushu is a liquor from Okinawa in which a venomous pit viper has been steeped.

Germ Warfare, Infectious Disease & Pandemic

2F376186-FA32-4322-A95E-874B165BB9BE

Great book on the Plague. Recommended reading!

Germ warfare is nothing new. It’s been going on for centuries. Throughout history, invaders have catapulted the bodies of plague victims over city walls. Wells have been poisoned with animal carcasses. The Black Death, which spread the Plague from Asia and wiped out 30% to 60% of Europe’s population in less than a decade, is a devastating example of the effects of a pandemic. We must ask ourselves if the world is due for another one – whether by nature or by design. Or perhaps certain systems of control and authority wish to reduce the surplus population by eradicating the weaker members of society, such as those with compromised immune systems. It is certainly something that has happened before. The medieval witch hysteria in Europe was sparked by the Plague and sections of society were quickly accused and executed.

 

59714

A satanic new plague is to released on the world at Dracula’s command! The Satanic Rites of Dracula (1973)

In Asia, where the serpent – often epitomized as the Dragon – is revered, even worshipped, as well as consumed as a sacramental or potency enhancing meal or beverage, there is definitely a different psychology at work than in the Christianized West. Christianity has long demonized the serpent as an emblem of evil. But the consumption of the flesh and blood of a deity is not unknown in the West as anybody who has attended Holy Mass or communion in a church should be aware.

BlackMagic

Black Magic 1975, Horror film from Hong Kong exhibits Chinese sorcery known as Ku.

Evil certainly exists but the concept of “sin” remains a foreign idea in East Asia; there is more a line of thought of  shamefully “missing the mark” or “failing to achieve” rather than the imposed guilt of “sin”. Christianity is a tree that has never taken firm root in Japanese or Chinese soil. And wherever it has taken root, it is invariably only surface deep and rather frail and sickly. In a way the West has infected the East with its religion just as coronavirus is spreading outwards from Asia.

Whatever the origin of the current COVID-19 outbreak, it is certainly linked to human contact with animal virus. Whether this happened by accident or on purpose (for the record we suspect the inevitable corporate greed and stupidity of humankind over the admittedly more intriguing occult means) the scorpion has crawled / the bat has flown / and the serpent has slithered out of the pot! And it is probably already too late to clap the lid back on.

Gu-Poison

DDB7872D-046F-446B-BFC0-3E2C3CBDB9F7

 

 

 

13 Diabolical Movies for Halloween

0

BY H.B.G. (Your Satanic Cinema Sommelier)

listchurch2

Some of us struggle with our demons, others just want to cuddle. The Church, 1989

As Halloween – the ancient pre-Christian Celtic Pagan festival of Samhain – draws near, when the air chills and the vibrant leafy green signs of summery life are dressed in faded flame to kindle it’s dry surrender to the coming season of death, our mind turns naturally inwards – towards the darkness within – as a reflection to the deepening night without. The Season of the Witch is upon us once again and ’tis time to reflect upon the ebon mirror-screen to read the signs traced there by the cool fingers of Our Lady of Darkness. Many of our own home video screens will inevitably flicker with the cold fire of choice occult horrors, old and new, from cinema’s dreadful dream machine.

3F74EF6B-BC6B-49CF-97E0-F450BFC0B46E

Karloff leads a Luciferian cult in The Black Cat.

Connoisseurs of the genre are undoubtedly familiar with Cinema’s Unholy Trinity of Rosemary’s Baby, The Exorcist and The Omen. Others may already know Vincent Price as Prince Prospero in 1964’s Masque of the Red Death. Below we will present a modest list of 13 sorcerous and satanic ‘sin’ematic tales spun by film makers. We will point out some popular examples as well as draw attention to some of those which may be overlooked. These and many other examples appear in our growing list of Devilish movies: Satanic Cinema Sommelier; Our Favorite Devilish Films.

1954-devil-girl-from-mars-021-hazel-court-masque-of-red-death-1964-e1477081644472

Hazel Court as Vincent Price’s mistress in The Masque of the Red Death, 1964,  brands an inverted cross on her breast in an act of devotion to Satan. This is the first instance of an inverted cross as a symbol of devil worship on film.

These films offer us the full congregation of evil: The Witch, The Cult, and The Devil Himself.

images-35

Barbara Steele in Curse of the Crimson Cult, 1968

The Witch is a primal archetype of our collective unconscious; an image so ancient and long held that we still remain spellbound by her powers. The Hag, the child-snatcher, the cannibal crone in the gingerbread house, the satanic siren or seductive succubus licking her blood red lips… they all live inside us. She resides in that secret place from where dreams arise; that place most of us expend effort to avoid noticing. But she is always there, waiting, in our stories, fables, movies and fashion magazines.

The Cult is a nightmare that is often all too true in reality and even makes the occasional appearance on the evening news. Often formed by a group of devil worshipping acolytes in these movies, The Cult is most often hidden from view in plain sight. Their predatorial eyes stalking their victims with a cold obedience to a perverted sense of unholy and supreme evil.

ExorcistCap_002-1_zpsbfa3c82e

The Exorcist, 1973

The Devil …well, what can one say about the Old Man? The Opposer, The Adversary, The Tempter, Shaitan, Satan… the very embodiment of all that is evil, of all malice, of all we fear… and, simultaneously, all that we desire: Power, Wealth, Talent, Fame, Sex.. all are on the Demon’s auction table… for a hefty price, of course.

Some of these movies are crude attempts, some are jumbled fever dreams, cult films, a few are special masterpieces that linger long after the lights are out and the covers are drawn up… when dreams of primitive horrors etched in our ancestral DNA lurch and suddenly shamble towards you out of the dreaming dark… with claws extended.

the-witch-a24-poster-gallery

Evil Takes Many Forms in The Witch.

1. The Witch (2015)

Satanic Sommelier: Guiness, or an Irish red like Killians. The Witch is an atmospheric period piece set in 1630 New England. A  folktale saturated with fearful religious paranoia that inexorably tears apart a family of Puritan settlers trying to survive on the edge of a vast threatening forest after being banished from the safe confines of their colony. The fear of Satan’s power may be real or imagined, or seen as a self-fulfilling prophecy. If you are looking for jump scares or buckets of gore, then you’re probably going to be disappointed. This one is a slow burning thriller with committed performances and some unsettling imagery of classical witchcraft.

HORROR-HOTEL-1024x803

Christopher Lee is great as a Satanist in almost every film he ever made.

2. Horror Hotel, AKA City of the Dead  (1960)

Satanic Sommelier: Chardonnay, chilled. Features Christopher Lee (who certainly holds the record for Actor Who Has Portrayed a Satanist or Appeared in More Satanic/Occult Films More Than Any Human Ever) as a college professor with more than a dabbler’s interest in Witchcraft. An atmospheric thriller that takes a cue from 1960’s PSYCHO in regards to the premature fate of it’s first main protagonist. Good atmospheric early piece of witchy cinema.

Unknown-4

You’ve never seen anything quite like Alucarda.

3. Alucarda   (1975)

Satanic Sommelier: A Spanish red. (Read the title backwards). This nunsploitation film has some great surrealistic set pieces, plenty of hysterical blasphemy, flagellation, sadistic monks, exorcism and…. bleeding nuns! But the tale itself, with its elements of lesbian vampirism, seems at least somewhat inspired by J. Sheridan LeFanu’s ‘Carmilla’ (1872). A young woman is brought to live at a convent where she encounters the mysterious Alucarda. The young women form a strange relationship and make a pact and become satanically possessed as part of Alucarda’s cursed history.

images-1

More Nasassja Kinski, please.

4. To the Devil a Daughter (1976)

Satanic Sommelier: Blue Nun. Three reasons to watch this film: 1. Christopher Lee (starting to see a pattern here?!) as a Satanic priest (he does it so well! Look for that smile during a nasty scene near the beginning of the film). 2. A 15-year-old full frontal nude Nastassja Kinski  (we also love her dressed as a nun), and 3. some rather atypical Satanic ritual  imagery. Great cult film if you can somehow manage to ignore Richard Widmark.

DTXvOyVVAAAGJ5b.jpg-large

Jessica Harper in the original Suspiria. She also makes a cameo in the 2018 remix.

5. Suspiria (1977)

Satanic Sommelier: A fine Italian red wine.  Suspiria is a film that stands out in horror cinema and remains perhaps the most celebrated artistic horror film ever made. Director Dario Argento’s masterpieceThe Three Mothers motif is carried on in the sequels Inferno (1980) and The Mother of Tears (2007). The 2018 remake featuring Dakota Johnson and Tilda Swinton is a thoughtful homage to some ideas inspired by the theme but is not nearly as fun as the original. We started #TheThreeMothers hashtags. Read our Occult-Horror geek articles on the original Suspiria here:

SUSPIRIA: In the Eye of the Peacock

SUSPIRIA: Dario, De Quincey and the Dark Goddess; Part 1

SUSPIRIA: Dario, De Quincey & the Dark Goddess; Part 2

SUSPIRIA: Dario, De Quincey & the Dark Goddess, Part 3

ca3bc4902f80bd35ed86f9f54d6382f0-the-lords-of-salem-1469672521

Sherri Moon Zombie breaks on through to the other side in The Lords of Salem.

6. The Lords of Salem (2012)

Satanic Sommelier:  Magic mushrooms with a gin & tonic, and a beer chaser. Rob Zombie’s hallucinogenic trip into the weird world of witchcraft is, like it’s creator,  certainly original. This film links back to ancient blasphemous heresy for starters before relocating us into modern Salem, Massachusetts where young DJ Heidi (played by Sherri Moon Zombie) is ensnared in the ancient sorcery of a family curse while trying to break free of a heroin addiction. Worth seeing for Meg Foster, Dee Wallace, Judy Geeson and Patricia Quinn (Magenta from The Rocky Horror Picture Show) as witches, and some bizarre artistic moments.

the-sentinel-1977

THE SENTINEL 1977 with horror veteran John Carradine as a blind priest. Jeffrey Konvitz wrote the book.

7. The Sentinel (1977)

Satanic Sommelier: Whatever your poison may be, drink plenty of it! The gateway to Hell requires a vigilant ward. The requirements for the position are a particular sin. The Sentinel is kind of like a blend of ‘Hell House’ and ‘Rosemary’s Baby’ with some Law & Order mixed in. If it feels tedious at times you can amuse yourself by spotting the many big names in it, enough to give even a jaded movie goer pause: Ava Gardner, Burgess Meredith, Sylvia Miles, Jose Ferrer, Eli Wallach, Christopher Walken, Chris Sarandon, Jeff Goldblum, John Carradine, and Beverly D’Angelo in…. well, an unforgettable scene. Make-up effects by the legendary Dick Smith of The Exorcist fame. This gritty ’70’s devil movie has a politically incorrect climax to creep you out.

angel-heart-1

Mickey Rourke stumbles into a diabolical mystery in Angel Heart.

8. Angel Heart  (1987)

Satanic Sommelier: Jack Daniels or Jim Beam (any way you like) for you “Hairy Angel” types.  Or try Toots Sweet’s favorite Twin Sisters Cocktail: Ingredients: 1/2 oz. light rum 1/2 oz. spiced rum 1 dash lime juice 1 dash Coca-Cola Directions: Shake with ice and strain into shot glass. Atmospheric film with an excellent cast. The story pulls you in and won’t let go. Mickey Rourke in his prime as Harold Angel (“Hark! The herald angels sing…”) and Robert DeNiro as Louis Cyphere (wink). Based on the novel ‘Falling Angel’ by William Hjortsberg. The novel is centered in New York and never travels to New Orleans like in the film. The book  depicts a gritty Black Mass that takes place in an abandoned New York subway. Well, that scene didn’t make it into the film, but we get some good Voodoo ceremony here along with a (at the time it was released) controversial and passionate sex scene with the lovely young (and underrated) Lisa Bonet. Actress Charlotte Rampling appears as a mysterious old flame into more than just star-gazing. A horror mystery with a real twist at the end.

sect9

Masks, Death Masks, & Sadistic Face Lifts in The Sect / The Devil’s Daughter, 1991

9. The Sect,  aka The Devil’s Daughter   (1991)

Satanic Sommelier: Italian red wine or German Riesling. (Italian title: La Setta), is another Italian horror film co-written and produced by Dario Argento and directed by Michele Soavi. The film stars Kelly Curtis (sister of Jamie Lee Curtis: ‘Halloween’ 1978) who has a destiny with the devil’s crew.  Herbert Lom also stars. It’s a weird film with some echoes of Rosemary’s Baby and The Omen, but embellished with some truly bizarre twists, some surrealistic, dreamlike and nightmarish imagery, along with some gore. A creative departure from the standard.

the-house-of-the-devil-original.jpg10. The House of the Devil   (2009)

Satanic Sommelier: A good Californian red wine to go with your “mushroom” pizza. Inspired by the Satanic Panic of the 1980s; the story feeds on the deep psychological fears people had at that time which manifested in a widespread social panic. The film takes place and even appears like it was filmed in the ’80’s. A very good, slow burning thriller with a Grand Guignol finish. We highly recommend this one for the simple story and great acting by a small cast. Like Rosemary’s Baby, it shows how effective storytelling, great acting, and very good filmmaking can create so much suspense with minimum special effects.

Unknown-311. Hereditary  (2018)

Satanic Sommelier: Whiskey with a cola chaser. The ripple effect of Hereditary is still being felt even as director Ari Aster’s latest release Midsommar is gaining much critical acclaim for these well formulated, suspenseful and artistic horrors. Demonolotry is not a typical thing to inherit from one’s family …unless you’re in a horror film. Forget the haters who criticize it, Hereditary is a very good film with superior performances and an unsettling punch-to-the-gut story that leaves much to ponder regarding the fine line between demonic horror and family drama.

tumblr_nvkrpvDMpy1tghl8qo4_500

The occult symbolism overflows in 1989’s The Church.

12. The Church (1989)

Satanic Sommelier: Italian red wine. (Italian title: La chiesa),  is an Italian horror film directed by Michele Soavi. It was produced by Dario Argento (along with a list of others). Asia Argento is a young girl in the film. Some nice set pieces, demons, Satanic rituals and plenty of gore. Visually captivating. There are some definite nods to ‘Rosemary’s Baby,’ including an uncanny homage in a Devil Rape scene (compare the music for these scenes in the two films), and an old couple that seem patterned on Minnie and Roman Castevet that tour The Cathedral. You should definitely go to The Church, it’s good for your soul.

evilspeak-2013. Evilspeak (1981)

Satanic Sommelier: A very good beer. This one is unique as it is the first (and perhaps only) film to use the high-tech-demon-summoning-computer-motif  by the bullied young man out for revenge. Think Stephen King’s ‘Carrie,’ but with a male misfit instead of a young woman in the lead, who turns to the Devil for unholy revenge. Practically in a category by itself, innit?

Enjoyable but often overlooked for it’s eccentricities, Evilspeak is a rare 80’s gem that is delightfully nasty. The scenes of the cruelties by young men in a military academy who gang up on a weaker one (played by Clint Howard – brother of director Ron Howard) are especially unpleasant with gratuitous shame. This film carries some rather heavy Satanic  motifs with a vicious and gory climax to boot (effects are a little dated, but so what?), which caused it to be banned for a number of years in the UK. One of the few Satanic horror films which draws upon the less popular porcine symbolism of the Devil. The “evil” Egyptian god Set is associated with pig iconography (among other animal totems). Almost want to take a shower / bath after watching this one… almost.

Remember to find out about more devilish films from the Satanic Cinema Sommelier; Our Favorite Devilish Films.

May your Halloween be less than harrowing!

tarot-devil

THE DEVIL, Key XV from the Tarot. From the Smith – Waite Tarot. Art by Pamela Coleman Smith.

Susanna Bannion (or the power that lies in a name)

2

By: Rafael Espadine

Rafael Espadine is an artist and Philosophy student, researcher on the occult and ancient spiritual cultures. He works in the field of Indian culture. He is our first contributing writer to Devil In the Details. His work may be viewed at: Spadini Arts  and @r.spadini (Instagram).

24AE946E-1F04-4E70-9C0C-6851FA04824E

Dakota Johnson as Susie Bannion, Suspiria 2018.

Luca Guadagnino’s rebooted Suspiria (2018) has certainly surprised both followers of the cult classic and newcomers alike. It is a beautiful, lengthy, haunting, multi-layered and dreamy depiction or better saying, experience. And it has witches. That’s the very rare combination that every admirer of the occult expects to see when going for a supernatural movie. Dario Argento’s Suspiria (1977) — I’m not calling it “the original one” on purpose, for both films are too original to be compared — has that quality of attracting the esoterically minded too; and it stands at its own place of honor for that occult taste as well as for its aesthetics, among other reasons. Whereas the first film shows the two sides of the story by clearly dividing the good girls from the bad ones in a more typical representation of good versus evil, the new  take of Suspiria leaves much space for questioning, but it seems that “space”, and how it may or may not be filled, is precisely one of the key words of the reinvented plot. By not totally following the new trend of completely rectifying the story of well-known villains by portraying them as betrayed, and unjustly vilified creatures (as done in the plots of Maleficent and Wicked, for instance), perhaps what Guadagnino’s  Suspiria remarkably does is to show us a type of horror — for lack of a better term — that, we could say, is almost an unavoidable part of Nature itself. This horror is  beyond most any human comprehension of the cosmos and is not just a mere fruit of human cruelty although mixed with it at times. It presents what could be easily seen as opposite sides of a coin, blurring frontiers; and how the two sides really look to be parts of a single coin now!

F29BC411-8063-4C57-BE79-005ABAABEA2C

After this brief appraisal, what’s presented next is a short analysis that aims to stir a possible new interpretation for the central and unique mystery of the new version of Suspiria out of the symbology present in the name of the character that goes through the deepest transformation, while also causing major changes around her: Suzy Bannion.

I’ll assume that the reader of such a focused analysis is a connoisseur of both films and that the two works can be treated as classics (yes, even the new one already), so major plot details are freely discussed here.

D84BDA16-C5A5-43DD-8FFD-F04F4D386F59

Jessica Harper as Suzy Bannion. Suspiria (1977).

The name: Susanna, Suzy, Susie

Sources are varying in the spelling of the short version of the name, but if we are to trust the official records and the subtitling, the full name of the main character would be Susanna Bannion, with short forms varying from Suzy in Argento’s production and Susie in Guadagnino’s version.

Now Susanna, a feminine personal name widely used across the globe, is itself very interesting. Derived from the Hebrew Shoshannah (שושנה), with the most common spelling coming to us via Greek form Σουσάννα (Sousanna), making the S letters softer, this Hebrew word is also transliterated as shūshan, shōshan and shōshannā, and means simply “lily”, the flower (while lily is derived from the Latin lilium). Many flowers in the past have been designated by that name, including the so-called water lilies. Now the implications of the lily as a symbol, the heraldic fleur-de-lis (which literally means “lily flower” in French), the symbol of the six-pointed star, its connection to moon spirits and deities, the annunciation of the Virgin and Mary herself , Lilith — besides royal families and bloodlines — are endless (and who needs another book on that?). For those acquainted with the plot, the final discovery of the first heroine is through a very similar flower: an iris; whose shape also follows that of the fleur-the-lis pattern, i.e., three petals turned upwards, and three petals turned downwards. The flower seems to be missing in the new version (although one room is named iris in the new film as an obvious reference), but isn’t the new Susie haunted by a nocturnal flowering light in her bedroom that will lead her way to her final discovery/empowerment? A side note: Cinematic-wise we may cite another contemporary dance themed psychological thriller that also hints at Lilith’s disruptive power as a dark independent feminine principle that promotes drastic changes: Lily is the name of the lavishly sensual ballerina from Black Swan that so shockingly contrasts with the fragile and candid Nina and who also paves the way for the latter’s transformation. Her name leaves very little to be revealed…

“Lilith is the universal rule breaker”

The Lilithian theme seems to fit the character of Susie very well, especially the new Suspiria. The theme is that of the shattering of the old order by means of a rebellious behaviour, and that is the biggest fear of Western civilization and it’s created illusions of continuity, valor, and rigid legacy. If it comes from women then, there’s even more to be feared, given the millennia of prejudice against women and against the feminine in itself. Lilith is the universal rule breaker. However, as pointed by the Italian occultist Fulvio Rendhell, a renowned medium and magician still active in Rome, in his ‘Lilith la terrorista cosmica’ (Lilith, the cosmic terrorist ) — part of the book Lilith, la Sposa di Satana nell’Alta Magia a rare and authoritative treatise on the dark feminine — any revolution stiffens, gets institutionalized as norm and establishes new rigid dogmas and therefore, will have to be destroyed in due course by another revolution and so on and on endlessly. In astrology, Lilith is, among many other possible interpretations, an aspect of the non-normative: wherever she rules the aspect she is presiding over must irrevocably be fulfilled by unusual courses of action for the usual ones simply won’t work out.

In various philosophical approaches, the end of something and its transmutation into something new is the very way life itself manifests; and if we could perceive every transformation, we would see it happens all the time, and that every instant is made of that: an eternal “becoming”. The insistence in connecting the basic theme of the Three Mothers and Alchemy, both in Argento’s Suspiria (1977) and Inferno (1980) are quite revealing: the mothers could be symbols of the alchemic stages of Nigredo, Rubedo and Albedo. Besides that, sighs could be seen as a negative manifestation of air, tears of the inner emotional turmoil, and darkness as the opposite to light and an all-encompassing factor, essential for the symbolism of the dark feminine in various cultural and spiritual backgrounds. Curiously the Kabbalah recognizes three basic elements: air, water and fire. Earth in this interpretation would be a gross manifestation resulting from the amalgama of the other three elements mentioned.

975D1684-04D8-46B9-9CAF-D8930C262265

The surname: Bannion

According to genealogical records, the surname “Bannion” and its other forms are Welsh and derived from the personal name Eignion or Enion — from ‘einion’, stability, fortitude, the name of a clan ancestor — with the patronymic prefix “ab” added to it. The prefix would be later assimilated into the surname itself and from ab-Enion it would become Bannion. As a masculine name Enion may also mean “anvil”. An anvil as a symbol and allegory is very interesting in itself, but we are about to see a feminine version with most appealing implications: we will now briefly step into the very mystical universe of William Blake (1757–1827). In that rich and mesmerizing universe Enion is a character of the Gnostic mythology of Blake. She is an Emanation paired with Tharmas, one of the four Zoas, beings created from the division of the primordial human, Albion. Tharmas is an allegory for the sensations, whereas Enion of the sexual impulses and desires and both should be reunited after the Final Judgement when Enion will then consummate a sexual union. Blake’s Enion seems to be all “why is everyone so ready to think the worst is over?” in her every line, especially here in these selections from ‘The Four Zoas’.

[The Wail of Enion]:
(Four Zoas, Night II, ll. 595–626.)
I AM made to sow the thistle for wheat, the nettle for a nourishing dainty:
I have planted a false oath in the earth; it has brought forth a Poison Tree:
I have chosen the serpent for a counsellor, and the dog
For a schoolmaster to my children:
I have blotted out from light and living the dove and nightingale, 5
And I have causèd the earthworm to beg from door to door:
I have taught the thief a secret path into the house of the just:
I have taught pale Artifice to spread his nets upon the morning.
My heavens are brass, my earth is iron, my moon a clod of clay,
My sun a pestilence burning at noon, and a vapour of death in night. 10
What is the price of Experience? Do men buy it for a song,
Or Wisdom for a dance in the street? No! it is bought with the price
Of all that a man hath — his house, his wife, his children.
Wisdom is sold in the desolate market where none come to buy,
And in the wither’d field where the farmer ploughs for bread in vain. 15
It is an easy thing to triumph in the summer’s sun,
And in the vintage, and to sing on the waggon loaded with corn:
It is an easy thing to talk of patience to the afflicted,
To speak the laws of prudence to the houseless wanderer,
To listen to the hungry raven’s cry in wintry season, 20
When the red blood is fill’d with wine and with the marrow of lambs:
It is an easy thing to laugh at wrathful elements;
To hear the dog howl at the wintry door, the ox in the slaughterhouse moan;
To see a God on every wind and a blessing on every blast;
To hear sounds of Love in the thunderstorm that destroys our enemy’s house; 25
To rejoice in the blight that covers his field, and the sickness that cuts off his children,
While our olive and vine sing and laugh round our door, and our children bring fruits and flowers.
Then the groan and the dolour are quite forgotten, and the slave grinding at the mill,
And the captive in chains, and the poor in the prison, and the soldier in the field
When the shatter’d bone hath laid him groaning among the happier dead: 30
It is an easy thing to rejoice in the tents of prosperity — 
Thus would I sing and thus rejoice; but it is not so with me.

Yes, dear Enion, we know… it’s all a mess. The one out there, the one in here.
In another interesting passage from the Four Zoas entitled Night the First, Blake’s poetry says a little more about Enion’s powers and strong personality that causes her to hurt her own creations:

“…Then Enion in jealous fear
[240] Murdered her, & hid her in her bosom, embalming her for fear
She would rise again to life. Embalmed in Enion’s bosom.
Enitharmon remains a corse — such thing was never known
In Eden, that one died a death never to be revived.”

While reading this passage it is difficult not to think of the living dead victimized students of both Suspirias, above all those of the new production, kept by the witches in an embalmed intermediary stage between life and death serving the witches mysterious purposes.

B5ADCBAA-9D8C-4527-BC2F-E17A624F89BF

Sara (Mia Goth) falls under the spell of The Three Mothers in Suspiria.

A relation between Enion’s wails and the Mother of Sighs is easy to notice as both are presented as principles that predate all history (“pre-Devil, pre-God”, as explained by the character of Dr Klemperer in Guadagnino’s Suspiria). But a relation between this Enion and our good friend Suzy Bannion can also be made: Both Susie and Enion are anxious to bloom as perfumed lilies and they are making anything possible to achieve that.

I have mentioned Blake as a literary source as his mythology stems from the genius of a writer’s mystical imagination, — the same case as with the mythology that would be created later on by Thomas De Quincey, of which we will be talking soon.

After this small exercise of possible symbolic references, it’s time to get back to the film and stitch together a few parallels between the two scripts. As we wouldn’t be able to cover all possibilities in a platonic dialectic process to reach the aporias of this subject, I’ll briefly go through factors that might have been perceived in the first Suspiria and carried on to the new screenplay by David Kajganich — only explored through a different angle:

The Suzy/Mater Suspiriorum factor was always there.
Yes, in the 1977 film itself, hidden in plain sight, shrouded in delicate mystery. The background for the new version may arise from an interpretation of very subtle facts and passages, some listed below: 

When the newcomer Suzy finally manages to join the dance academy, Mrs. Tanner, one of the instructors, promptly introduces her to Madame Blanc, the vice-Director of the Academy who then says that years ago in New York she knew a great benefactor of arts called Carol Bannion, which Suzy reveals to be her aunt.

3DCB66AC-242B-4289-A4D1-CEBF24CD3EE6

Suspiria 2018’s Susie Bannion is a rule breaker and catalyst for transformation.

Suzy’s name itself, besides the possible symbols it carries as discussed above, could be a good hint as well. The film seems to try to show that when Olga while bullying Sara and the newly arrived Suzy says that she once heard that names that start with the letter “s” are names of snakes, and the snake is referred to later on. Moreover, we can’t deny that Suspiriorum and Susanna share initials.

Suzy decides to find answers and reasons for the strange facts happening around her and while being informed by experts on occult matters about the true nature of the Markos academy and its director Helena Markos herself, Suzy expresses that what is being told to her by Dr. Frank (played by a young Udo Kier) is familiar to her, as if she already knew about all that. The elder expert Dr. Milius (Rudolf Schündler, do you remember him as the butler Karl in The Exorcist? We do; and we know about that crucifix, Karl) also tells her that “a coven is like a serpent”, when explaining that the head of a coven is its source of power and when a coven has no head it is totally inoffensive like a headless cobra.

The final sequence shows an enraged Madame Blanc (played by a marvelous Joan Bennett) on her throne inside the hidden rooms of the academy, saying that the American girl must vanish. In the final confrontation, Helena Markos herself tells Suzy she’s been “expecting her” — now that sounds like more than just an ordinary desire for witness elimination, and maybe the coven had knowledge of an old prophecy of sorts about someone who would come for them, so they were trying to act in Herod’s manner to secure the throne (this Herod factor fits well the Snow-White tale which inspired Argento) — or maybe they just realized how powerful and clever Suzy was and decided to get rid of a potential predator and competitor.

Finally we see the first Suzy also putting an end to a passe order of witches, anyway, however doing it by flames (and you can tell how joyful she is when she leaves the academy in a most perfect “mission accomplished” expression!).

FE47EF42-08F3-4A0C-A761-4440BDE5FE00

Suzy (Jessica Harper) escapes at the end of 1977’s Suspiria.

If these and other possible connections are conscious deliberate decisions taken after some genius interpretation of the original plot or if these are some of the finest examples of unconscious manifestations of symbolism, is yet to be known.

Daria Nicolodi, co-author of  Suspiria (1977) and Inferno (1980) – the stylish continuation of Suspiria which was successful in keeping up with the atmosphere of the first film of the trilogy of the Three Mothers in which Daria also plays the part of a countess – is actually responsible for the plot of a school that hides an occult background (which is, according to her, something that happened in her family) and also for the insertion of the Three Mothers mythology to the plot. She expressed in an interview that she is the only person who knows the end of the story and that there is another Mother to be explored: Levana. Daria says she was not consulted for the making of Mother of Tears, the third episode of the trilogy, and that the film is not the actual conclusion of the story (we dare to say the film is not a conclusion to anything. Period. And let’s not even mention the Levana from the incredibly messy Il Gatto Nero (1989) aka Demons 6: De Profundis, but, oh, we just did…).

Now Levana, this Roman deity that rules over childbirth was associated with the goddess Artemis in her role as protectress of childbirth and is the character that appears in the title of the essay from where the names of the Three Mothers were taken, “Levana and Our Ladies of Sorrow”, part of the fragmentary and unfinished collection of fantastic essays from 1845 by the English writer Thomas De Quincey grouped under the title of Suspiria de Profundis’ (sighs from the depths). De Quincey imagines the character of Levana accompanied by three sisters that mimic the triplicity of the Parcae, Furies and Graces: Mater Lachrymarum, Mater Suspiriorum and Mater Tenebrarum, Latin names for Mother of Tears, Mother of Sighs, and Mother of Darkness.

Levana’s role in child birthing is related by Quincey to the reality of sorrows: to be born is to realize the nature of this world. However, Levana, from the Latin levare (to uplift) was represented by the act of raising up the newborn by one of the people present as a life affirming act. De Quincey goes on to explain that Levana was tutelary of human education as well. The plots for the Suspirias (and Inferno, for that matter) surround educational centres and its students, i.e., the dance school and the music college in Rome where Mark (lived by the splendid Leigh McCloskey of whom we should talk one of these days) studies. However, as De Quincey explains, Levana’s educational program is not that of the grammars and schools, but an internal one and she is aided by the ministries of passion, strife and temptation to achieve the ends of her syllabus. “If, then, these are the ministries by which Levana works, how profoundly must she reverence the agencies of grief.” says the text.

7DC7BA89-1BA4-438A-9920-268D7E6DB0CD

Mark (Leigh J. McCloskey ) is a witness to the agencies of grief in Inferno (1980).

Interestingly, the Hebrew term levanah (לְבָנָה) is a word for “moon”. Notice how similar it is to the Latin name Levana or even to the Latin word for moon itself, luna. This word can also be seen in the monthly Jewish ritual of the sanctification of the new moon, or the Kiddush Levanah, a ritual performed in obedience to Exodus 12:2 as a form of saluting the Shekhinah — the Divine Presence, an aspect long regarded by Kabbalists to be feminine, a concept not be taken lightly in contemporary neopagan or psychoanalytic views, though. Influential occultist Dion Fortune (whose real name, by the way, was also that of a flower, Violet) recorded in her celebrated occult novel The Sea Priestess — yet to be made into a glamorous film one day — that:
“Our Lady is also called the Moon, called of some Selene, of others Luna, but by the wise Levanah, for therein is contained the number of her name.”

The Lilithian theme is visible in De Quincey’s essay when it informs the reader that “every captive in every dungeon; all that are betrayed and all that are rejected outcasts by traditionary law, and children of hereditary disgrace, — all these walk with Our Lady of Sighs”. Well, that we believe could be the very definition of the Lilithian image of witches: outcasts that are powerful by being outcasts.

Back to cinema, we see that both Suspirias – as well as Inferno – are tales about the strife of growing up and the self-blooming through the suffering, the tears and the grief that comes along with being born. In virtually all spiritual currents it is told that initiations bring about some good amount of suffering, for there’s no true learning without pain (Nietzsche has just winked) since the simple fact of becoming aware means being able to see the sorrows of this world in a clear cruel way. In Inferno, Mater Tenebrarum makes clear that she is bringing about Mark’s transformation. De Quincey’s Mater Tenebrarum, the Mother of Darkness, finishes her soliloquy saying:
“So shall he rise again before he dies, and so shall our commission be accomplished which from God we had, — to plague his heart until we had unfolded the capacities of his spirit.”

Yes, we know all of this is a bit of a cathartic textual musing with huge chunks of pure speculation (as is almost any creative exercise) and once again I must go back to the beautiful words of De Quincey, as he wisely puts it: “Theirs were the symbols; mine are the words.”

In the end we all realize that speech is silver, but silence is golden, and that, dear reader, is another fairy tale for another bedtime.

80ED16BB-DBB7-4108-A03F-E80CA3E6C760.jpeg

 

Hooks, Hair & Blood: Suspiria 2018’s Occult-Horror-Geek Analysis

1

This Occult Horror Geek Analysis of Suspiria 2018 contains major spoilers!! If you have not yet enjoyed viewing the film then don’t read this review until after watching it. You were warned.

La_Boca_Suspiria_RED_THEATRES-1
Suspiria poster art inspired by Hindu god Nataraja – a form of Shiva as ‘Lord of the Dance’ -whose feminine aspect is Kali. Design by La Boca Design Studio

Let’s face it, there is just no comparing the original classic 1977 Suspiria directed by Dario Argento with the recent reimagining by Luca Guadagnino. The recent remix takes a completely different stylistic approach. So, although Argento’s classic has been praised and analyzed for decades and will ever remain in a special shrine in our black little hearts, there is also much to investigate in the art – and black art – of this recent film version.

Read our occult horror geek analysis of The Three Mothers here: https://devilinthedetailssite.wordpress.com/2017/08/22/suspiria-dario-de-quincey-and-the-dark-goddess-part-1/

The dark feminine is certainly highlighted in 2018’s Suspiria, and aspects of dark goddess imagery can be discerned. We were reminded of the goddess Hecate in the back-to-back-to-back arrangement of the three undead girls at the climactic ceremonial scene. And the goddess Kali – who is nearly always depicted with a sickle-shaped sacrificial sword – came to mind with the theme of destructive dance and rebirth, and the wielding of sickle-shaped hooks in the film.

1468020723865
As in all Hindu art, every thing carries significance including the black, red and white color symbolism of goddess Kali. The white teeth upon the red tongue and mouth against Her black skin alone would take an entire article.
MV5BMTlkMzQyYTMtZTUzZC00YWEzLWJiMTMtMDk1NjA4OWQzNGZmXkEyXkFqcGdeQXVyMzU4ODM5Nw@@._V1_
With eye-black and mouth-white, and a shibari inspired outfit of knotted red cords like a witch’s ladder, Suspiria brings a modern twist to the image of the witch.
Indian goddess kali.
Silver crescent hook evokes the lunar feminine current of witchcraft and the idea of periodicity.

The hooks employed by the coven as sacred tools may connect to such ideas as “to get one’s hooks / claws into a person” and thus having them at your mercy, or of a feline claw. The sickle shaped sword of the goddess Kali – much like the sickle shaped scythe wielded by the Grim Reaper in Western culture – represents Time (among other things we do not have the space to digress upon here. But Kali means Time in Sanskrit) and mortality. just as the sickle shaped waxing and waning of the moon has served as humanity’s oldest calendar (hence “month” and “menses” shares the same etymology as “moon”).

Suspiria

Is Susie a psychopath or a witch goddess?

Because it really must be one or the other.

In 2018’s Suspiria, Susie Banion (Dakota Johnson) is very different from Jessica Harper’s Susie in Argento’s 1977 classic. Set in 1977, Susie is a girl obsessed from a very tender age with Berlin and Madam Blanc. She admits to fleeing from her little Mennonite community to see Madam Blanc perform in New York on three separate occasions (hitchhiking twice). She  also steals things: money meant for the Mennonite church is stolen and used to fund her trip to Berlin; she snatches a cosmetic from a drawer at the Tanz company’s reception office in a scene where she even shows Sarah (Mia Goth) how to properly break into the file cabinet (!) in order to look for files on missing fellow students. When Madame Blanc (Tilda Swinton) asks her how it felt to dance on her first day at the Markos dance company, Susie admits that she thought it felt like what it must be like to get fucked. “To be fucked by a man?” asks Madame Blanc. “No, I was thinking of an animal.” admits Susie, seemingly puzzled that Madame would have considered otherwise. And did you happen to notice that by the end of the film Susie has even appropriated Sarah’s clothing? 

More tellingly, Susie also shows little to zero remorse or emotional response to destruction or the suffering of others – like her dying religious mother, or a bombing outside her lodgings on her second night in Berlin. She giggles when she spies the matron witches teasing the genitals of an entranced police detective with one of their sickle-hooks. She’s immune to Sarah’s injury during the Volk dance performance as well as to Madame Blanc’s sudden demise. Susie cares not a bit for the obsolete religious morality of her family and in fact she transcends all conventional religious morality and sense of right or wrong to get where and what she wants. And she does it all her way, in her own sweet time …almost effortlessly! If timing truly is everything then it was just Fate that brought Susie to her own rebirth. Not the sort of horror movie heroine we’re used to! She hijacks the divided Markos Tanz company in a way echoing the hijacking and political unrest continually broadcast in the news from radio and t.v. throughout the story. She was born to (super)naturally blossom into the goddess she becomes – Mater Suspiriorum.

MV5BNWZhNTcxMTMtNDdmZS00M2FjLWEzMWQtZDMwOGEyOGFkNDE3XkEyXkFqcGdeQXVyMzU4ODM5Nw@@._V1_
Suzy (Dakota Johnson) and Madame Blanc (Tilda Swinton) share a special kind of relationship.
tumblr_pl8u8c43yH1r3xxruo1_500
Wait! Wait! I feel a sigh from the depths coming on…

Through it all Susie remains Cool, detached, and yet also strangely connected – with Madame Blanc as her spiritual Mother and preceptor – and to the pain and destruction going on all around her like so many reflections from a many-faceted jewel of suffering. Or perhaps she herself is a reflection of sorrow and destruction – of all the miseries of her personal life and of the world-at-large being refracted and focused into and through her as the very soul of sighs, the Mother of Sighs. She brings not only mere destruction but utter upheaval and transformation; out with the old Mother and in with the new one – herself! Like some insect queen which bites the head off of the old diseased queen so that the hive may flourish.

An artistic rendering of a gruesome goddess.

Helena (Mother) Markos, Madame Blanc and the rest of the coven come to believe that they are preparing Susie to become the living vessel for the spirit of Mother Markos, whose spirit they plan to magically transmigrate from Mother Markos’ incredibly diseased body into Susie’s fresh young one in an intentional act of spiritual possession. In order to do this Susie is instructed to become a vehicle for the work of another. Madame Blanc explains: “When you dance the dance of another, you make yourself in the image of it’s creator. You empty yourself, so that her work can live within you.” However, in an ironic twist of Fate – and an act of spiritual aikido –  Susie actually ends up using the coven for her own ends as she blossoms at the climax of the film to fully become and embody Mater Suspiriorum – the Mother of Sighs. Instead of Susie being a tool for the coven’s designs, the coven actually becomes the tool for Susie’s own apotheosis.

Instead of Susie being a tool for the coven’s designs, the coven actually becomes the tool for Susie’s own apotheosis.

MV5BMDM3NTYwZjYtMjI4OS00NjdlLTk1ZGItOGIxOTZkZTQ5ZWNkXkEyXkFqcGdeQXVyMzU4ODM5Nw@@._V1_
The theme of rebirth and feminine power is hinted as dancers pass through under the legs of Susie who could be imaged as draped in entrails like a bloody mother goddess.
Miss Tanner (Angela Winkler, at left in red) always wears what appears to be a talisman of human hair.
suspira-poster-4
Did you notice that Miss Tanner (Angela Winkler) always wears a talisman on a chain around her neck – a pouch of human hair?! And some of the coven is dressed in human hair for the final ceremony!

The Volk dance performance scene displays the creatively captivating blend of dance and magick – of art and black art. Everyone knows about the Dance of the Witches and how it’s used as a way to generate magical power. Witchcraft is interpreted here as a late ‘70’s German dance style. Energy is generated within a field of movement set upon a silver starburst-like pattern taped upon the floor. The precise and fierce rhythmic movement of bodies in set patterns – (and the esoteric void spaces in between them, as Madame Blanc teaches Susie in regard to the space created beneath her when she jumps) – creates a living, breathing mandala – a machine of occult force to be harnessed by the coven. This motif reoccurs in the intense ritualistic finale where the dancers are positioned in a physical pattern of rebirth – the shape of the feminine, downward pointing triangle, hands drenched in blood, dressed in the shorn hair of many young women. the coven becomes not only midwives in an attempt to rebirth Mother Markos into Susie’s body – they themselves form a pattern of a bloody womb of rebirth: all knotted flesh, hands smeared in human blood and covered in hair.

MV5BZjMzNWU1MjYtYmRhZC00ZTIwLWJhY2YtMTg0ZjhjMGI1ZjQzXkEyXkFqcGdeQXVyMzU4ODM5Nw@@._V1_

The shibari styled dance costumes made of carefully knotted and artistically arranged red cords are both emblematic of the umbilical cords binding the daughters of the dance company to their sorcerous Matrons (who indeed “pull the strings” in order to channel their collective energy towards their own purposes) and the  well-known witches’ cord, or “witches’ ladder,” used in traditional witchcraft for making and containing magic by the intentional tying of knots and the weaving of spells. The witch goddess Hecate is occasionally depicted holding cords among her accoutrements.

bound
Blindfolding and bondage for initiation into witchcraft.

Read more about Hecate imagery and the Matrones in the original Suspiria and Three Mothers films in our series of articles on 1977’s Suspiria here: The Three Mothers & SUSPIRIA: Dario, De Quincey & the Dark Goddess; Part 2

Need we state the obvious occult reference regarding the school’s collection of each dance student’s hair and urine? Ostensibly to drug test (or for pregnancy and sexually transmitted infections) the school has the student’s urine, and the cuttings of their hair, as magical tools for binding and controlling who they will, how and when they will. A woman’s hair has long been held in esteem as a source of her magical power, her force of glamour. You can witness certain patriarchal religious traditions which enforce a covering of a woman’s hair as a method of attempting to suppress that wily female nature which may cause varying degrees of chaos on masculine order. This is why the goddess Kali always is depicted with long loose flowing hair emblematic of her freedom and her unbridled force. Just as one requires a personal item, or better clippings of hair, nails or the bodily fluids from an intended magical victim in order to cast a spell upon them, so do the matrons of the dance company gather these bits of matter to better serve their Mater… Suspiriorum. Miss Tanner is always wearing a talisman of human hair.

The necromancy employed by the coven manifests as a type of vampirism in which their magic, and probably Witch Queen Mother Helena Markos, is fed and nurtured on the suffering of those who fall onto the witches’ black list. Pat, Olga, and Sarah are made into undead automatons whose blood and internal organs are used in the witches’ black magical workings. Miss Vendegast the Matron who says “Don’t hurt Olga” just before they sink their sickle shaped hooks into her grotesquely twisted and tormented flesh appears to have been reminding them not to damage the internal organs so as to preserve their magical potencies to be used in their spell casting or other necromantic intentions.

MV5BMjgxMTAzNWUtNzAyMy00ZTMwLTk2NzktZmQyZjUxMmQxZDczXkEyXkFqcGdeQXVyMzU4ODM5Nw@@._V1_
Ingrid Caven as Miss Vendegast warns the witches not “to hurt Olga” just before they sink their hooks into her.

Mirror, mirror on the wall… who’s the strongest witch of all? The mirror is a truly powerful magical instrument and a tool for psychological transformation. Just as Argento credited the influence of Disney’s Snow White upon 1977’s Suspiria we find the magic mirror resurfaces to reflect the soul in all it’s beauty, grace, torment and pain – multiplied – in the new Suspiria in a fractalization of the one into many.

Screen-Shot-2018-08-23-at-9.16.53-AM-1500x796
This coven does things the old fashioned way.
tumblr_pl8u8c43yH1r3xxruo7_r1_500
The moment Susie becomes “Mother” echoes iconography of The Sacred Heart.
The Sacred Heart of Mary is echoed by Our Mother of Sighs – Mater Suspiriorum.

Occult horror geeks such as ourselves may find these reimagined occult symbols of interest in the growing list of occult flavored horror. Especially as we dive into this 21st century – where traditional religious ideology shifts along with the troubled cultural landscape and where Suspiria’s Susie Bannion is a heroine who – instead of defeating a coven of murderous witches – becomes the supreme witch by disposing the old model – it will be interesting to view what this strange world now considers “evil”.

Suspiria Reborn: Revisioning A Vintage Horror Classic

1

mv5bmjqynjuznwetyzg1yy00yta1ltg4zjqtm2ixy2mxnwiznmu0xkeyxkfqcgdeqxvymzu4odm5nw4040._v1_

A witches dance? Hecate Triformis? Goddess Kali? Suspiria (2018) will leave you gasping and sighing.

A Spoiler-free review

By: H.B. Gardner

“We were truly impressed by what we saw.”

Horror remakes have been around since the old days. Dracula, the Phantom of the Opera, Freddy Kruger, The Omen and many others have all been resurrected and redone. But in recent years many filmgoers have understandably balked at the idea of horror film remakes due to the obvious increasing lower artistic quality being sacrificed in favor of quick financial gain by studios which habitually crank out bubblegum films for the masses; films with superficial excitement but no lasting flavor and are disposed of and forgotten in a very short time. It has embittered some genre fans to see their treasured cinematic touchstones smeared as it were by the hand of corporate greed, incompetent acting and shoddy CGI.

Well, we viewed director Luca Guadagnino’s passionate 2018 revisioning of Dario Argento’s 1977 horror classic ‘Suspiria’ on it’s opening weekend here in Japan and will try to write, while still fresh in our minds, our thoughts on the subject of Horror Remakes – without any spoilers! (We plan to do a deeper occult analysis of this new Suspiria in a future article after we’ve had the chance to view it again …and again).

We are not only a longtime fan of Dario Argento’s original 1977 cinematic masterpiece Suspiria, but have spent considerable time meditating upon a key piece of inspirational source material, namely the essay called ‘Levana and Our Ladies of Sorrow,’ from ‘Suspiria de Profundis,’ by Thomas De Quincey, where the title of the film and the idea of The Three Mothers were born. These Three Mothers – Mother of Sighs, Mother of Tears and Mother of Darkness are at the dark heart of the Suspiria universe. We being steeped in witchcraft, the occult and the horror genre ourselves ….well, our keen anticipation for the new Suspiria has been considerable. We went in with an open mind and with no expectations but to witness, as in jazz music, an improvisation on a theme.

We were truly impressed by what we saw.

mv5bnzjkmwi4nzitnmi4mi00mzljltkwzdmtmjdiodgyodbjnge2xkeyxkfqcgdeqxvymzu4odm5nw4040._v1_

Mia Goth plays Sara.

Many, if not most of the popular movie-going populace, will not “get” this film, and at least two or three viewings may be needed to fully appreciate it. Suspiria 2018 is an artistic horror film. Those who expect a standard sort of remake, or who prefer their horror to be spoon fed to them with a smattering of jump scares, will likely be disappointed; and those with tastes reared on shallow bubblegum entertainment designed for those with short attention spans will be left impatient and bewildered. Luca Guadagnino’s film represents a deeper artistic turning into the profound regions of psychology, dance (as art), and witchcraft in the sense of The Black Arts than the more  typical horror film fare. The disturbing horror element is lasting in contrast to the superficial jump-scare formula that has long plagued the horror genre and it’s numb audience. Whatever your opinion of this new Suspiria, you must admit it is still a much more sophisticated and worthy sequel than Argento’s own 2007 Mother of Tears.

Learn about The Three Mothers by clicking the link below to another of our occult horror geek articles:

The Three Mothers & SUSPIRIA: Dario, De Quincey and the Dark Goddess; Part 1

Guadagnino has stated that:

“I hope that the movie comes across as a relentless experience that’s going to go deep into your skin all the way down into your spine,” the director shared with The Hollywood Reporter. “I want the movie to perform as the most disturbing experience you can have. The movie is about being immersed in a world of turmoil and uncompromising darkness.”

mv5bzgu0ntzhyzetm2m0zc00ztkwlwiwntctzdrmotyymmvmmgvkxkeyxkfqcgdeqxvymzu4odm5nw4040._v1_

This he has succeeded in doing. The film has indeed gotten under our rather jaded and genre toughened skin. The palpable after-effect of this unsettling film reminds us of a few other Art House films with an unsettling vibe.

duzoa0gwsaafqjs.jpg-large

Japanese poster

What we liked about the movie:

The Dance scenes. In 1977’s Suspiria, dance was a rather insignificant aspect of the story, and did little more than provide a setting for the murderous mayhem. In the remake the dance is an esoteric key to the story. Art and The Black Arts are melded into a united force of Witchery heretofore undeveloped in film. Esoteric readings of the film abound with occult and witchcraft symbolism in unfamiliar yet traditional manifestations. This aspect will be explored more thoroughly in a future occult-horror-geek article.

The story, in a way seemingly disjointed or random at first (though not quite as so dreamlike as the original psychedelic Suspiria),  is actually held together throughout and underneath it all by an umbilicus of deeper psychological interpretation and esoteric continuity. A Psychological reading of the film will immediately highlight  the mother-daughter complex throughout, and within a few differing configurations (Suzy and her mother, Suzy and Madame Blanc, Helena Marcos and Madame Blanc etc.). The fuller background given for Suzy couldn’t have been better and adds a whole other  dimension to the story. There is also the wider scope offered of interpersonal relationships especially between women: sisters (Suzy is a twin), the status of older and younger woman, the naturally inspired novice and the experienced teacher; all added into the general theme of female empowerment – though mostly in it’s negative, or darkest, devouring Mother sense.

“The fuller background given for Suzy couldn’t have been better and adds a whole other  dimension to the story.”

The witches of the dance company are intriguing characters and deserve a mini-series in their own right.

The perhaps bewildering inclusion of so much focus on Dr Klemperer the character of the psychologist, pining for his loving wife he lost during the Nazi regime, who gets pulled into the web of witchcraft also highlights this psychological interpretation of Suspiria. He spends his time counseling those he meets who have been consumed by the devouring mother of the Markos dance company. He also spends a great deal of time crossing the border between East and West Germany. He is placed in the neither-neither realm of not being firmly in one world or the other: East and West Germany, past and present. He is already situated at the witches twilight crossroads and is thereby already under the sway of Mater Suspiriorum. This split, or division, is also accented within the Marcos Tanz company where a rivalry of sorts is brewing and the developing tension, suspicions and paranoia of listening through walls echoes that of  East Germany at the time of the setting. It was a time of turmoil, much like today.

With an unsettling atmosphere woven through with anxious sighs, fearful tears,  brooding darkness, and a good dose of body horror, Guadagnino has created a chilling and angst-ridden atmosphere of pain evocative of the late 70’s or very early 80’s. The inclusion of the psychologist’s story as a prominent rather than cameo role brings an added measure of De Quinceyan depth and poignancy undeveloped in the original.

Seeing it in Japan:

We are at a disadvantage as far as viewing new horror movie releases here in Japan. It usually takes several months for most films to make their way here to the Far East with their accompanying Japanese subtitles. Also, the cinematic experience in Japan was a little less than we had hoped for in that the theater was of quite a small size, the screen being no bigger than our own living room wall. We had viewed Hereditary just last November in a very nice, new spacious theater with a big screen in another part of Osaka. However, Toho studios must have got exclusive rights to show Suspiria in Japan as it was only viewable in a Toho theater which required a visit to Umeda in the heart of Osaka. We were able to purchase a Suspiria souvenir movie booklet at the cinema (in Japanese). It was a packed theater that first Saturday of it’s release in Japan. We were unprepared for a substantial amount of the dialogue to be in German or French so deciphering these languages amidst the Japanese subtitles was a bit perplexing. Surprisingly, however, this anglophone handicap did not mar the visual storytelling. We are anticipating multiple future viewings on blu-ray.

mv5bnzayzgjjmtctyta5nc00mjviltg0owmtmjy4y2i1yty1mjrjxkeyxkfqcgdeqxvymzu4odm5nw4040._v1_

Tilda Swinton works magic in three seperate roles !

The acting was the best we’ve seen in any horror film in a while. The performances were believable even amidst the often unbelievable mayhem going on.

The filmmakers took the original ‘Suspiria’ and spun it in the darkest and deepest directions it could possibly go.

638

Dakota Johnson is amazing as Suzy.

A lot of thought and passion was obviously put into this rendering of the story and the art and crafting of it. The filmmakers took the original Suspiria and spun it in the darkest and deepest directions it could possibly go. This is a very different Suspiria from Argento’s. There is no comparing the two, each being a very different creature telling the same myth in a different way. While the original Suspiria remains a classic of the genre it may be said to feel a bit dated or even to contain a bit of camp, especially as viewed from our jaded eyes 40 years after the fact (consider the bat scene!). The new Suspiria never descends into the current trend of torture porn or detours into outright camp. The psychological tension is at first subtle but present right from the start; and the horror and mystery wrap slowly and insidiously about and clings like a viscous, membranous veil. There is suspense, mystery, striking imagery, dark fantasy, dread, horror, gore and the grotesque but it never really seeks to terrorize with mere cheap thrills in the way commonly done nowadays. The story is crafted to leave you unsettled and disturbed afterwards, recalling in this way Cronenberg’s films like Dead Ringers,  or like 1999’s The Reflecting Skin, and the more recent Hereditary. It also echoes the original source material from English opium eater Thomas De Quincey who, as already mentioned, originally conjured The Three Mothers in his work Suspiria De Profundis, in a brief essay titled Levana and Our Ladies of Sorrow.

suspiria-trailer

Tilda Swinton gives compelling performances as three separate characters.

Due to our mistrust of Hollywood – having lost faith with expecting studios to deliver quality horror, along with the tastes of the masses of film goers having seemingly devolved to the level of a 14 year old with a superhero fetish – we sadly suspect that this film may be greatly under appreciated. The original Suspiria has two sequels – both directed by Dario Argento, the first of which Inferno (1980) is a worthy successor. Mother of Tears (2007) despite having three Argento family members and Udo Kier involved in the production remains an unsatisfactory conclusion to the baroque, oneiric drama of the first two. Could we see a trilogy develop from this recent Suspiria remix? one that would focus on each of The Three Mothers? Only time will tell.

Guadagnino’s Suspiria has given us hope. While the pacing may feel a little slow or the story seem to try to encapsulate too much, we think it is an epic dark horror fantasy that brings one to meditate on the condition of a world that seems to so often feed off of pain and misery; whether this be on the level of interpersonal relationships, or of the individual to a group, or the warring sides of a fractured society.

…it is an epic dark horror fantasy that brings one to meditate on the condition of a world that so often seems to feed off of pain and misery.

suspiria-2018-red

tilda-swinton-old-man-suspiria

Tilda Swinton is a phenomenal actress.

Falling From Grace: Defenestration within “Cinema’s Unholy Trinity”

1

04900938-8A72-4727-9A19-D666620AB740

The Exorcist, 1973

defenestration
ˌdiːfɛnɪˈstreɪʃ(ə)n
noun
  1. the action of throwing someone out of a window.
    “death by defenestration has a venerable history”

Any seasoned horror film fan will have vicariously experienced any number of various forms of gruesome death: impalement, eviseration, decapitation, burning in flames, eaten alive & etc. etc.. Whilst we continue to pursue our occult horror kink of pondering The Devil In The Details, we noticed one particular form of death presents itself in the three classic Devil themed horror films widely considered to be Cinema’s original “Unholy Trinity,” namely Rosemary’s Baby (1968), The Exorcist (1973) and The Omen (1976). These three films have historically contributed a lion’s share to the satanic cinema vanguard and unleashed a flood of imitators in their sulphuric wake. The form of death exhibited in these three films which we are referring to here is technically known as defenestration, otherwise known as jumping, or being pushed, from a window.

First, let’s start with a quick review of the defenestrations in said Unholy Trinity.

Rosemary’s Baby: Actress and Playboy Playmate Victoria Vetri, aka Angela Dorian, played Terry Gionoffrio, the young houseguest of elderly satanic couple Minnie and Roman Castevet. Terry commits suicide (or so we believe. It is never actually revealed, in either novel or film, whether it was truly suicide or murder; we are left to decide on our own)  by jumping from the 7th floor of the notorious Bramford apartment building where Rosemary and her husband have just moved in as neighbors. We do not see the actual jump onscreen but only it’s immediate aftermath. Terry’s death is the catalyst for Rosemary’s involvement in the Castevet’s insidious, diabolical plot.

B69B5793-C152-4EF6-8EC0-C78FB18BC056

The Exorcist: Two characters in the movie, film director Burke Dennings (Jack McGowran) and Father / Doctor Damien Karras (Jason Miller), are both (at different points in the story) expelled  from the demonically possessed Regan MacNeil’s bedroom window and plummet to their deaths at the bottom of a very steep flight of stairs outside. Father Damien’s death, which is also a suicide rather than a murder, is shown onscreen.

D3F45285-99B2-41EB-BD2B-5EAA41FD8DB6

Nice knowing you, Padre.

The Omen: Lee Remick as Mrs Catherine Thorn, unwitting foster mother to the child Antichrist Damien,  is in hospital recovering from the results of another bad fall which, as with most deaths in The Omen trilogy, appears as the result of an uncanny and tragic accident. As she awkwardly attempts to leave said hospital she meets with foul play and is expelled from a very high window.

the-omen-lg

Lee Remick plays the victim in The Omen.

 

 

 

 

 

 

 

 

84CB7F87-FF99-4D44-90CC-4B0804E83BA8

Billie Whitelaw as Mrs Blaylock is our favorite Satanic nanny.

You can view Mrs Blaylock’s online dating profile here:

Link:  Bad Date Blaylock

3AC7BC0B-B475-4383-A13F-DD9AC540E602

Mrs. Thorn’s (Lee Remick’s) satanic revelation comes too late in The Omen.

While we’re on The Omen, who can forget the young nanny Holly  (played by Holly Palance, daughter of actor Jack Palance) who made her cinematic debut in perhaps film’s first, and most spectacular, jumping suicide by hanging which ends with her body crashing into (rather than out of) a window?

The-Fall-of-Lucifer_credit-Public-Domain

The Fall of Lucifer by Gustave Doré

MV5BMjI3MjY5MjcyMV5BMl5BanBnXkFtZTcwODU5MTU4Mw@@._V1_

“It’s all for you!”                                              The spiritual motto of Pope John Paul II was a Marian one, “TOTUS TUUS” meaning: “Totally Thine” or “ALL YOURS”.

Occult Horror Geek Purport

Is it merely our diabolically enhanced imagination which feels some poetic connection may exist between the defenestrations in three of our most highly regarded diabolical horror films and the Fall of Lucifer along with the Rebel Angels from the Book of Revelation (12: 2 – 9) ? Or, the biblical Fall From Grace in the Garden of Eden? Is there not an infernal taint of the soul inherent in such a death? Whether by murder or suicide? This is especially poignant in Father Damien Karras’ savior-like death to save young Regan MacNeil. We might also pause to consider Rosemary’s acquaintance, Terry’s leap (of  faith?) from the seventh floor of the “Black Bramford”, and it’s Qabalistic and spiritually infernal  association with a diabolical “Seventh Heaven” motif.

Of course, plenty of other forms of death occur in The Omen series. The only death from The Exorcist we haven’t mentioned yet is the elderly priest Father Merrin  (Max Von Sydow) who collapses from heart failure during the strenuous exorcism. The only death other than Terry Gionoffrio’s in Rosemary’s Baby is that of Rosemary’s elderly friend Edward “Hutch” Hutchins (death by witchcraft); and that occurs off-screen. But defenestration has a special aura of the satanic. The French have a phrase for it: l’appel du vide, the call of the void. That inexplicable impulse as you stand in a high place to leap. Lucifer rebelled and was cast down (so the legend goes); did He not have the same sort of feeling? Could He not resist the call of the void?

You know: when you’re falling… DIVE!

The significance (if indeed we choose to see it) of defenestration in these black art- flavored movies ends at: 1) the parallel poetic resonance with the biblical Fall of Man, and the Fall of the Rebel Angels. And 2) the case of suicide as a mortal sin in the case of  Terry Gionoffrio in Rosemary’s Baby and Father Damien in The Exorcist. This final point – that of suicide as a mortal sin – we have already examined in a previous article here:

Sympathy for the Devil: The Sublime Satanism of ‘Rosemary’s Baby’

Though the motif of hanging as ritual suicide, or as a punishment for witchcraft, also intrigues us, we will save that particular form for a later article.

What movies would you add to cinema’s greatest Unholy films? Do Suspiria (1977), The Sentinel (1977) and Angel Heart (1987), come to mind…? Please view our ever-expanding list of diabolical horror films at the Satanic Cinema Sommelier; Our Favorite Devilish Films

Thank you for reading and please share if you like.

Please consider following our Devil May Care Facebook page

13 Ways You Can Celebrate “Rosemary’s Baby’s 50th Anniversary”

7

B3-AL567_ROSEMA_16H_20180516152606

Mia Farrow and John Cassavetes in the greatest film ever: Rosemary’s Baby (1968)

By: H.B.G.

Some of you know how “our” passion for Rosemary’s Baby goes way beyond any normal level of diabolical decency. Rosemary’s Baby is truly it’s own little world, one we’ve stepped into and walked around in many times (Believe us, we realize how that sounds and the danger we’re in of convincing you of our potential basket-weaving skills).

We have seen Roman Polanski’s film version more times than we can say and our current paperback edition of Ira Levin’s novel (we’ve gone through a few) is highlighted, dog-eared and underlined in. Along with it rests a notebook of details culled from the novel and film, and ideas (culled from our imagination) for every single character in the Castevet’s coven – a sincere (if misguided) attempt at study for a series of prequel related short fiction in relation to the novel, ( i.e. background stories for Adrian Marcato, Minnie & Roman Castevet, Dr Sapirstein, Laura-Louise and all the other coven members). Ideas for a collection of short fiction which would take us on a journey through events in these characters lives up until the very first page of the novel (or frame of the film).

We are pleased to see some recognition beginning to appear regarding this golden jubilee, which we’ve been promoting out of our own enthusiasm, for over a year now in our own little way, via this Devil In The Details site and our Rosemary’s Baby 50th Anniversary facebook page. We started the #RosemarysBaby50thAnniversary hashtag out of a genuine love for the novel and film.

Visit Ira Levin.org where you can enjoy Rosemary’s Baby Album – an online feature that celebrates the novel’s 50th anniversary with unprecedented behind-the-scenes look at it’s creation, using author Ira Levin’s actual notes, drafts and archival materials. There is also a  “making of” book about the 1968 film to be released this July (of course we’ve pre-ordered a copy  through Amazon).

So, how devoted of a Rosemary’s Baby fan are you? How far will you go to celebrate this landmark cultural phenomenon? We have a few ideas… Here are 13 ways (an appropriate number for a witches’ coven) to celebrate Rosemary’s Baby’s 50th Anniversary.

51G8AZQcnzL

5oth Anniversary edition

 1. Read the novel by Ira Levin. It is still enjoyable, still relevant, still chilling and very good reading. Reading the novel last year or this year unlocks the Golden Jubilee level of Rosemary’s Baby fandom.

There are several details and insights to be found in the novel which didn’t make it into the film. For example, it describes Rosemary’s get-away to Hutch’s cabin for a week while she deals with feelings of neglect by her husband Guy; the novel also lets us know what exactly is running through Rosemary’s mind during that climactic final scene.

Subtle hints of the diabolical plot, which may go unnoticed in the film, are brought out in reading – like the significance of hearing the Castevet’s door chime is noticed at a certain point in the novel which a casual viewer may miss in the film. Subtle, but telling.

cropped-rosemarysbaby-mia-farrow-paramount.jpg2. Watch the 1968 film. It is truly one of the best suspense thrillers ever made. Make it a drinking game: take a shot of your favorite drink every time Mia Farrow appears in a different outfit. If you make it to the end of the film without passing out you have officially unlocked the “Hail Satan” level of Rosemary’s Baby fandom.

tumblr_oo7nizixwx1v00mydo1_500 3. Play a game of Scrabble. Extra points are due if you manage to spell “witch,” “Tannis,” “Satan,” or “Adrian“. This activity unlock’s the Guy and Rosemary Woodhouse level of Rosemary’s Baby fandom.

rgeyes4. Mix up some vodka blushes. But be sure to spill a little on the carpet in honor of Roman and Minnie Castevet. This unlocks the Minnie and Roman Castevet level of Rosemary’s Baby fandom.

Vodka Blush Recipie:

  • 2 1/2 ounces Vodka
  • 3/4 ounces freshly-squeezed lime juice (strained)
  • Dash Grenadine
  • Fill shaker 2/3 with fresh ice. Add ingredients. Shake and strain into chilled cocktail glass.
  • Garnish with a fresh sprig of Rosemary.

0316132bfd4892dd9d40da5e4413007f--rosemarys-baby-mia-farrow

The most exclusive residence in Manhattan

5. Go to New York City and visit the Dakota apartment building (or Alwyn Court apartments building where author Ira Levin once lived and was the original inspiration for the Bramford). Tell the doorman that the Castevets on the 7th floor are expecting you (bonus points if you’re carrying a gift wrapped baby present with a black ribbon). If the doorman gives you grief, ask to speak to Diego because he’s always on duty. You may be forcibly ejected from the premises but you can rest assured that you have officially unlocked the Bramford level of Rosemary’s Baby fandom. Alternatively, visit Yankee Stadium and ask when the Pope is expected to arrive. Consider traveling by Yamaha motorbike.

Unknown-2 6. Go to Vidal Sassoon and get a pixie cut. This officially unlocks the Mia Farrow level of Rosemary’s Baby fandom.

7. Make a chocolate mousse but call it “chocolate mouse” and bring some over to your neighbors. Tell them they’re extra and you don’t need them. This officially unlocks the Minnie Castevet level of Rosemary’s Baby fandom (bonus points if you ask your neighbors how much they paid for items inside their home)From the novel: “The cups were filled with peaked swirls of chocolate. Guy’s was topped with a sprinkling of chopped nuts, and Rosemary’s with a half walnut.” In case you were wondering, that’s how Rosemary got the “mouse” meant for her.

RB-2

Ruth Gordon and Mia Farrow, Rosemary’s Baby 1968

8. Trade ties with someone you despise or covet and wish them to go blind. This unlocks the Guy Woodhouse level of Rosemary’s Baby fandom. If the intended victim really does go blind, you have officially unlocked the Adrian Marcato level of Rosemary’s Baby fandom. Alternatively, hide a friend’s glove – only one of a pair – and if your friend goes into a coma, you have officially unlocked the Mrs Gardenia/Hutch level of Rosemary’s Baby fandom (and you really ought to be ashamed of yourself!!).

unknown-2

Mia Farrow and Victoria Vetri (AKA Angela Dorian).

9. Do your laundry in a creepy basement laundry facility. Bonus points if  “a dead infant wrapped in newspaper” has ever been found on the premises. If you meet a woman of Italian heritage, or hear glass breaking, you have officially unlocked the Rosemary Woodhouse and Terry Gionoffrio level of Rosemary’s Baby fandom.

unknown-14

Patsy Kelley as Laura Louise

 10. Buy or make a set of black baby clothes, or knit a black baby hat with horns or cloven hoof booties for someone you know is expecting a baby. This officially unlocks the Laura Louise level of Rosemary’s Baby fandom. In the novel we are informed that Laura Louise is knitting a pair of “shaped-all-wrong booties” for Rosemary’s baby.

images-2111. Buy a bunch of red roses for your wife and say “Happy Rosemary’s Baby‘s 50th Anniversary, Darling!” If she spits in your face, you have successfully unlocked the Guy Woodhouse level of Rosemary’s Baby fandom!

Alternatively, invite your friends and throw a loud party but be sure to exclude any nosey old neighbors. Afterwards, get in an argument with your spouse that ends in tearful laughter and an uncomfortably silent cleaning mode. This also officially unlocks the Guy and Rosemary Woodhouse level of Rosemary’s Baby fandom.

B3-AL570_ROSEMA_16H_20180516152632

Kitchen Witchin’ : Mia Farrow as Rosemary and Ruth Gordon as Minnie with the “spice garden” in the background.

12. Start an herb garden. Rosemary dreams of having a spice garden of her own someday. Maybe you’ll select a witch’s pharmacy of either psychoactive or poisonous plants, but you should at least get a rosemary plant potted and set in a sunny location – tradition says that rosemary growing by the front door of a home will keep your spouse faithful. Being a green witch is another way to unlock the Minnie Castevet level of Rosemary’s Baby fandom.

rb1013. If you are expecting a child of your own, name him Adrian, or her Rosemary. We did this ourselves last October for our youngest ‘Rose Marie’ (born two days before Halloween) and have thereby successfully unlocked the Adrian Marcato level of Rosemary’s Baby fandom. (Yes, seriously, but Marie also happens to be a family name).

Please visit and “Like” our Rosemarys Baby 50th Anniversary Facebook page:

Rosemarys Baby 50th Anniversary Facebook page

Use your own imagination and celebrate Rosemary’s Baby’s 50th Anniversary any way you choose. Maybe you’ll write a love letter to Mia Farrow, or… you could send a book on witchcraft to a friend along with the cryptic message that “The name is an anagram.” Try arranging to have a screening of the film at a local cinema and have live performers act-out the characters and scenes a la Rocky Horror Picture Show shadow cast style. The possibilities are endless. WOW! 50 years! This is no dream! This is really happening!

Closest  to our hearts are: an interview we did with actor Ernest Harada who portrayed the Japanese photographer in the final scene of the film which you can read here: An Interview with Ernest Harada: Celebrating 50 years of ‘Rosemary’s Baby’ which we did last year; our correspondence with actress Victoria Vetri, (AKA Angela Dorian)  who portrayed the character Terry Gionoffrio – the Castevet’s young houseguest – in the film, who is now free from prison but is occupied with adjusting to life “on the outside” and for whom we are praying for the best in her continuing rehabilitation; and last but not least, a source very close to departed author Ira Levin who complimented our Devil In The Details site for our efforts toward promoting Rosemary’s Baby‘s 50th anniversaries – novel and film – and who is also responsible for the exquisite #RosemarysBabyAlbum at IraLevin.org. These people, along with Mia Farrow, Roman Polanski, and Charles Grodin (surviving cast and crew of the film) – are due for recognition for their significant contributions to cinematic or literary history.

Let’s hope we see more recognition for this classic diabolical novel and film.

‘Rosemary’s Baby’: Raped by The Shadow

1

In celebration of the 50th Anniversaries of our favorite  diabolical novel and film, we offer our Occult-Horror-geek purport on the abiding myth of ‘Rosemary’s Baby’.

208d03584a685e2121942f28478d2a72Note: This article is one of our studied opinions and interpretations of the novel and closely adapted film version of Rosemary’s Baby. We make no claims or assumptions that the original author, Ira Levin, had the ideas presented below in mind when creating this story; far from. The perspective offered here is that gleaned from our knowledge of comparative religion and mythology and archetypal psychology. Our occult musings and psychological reflections constellating about these deep and thorny subjects are entirely our own. It is by no means the ultimate interpretation. H.B.G.

Author Ira Levin said in an afterward to the 2003 New American Library edition of his  novel Rosemary’s Baby: “Lately I’ve had a new worry. The success of ‘Rosemary’s Baby’ inspired “Exorcists” and “Omens” and lots of et ceteras. Two generations of youngsters have grown to adulthood watching depictions of Satan as a living reality. Here’s what I worry about now: If I hadn’t pursued an idea for a suspense novel almost forty years ago, would there be quite as many religious fundamentalists around today?”

Ira Levin’s worry is a valid one. Has his highly acclaimed (and fiercely excoriated) novel of contemporary Diabolism indeed help motivate a surge in religious fundamentalism since it’s publication as a best seller and release as a hit film? Moreover, as it has often been observed that “life imitates art,” there must be some recognition paid to Rosemary’s Baby (and it’s many imitators) for it’s influence on the modern occult revival. Why the diabolical hangover which has inspired numerous reiterations in popular film and literature? Why has Rosemary’s Baby had such a long lasting cultural effect?

Some of this is due to it’s timely “Age of Aquarius” appearance just prior to the Summer of Love (1967 novel), and it’s delivery as an Oscar worthy film (1968) just after it. This was a critical time of social upheaval which we’ll delve into more below. See also: ‘Rosemary’s Baby’ Turns 50 ! on this perspective.

‘Rosemary’s Baby’ succeeds in turning horror into the sublime by leading us through Rosemary Woodhouse’s harrowing conception, pregnancy and birth to a climactic revelation of a monster child which, we are left to presume, will bring destruction and devastation. And yet here – at this very point – comes the heart wrenching twist: the monster is undeniably and wholeheartedly accepted in love. “Hail Rosemary!” Full of grace; divine grace of The Mother is moved to embrace that which brings certain doom and destruction. We will attempt to show how the mytheme (myth + theme) of the abandoned child Pan – rescued by Divine Grace – is an acceptance of our dark drives and creative (destructive?) passions, and is reflected in Ira Levin’s bestseller. Rosemary exhibits divine grace just as Dionysos and all the Olympians showed when Pan’s father Hermes rescued him from abandonment and took him to Olympus for presentation to the gods and goddesses. In short, a shattering of traditional values, morals and beliefs is presented as part of a “Divine Plan;” uhm… so to speak.

In short, a shattering of values and morals and beliefs.

rosemarysbabyfirstedition

Original hardback copy of the novel by Ira Levin.

It is our studied opinion that the great and lasting success of Rosemary’s Baby, as novel and closely-adapted film, comes from the simple fact that it is mythic. Archetypal. It arises from, and touches upon, the deepest layers of Western religious consciousness and spiritual experience. It follows threads of ancient patterns inculcated by Western spiritual consciousness as exhibited in folk tales and in classical mythic motif – i.e.: Fear of  the Devil, cannibalistic witches and Witchcraft, the Faustian pact with the Devil, the semi-divine child who is secreted away somewhere,  the rejected monster child. Rosemary’s Baby also successfully encapsulates, quite simply and very believably, the ontological polarity within the Western religious Hebrew-Christian paradigm: Good vs. Evil; and then deftly turns that very concept on it’s head. See: Sympathy for the Devil: The Sublime Satanism of ‘Rosemary’s Baby’ on this last perspective.

Furthermore, as a fairy tale very much of it’s time, Rosemary’s Baby brings us face-to-face with a few thousand years of patriarchal Judeo-Christian cultural oppression and  repression of physical human sexual impulses which have long been projected into the Shadow (in the Jungian sense), or “Dark Side” within the human psyche – the suppressed dark drives and creative passions of our lives. As this article will attempt to show, Rosemary’s Baby is a story in which 1960’s American society’s  cultural shift towards an awakening to greater sexual freedom is reflected as a reawakening to primal Pagan archetypes suppressed within Western consciousness.

Let’s see how Ira Levin, probably unconsciously, helped unlatch the hidden closet door at the back of our minds – leading to the dark shadow side reflection of proper, day-to-day,  morally upright consciousness.

devil_PNG40

The Devil got much of his character from Pan. (Google Image search attempts to credit this image only leads us to rants about steroids. Sorry. That right thigh though… could, at least in part, be interpreted as a megaphallic image).

The Resurrection of Pan

It is an old adage that the gods of an old religion will always become the devils of the new one. The Judeo-Christian Devil has been so conflated with various ancient pagan gods that they have become nearly identical in Western consciousness. In psychological terms, many centuries of zealous demonization of (and frenzied fig leaf adding to) the pagan roots of Western culture by puritanical Christians has forced these archetypes to become suppressed within our collective psyche, evidenced by C.G.Jung’s famous saying that the gods have become our diseases.

The image of The Devil of popular imagination is a complex amalgam of ancient pre-Christian gods and daemons, but is borrowed largely from the Greek untamed god of wild nature – the horned, hooved and ithyphallic Pan. Now, the myth of the birth or origin of Pan is part of an ancient recurring mythic motif of the lost, hidden or abandoned, child. This archetype was revived later in the Romantic period which saw a huge revival of Pan, especially in England, with the publication of Peter Pan and his tribe of “Lost Boys” dressed in animal skins and living in a wild Neverland – a stand-in for Pan’s native heathen Arcadia and his band of merry, hairy satyrs.

Peter_pan_1911_pipes

Vintage illustration of Peter Pan

“…the myth of the birth or origin of Pan is part of an ancient mythic motif of the lost, hidden or abandoned, child.”

IMG-6817

“What have you done to it?! What have you done to it’s eyes?!” we can imagine her screaming! Image: D’Aulaires’ Book of Greek Myths.

Rosemary’s Baby is a modern reversal of the Christmas nativity story”

While Rosemary’s Baby is a modern reversal of the Christmas nativity story (we find in Rosemary’s Baby Album ((IraLevin.org)) that one original idea for a title was All Is Calm, All Is Bright), the myth of the lost or hidden divine child, or the monster child, has ancient roots. Zeus, Apollo, Hermes, Dionysus were all hidden as babes, as was Moses. The Minotaur is a perfect example of a monster child that is secreted away in the labyrinth. According to ancient myths the god Pan was rejected by his wood nymph mother because of his frightful goatish appearance and uncanny laughter (“What have you done to it?! What have you done to it’s eyes?!” we can imagine her screaming). Besides baby Pan’s hooves and horns, the eyes of the goat (as well as those of cats and frogs – all associated with witchcraft) are notorious for their uncanny appearance. This trait derives from Pan’s father, the trickster shepherd god Hermes (Mercury) who oversaw all forms of trade and commerce, including thievery, but especially that of animal husbandry. As a son, or extension, of his father, Pan takes part in the sphere of Hermes and is closely connected with beastial providence. Hermes is the patron of herdsmen and always has his eyes upon their interests, which is to say their flocks (as for Pan, you might see this as a reinterpretation of “He has his father’s eyes.”). Moreover, this Mercurial aspect directly relates to the Faustian pact, or economical deal, struck between Rosemary’s satanic neighbors and her  husband Guy who will do anything to achieve success as an actor, including deceiving his wife and pimping her out to Satan as a breeding animal, in order to serve his own interests. This also reminds us of Hermes’ famous legendary exploits at deception and as protector of thieves.rgeyes

“…the myth of the monster child has ancient roots.”

Myth tells us the strange babe Pan, upon being rejected and abandoned by his mother, was rescued by his fleet-footed father Hermes,  bundled in a white hare’s skin (associated with fertility, the moon and Venus – indicating some of his attributes), and spirited away to Mt. Olympus where all the gods delighted in him – especially Dionysus (Bacchus), god of wine and religious ecstasy, with whom Pan is often closely associated. The crude and salacious nature of the young he-goat is partly concealed within the gentle appearance of a snowy white hare, much as the young couple’s innocent plan to make a baby conceals an insidious diabolical plot. The abandoned babe Pan, however, is universally accepted by lofty,  omniscient Olympian consciousness – for it is there that his divinity is recognized: the animal nature of human impulse, instinct and sexuality is revered as an essential and sacred component of life, nature and human existence itself by the divine powers. And as we know from the final scene in Rosemary’s Baby, the monster child is hidden away from the mother, and the demonic babe is accepted – not only by the supernaturally empowered and mysterious coven of witches overseen by Roman and Minnie Castevet – but later by Rosemary herself in a complete reversal of the initial attitude of horror. A manifestation of Divine Grace is thus an integral part of this satanic tale: accepting the monster within, the child she has loved all along during her pregnancy, despite the painful misgivings experienced. Soul-deep horror is surpassed by gracious and tender mother love, giving this dark fairy tale of the magical child a significant contemporary twist. See: Sympathy for the Devil: The Sublime Satanism of ‘Rosemary’s Baby’

Rosemary’s “Dream” as a visitation by Pan, the Incubus

url

Pan is the archetype of the incubus, the bringer of erotic nightmares.

Pan, from whose name we get  our word “panic,” is the god of the wild, shepherds, flocks, hunters and herdsmen; and his solitary, often melancholic, and “rough and ready” nature exhibits this. Pan was considered the instigator of panic, fear, terror, mental disturbances and the bringer of nightmares, prophetic dreams, oracles and possession. He belongs in consciousness as  the original archetype of the incubus. He is the sender of  erotic nightmares. His wild, instinctual sexuality is his most prominent characteristic (beyond the obvious physical signs), and it constellates about masturbation, beastiality, and the pursuit and rape of nymphs and handsome young goatherds. Pan is nature in all it’s fierce and unrelenting natural urge to merge, to couple, to unite.

IMG_6823

A Panic Nightmare Daemon/Incubus appears in The Cell, (2000), a film which explores the reality of dream consciousness.

But Pan is unlucky in love: he never marries (no wedding band on this old he-goat!), and he is always left longing for those just out of reach (Echo, Syrinx, Selene, Pitys). His divinity is a solitary existence apart from the Olympian gods. He is also the original archetype of the misunderstood and lonely musician. His music is said to stir the soul of man, beast and god. Pan dwells in the wild, unpopulated areas: where the lonely goatherd plays his pipes and contemplates his erection.

John_Henry_Fuseli_-_The_Nightmare

The Nightmare by Henry Fuseli, 1781, depicts an Incubus squatting upon a troubled dreamer. The Night Mare intrudes from the shadows at left.

When Rosemary’s wedding ring is removed by her husband just before the rape scene we are being told that we are crossing outside the boundaries of morally accepted Apollonian consciousness. A law is being transgressed. Like an inverted cross, it indicates a reversal of what is considered acceptable. The Abyss is traversed as Rosemary, the good but lapsed and doubting Catholic, passes from her sunny, white and yellow apartment (egg colors: fertility), through the secret passage at the back of the closet, where hidden things are secreted or suppressed: remember old Mrs Gardenia’s big heavy furniture used to blockade the hall closet early in the story? Rosemary passes into the shadowy, Dionysian, chthonic and infernal world of the Castevet’s; the “Nightside” of dreaming and erotic nightmare consciousness, where nude witches cast spells and demons dwell. Indeed, Rosemary is young American consciousness with doubts about  organized religion who, after getting caught up in the herbally enhanced spirit of the 1960’s (“Tannis anyone?”), discovers the spiritual archetypal world of gods and monsters.

rb10

pdvd_003

The Pope appears in Rosemary’s dream to offer a Satanic benediction of forgiveness.

As the devilish dream begins with the removal of her wedding ring it ends with Rosemary being offered a ring as worn by the pope himself to kiss, a ring in the form of the silver pendant given to her by the Castevets (silver is the metal of lunar consciousness and witchcraft). The marriage vow is broken and a new sacrament is presented to Rosemary for this Panic marriage – bringing us, ring-like, full circle, just as Rosemary’s journey through her diabolical pregnancy comes full circle like the pitted, full moon-like orb of the evil smelling charm which mirrors the full-moon like belly of the puerperal mother: again reflecting (moon like) the charming young lady who carries something foul and foreboding within her swelling womb: the fulfillment of the Castevet coven’s greatest aim and achievement.

cropped-images-11.jpeg

A charming young woman with a foul-smelling, round silver charm… which she is soon about to, moon-like, reflect within her own swelling body.

 

 

 

 

 

 

Screen Shot 2016-07-29 at 7.26.48 PM

The image of a burning St Patrick’s cathedral  in Rosemary’s “dream” forebodes a future destruction of Christianity.

A “Panic Marriage”

On the morning after the “nightmare,” (remember Pan-morphed-into-the-Christian-Devil is an instigator of nightmares and the primal icon of the erotic Incubus) Rosemary awakes feeling pretty awful and complaining of her nightmare of being raped by “someone inhuman.” She discovers scratches all over her body. Guy admits to “doing it” to her while she was unconscious as he didn’t want to miss “baby night,” and  admits to having drank a bit too much himself  (laying the blame on ecstatic Dionysius). Rosemary is not only the victim of rape but also the victim of a mysterious nightmare brought on intentionally through witchcraft via Minnie Castevet’s narcotic, psychoactive “chocolate mouse” – an important reference to the Dionysian cultural experience exhibited in the bourgening experimentation with psychedelic drugs, which undoubtedly evoked visionary and spiritual revelations,  during the 1960’s counter culture movement. This  narcotic aspect is present as the evil-smelling Tannis Root in the novel, something Rosemary smells, along with sulphur, during the rape, and is subtly hinted in the dream sequence in the film by a greenish vapor veiling Rosemary’s face just before she looks up into the eyes of the Devil raping her. “Pharmakeia”, being the Ancient Greek reference for “witchcraft” or “sorcery”, reveals it’s connection to herbalism, veneficium and psychoactive plants as used in magic and ritual.

8362db9e0feb2b42abd1bee25875323b

Pan and a Maenad

In myths, human women are often visited or seduced by Gods in various guises, and such unions often result in the birth of semi-divine heroes… or monsters; Zeus is notorious for his philandering exploits with mortal women. Rosemary, in an inversion of the Annunciation and Immaculate Conception of the Virgin Mary by The Holy Spirit, is the victim of witchcraft, and rape – called by some Ancient Greek writers a “Panic marriage,” in reference to Pan’s fierce and sudden couplings.  Rosemary rather weakly complains of this non-concensual coupling to her husband but she remains submissive to her circumstances. However, there is no denying there has been a penetration by the inhuman, the beastial-divine, and that a tremendous upheaval within her has taken place. Mother Earth herself, as The Nymph, has been violated; but the protest has been, at least up to this point, weak: the traditionally accepted submissive attitude of the patriarchally conditioned wife, just as the unrestrained pollution and exploitation of the Earth’s natural resources went largely uncriticized until the strong push for ecological reforms which started gaining momentum in the “flower power” era of the 1960’s. The “Father” of Rosemary’s baby is conspicuous by his “absence” after the conception, both literally and figuratively, in the forms of both The Devil and Guy Woodhouse respectively.

v1.bjsxOTcyMzQ7ajsxNzY0MjsxMjAwOzE1MDk7MTA0NQ

Rosemary may be conscious but she has not yet awakened to her circumstances

Rape transgresses the boundaries of most any human law – represented by the removal of Rosemary’s wedding ring in the “dream,” – and is a key element in the story. Reports of sexual assault is a fact we often encounter in the news and, these days, in the #MeToo movement. Rape is also a phenomena which follows in the panic and wake of war and invasion – significant here as the U.S.A.’s direct involvement in the Vietnam War began around the time Rosemary’s Baby as novel (1967) and film (1968) appeared. Pan also appears in connection with war, as for instance his assisting the Athenians by causing the retreat of the  Persians at the Battle of Marathon, and Olympian Zeus’s battle against the monster Typhon, as well as Pan being Dionysius’s shield bearer in his campaign to India  – all occasions in which Pan’s influence, usually by causing panic terror, decided a fortunate outcome.

Rape is an overpowering of animal drives that unfortunately, yet undeniably, occurs within human nature: has ever a day passed upon human-dwelling Earth in which a rape, or sexual assault of some kind or other, has not been committed? Yet, it is such a universally taboo subject that even today it is still barely understood within the study of psychopathology: we all know what rape is, but understanding and charting how it happens within the landscape of the human soul is extremely difficult. It is significant to note here the emergence of ‘Rosemary’s Baby’ at the start of America’s involvement in Vietnam in which, as in all wars, rape occurred – including G.I on G.I. rape (here: Vietnam war rape), and simultaneously at the heralding of The Summer of Love in 1967, and The Sexual Revolution which followed in Western Culture – about the same time as the first gay pride, feminist and ecology movements.

9705733229_ccceb5032b_o

 Story: This ancient statue of Pan coupling with a she-goat was unearthed from the Villa dei Papiri in 1752 and the King and Queen of Naples and all the court were present as it was brought to light. They were horrified when they saw what it depicted. The King was so shocked that he ordered the excavation to be halted and the statue was thereafter hidden away and kept under lock and key in the gabinetto segreto. It was not actually viewable  to the general public until the year 2000. We are lucky it survived at all. More info about the sculpture here: Pan: “disreputable objects of pagan licentiousness”

IMG_6825

Nightmare Daemon. The Cell, 2000

PAN, whose name means “All” (e.g.: Panasonic, Panavision, panorama, pandemic etc…) transcends  even human bisexuality and emerges as a kind of omnisexual (Pansexual?) creature: He is God, man and beast. Awareness of Pan touches upon religion and sex. His nature is to force himself upon consciousness – thereby often causing panic – another key factor in Rosemary’s experience in the story. According to psychologist James Hillman, Pan’s rape is not an urge with intent to destroy, nor even to merely “deflower,”  but to force awareness of the primal animal body upon lofty, rational “Apollonian” consciousness. And this is what Rosemary’s Baby did in it’s day: it forced upon Christian, middle class, American consciousness the imminent sexual awakening and changing of traditional religious values. (See: Pan and the Nightmare’  by Hillman).

And this is what Rosemary’s Baby did in it’s day: it forced upon Christian, middle class, American consciousness the imminent sexual awakening and changing of traditional religious values.

Unknown-2

Cult-ivated for great things.

Rosemary is not a virgin – a qualification required as we learn from Minnie Castevet in the novel, but she is, at first, naive and unexperienced with the Shadow.  Rosemary’s condition changes drastically after the diabolical rape and conception. Like a victim of  an Incubus or nightmare daemon, she begins to appear and feel vampirized. In the dream the Pope says “They tell me you have been bitten by a mouse.” This could be rephrased as: “They tell me you have received The Mark of the Beast.” The rodent is a symbol of plague. Rosemary has been “infected” by the fever dream awareness of religious doubt and repressed sexual urges amid contemporary society, topics which were exploding in the U.S.A. in the Sixties. She is in constant pain. She cuts her hair boyishly short in a “pixie cut”reminding us of many young actresses who have portrayed Peter Pan. This is the beginning of her transformation and the gradual appearance of a subtle “masculine” aggression to her character, which before was only hinted at e.g.: she initiates sex on the couple’s first night in their dark, empty, cavern-like, new apartment – Pan was worshipped by lovers in caves and grottos. Guy also instills a brief moment of panic fear in this scene as they begin making love by referring to a pair of cannibalistic, Victorian era sisters who’d lived in the building. Later, perhaps due to her awakened consciousness raising brought on by the Incubus infection, Rosemary instinctually begins to use powers of deception, an art within the sphere of Pan’s father Hermes, herself as a survival mechanism (e.g.: the phone call to tease some information from the actor blinded by witchcraft, the lie she tells to Dr. Sapirstein’s receptionist while escaping his office, the spilling of the contents of her purse as a distraction by the elevator, the secreting and hoarding of sleeping pills…).

Unknown-4

All of Them Witches is a fictional book created by author Ira Levin.

As a distraction from her excruciating pregnancy, she plans a party for her young friends (a service to Dionysos) which intentionally excludes the strange, elderly neighbors. The women who attend her breakdown in the kitchen during the party offer advice, insight and validation for her unusual circumstances. The kitchen as heart(h) of a home and traditional place of women’s power is the place of Olympian “family” goddess Hestia/Vesta. After the party, when panic over her degenerating condition finally threatens to overwhelm, her anger irrupts and the pain suddenly stops. The “feminine” – finding it’s inner “masculine” strength – has found it’s voice and begins to take on it’s own instinctual power – separate from patriarchal conditioning – from then on in the story: a symptom of Incubus/Pan’s (instinctual) animal influence coursing through her blood at this point. The submissive and assertive qualities are balanced, and the violated nymph is finally transformed into the powerful and avenging Mother Goddess. We seem to be witnessing a related uprising in consciousness in the #Me Too movement of today. Rosemary’s suspicions increase after she attempts to protest when Guy bullies her into surrendering her book on witchcraft before setting it out of easy reach for her on a high shelf – across the tops of a two volume set of Kinsey’s ‘Sexual Behavior in the Human Male/Female’ in both the novel and film.

cropped-rosemarysbaby-mia-farrow-paramount.jpg

Pan o’ Mantic

Pan is also a mantic god, i.e. He is a god of divination and prophecy. He is said to have taught the art to the god Apollo himself – lending some chthonic prestige to The Shining One when Apollo took over the oracle at Delphi. Rosemary’s prudent friend Hutch tries to dissuade her from impending doom, even prophetically appearing in her narcotically induced dream-nightmare to warn her of “Typhoon !” – a subtle  reference to the Devil as Typhon. Even from beyond the grave, good ol’ Hutch, in a strange and ironic feat of necromantic divination,  manages to communicate the awful truth to her via a clue in a book on witches and a modern spelling game. Thus, Rosemary is pulled ever deeper into Pan’s witchy sphere as she deciphers the name of Steven Marcato in the letter tiles of a game of Scrabble.

tumblr_oo7niziXwX1v00mydo1_500

Casting the runes to discover… “The name is an anagram.”

“The great god Pan is dead”

images-4

If the Great God Pan is truly dead, then Is God dead?

Here we must note the appearance in the story of the April 1966 issue of TIME magazine which carried the stark ‘Is God Dead?’ cover. In the history of the god Pan a major event is considered to be recorded by the Greek historian Plutarch ( 45 AD – 127 AD). During the reign of Tiberius (A.D. 14–37), the news of Pan’s death came to one sailor on his way to Italy by way of the island of Paxi. A divine voice hailed him across the salt water, “Thamus, are you there? When you reach Palodes, take care to proclaim that the great god Pan is dead.” Which Thamus did, and the news was greeted from shore “with groans and laments.” The legend of the fateful crying out, and of the news spreading, that “The great god Pan is dead” has inspired many a poet through the ages. Christian apologists such as G. K. Chesterton have repeated and amplified the significance of the “death” of Pan, suggesting that with the “death” of Pan came the advent of theology. To this effect, Chesterton once said, “It is said truly in a sense that Pan died because Christ was born. It is almost as true in another sense that men knew that Christ was born because Pan was already dead. A void was made by the vanishing world of the whole mythology of mankind, which would have asphyxiated like a vacuum if it had not been filled with theology.”

6bb940fe474470ceb6c8fb77addff3f11f3e1c90_hqThe final chapter or scene of Rosemary’s Baby depicts Roman Castevet’s pronouncement that “God Is Dead!” Considering all this, and that the solemn question “Is God Dead?” appears on the cover of TIME as used in Rosemary’s Baby, begs the question whether history really does repeat itself, and if it is not true that “the gods of the old religion will always become the devils of the new.”

“the gods of the old religion will always become the devils of the new.”

Since the publication of Rosemary’s Baby in 1967, there has been a mounting surge in throwing off the shackles of thousands of years of patriarchal Judeo-Christian suppression, especially in the realms of sexuality and women’s bodies. The ecology movements have adopted Pan as a sign under which to rally to save Mother Earth. Pan is himself noted as a devotee of the Great Mother Goddess in Ancient Greek religion, and in classical literature he is even referred to as “Her dog” by other gods. It is a testament to Ira Levin’s creative genius – what the Romans called a “Dæmon,” the Latin word for the Ancient Greek daimōn (δαίμων: “god”, “godlike”, “power,” or “guiding spirit,” that he was able to reach deep into the zeitgeist of his age to stir up such a potent and delicious witch’s brew; one which brings us face-to-face with the ancient shadows of our psyche which have continued their assault and penetration of the consciousness of modern culture’s grappling with religion and sexuality. By crafting a dark modern legend which people still enjoy and analyze 50 years after it’s publication and release, Ira Levin has made us a little bit more aware of just what is going on “down there” in the subconscious.

IMG-6819 2

The Summer of Love is a perennial affair… Image: D’Aulaires’ Book of Greek Myths.

*One thread we decided not to follow here but offer as a point of consideration is Rosemary’s own complicity in surrendering to her situation by… 1. ignoring the advice of Hutch – a trusted, fatherly friend of upright moral standing (comfortable traditional values) to live somewhere other than in the Bramford apartments and 2. Rosemary’s own longing for motherhood which so often leads to her suppressing her own instinctual misgivings in order to achieve her own desires.

If you enjoyed this article please follow our Devil May Care page on Facebook and our Rosemary’s Baby 50th Anniversary page on Facebook

f5c5d8680ba7aa62e9ac51e06f75904f

Pan teaching his eromenos, the shepherd Daphnis, to play the pan flute, Roman copy of Greek original c. 100 BC, second century AD, found in Pompeii,

Sources:

img_5116.jpg

The Novel by Ira Levin

 

IMG_6827

Pan and the Nightmare by Hillman and The Cult of Pan in Ancient Greece by Borgeaud.

…and our sick little minds.

panstatue

58d958c2112f701b008b72c8-750-563

From Matthew 25:31–46: “But when the Son of Man comes in his glory, and all the holy angels with him, then he will sit on the throne of his glory. Before him all the nations will be gathered, and he will separate them one from another, as a shepherd separates the sheep from the goats.” Goats are notorious for their rowdy behavior. While sheep may mindlessly follow or occasionally wander, goats will intentionally leap!

‘Rosemary’s Baby Album’: Legacy of a Classic Diabolical Thriller

IraLevin.org now presents ‘Rosemary’s Baby Album’ on it’s website, and it is a very special treat for Rosemary Fans!

Screen Shot 2018-04-07 at 14.47.47

Screenshot courtesy of IraLevin.org

The novel ‘Rosemary’s Baby’ by renowned author and playwright Ira Levin has had a wide and abiding impact upon all things thriller, mystery, and horror since it was first published 50 years ago in March 1967. Levin himself said in 2002, “I feel guilty that ‘Rosemary’s Baby’ led to ‘The Exorcist,’ ‘The Omen.’ A whole generation has been exposed, has more belief in Satan. I don’t believe in Satan. And I feel that the strong fundamentalism we have would not be as strong if there hadn’t been so many of these books […] Of course, I didn’t send back any of the royalty checks.” 

In celebration of the 50th Anniversary of this classic diabolical occult thriller, IraLevin.org now presents ‘Rosemary’s Baby Album’ on it’s website, and it is a very special treat for Rosemary Fans! With Ira Levin’s personal archival materials and notes tastefully arranged and many exciting insights into the writer’s creative process.

Screen Shot 2018-04-08 at 22.44.12

Screenshot courtesy of IraLevin.org

Note: #RosemarysBabyAlbum hashtag for easy sharing via social media.

ONLINE FEATURE “ROSEMARY’S BABY ALBUM”CELEBRATES NOVEL’S 50TH ANNIVERSARY WITH UNPRECEDENTED BEHIND-THE-SCENES LOOK AT ITS CREATION, USING AUTHOR IRA LEVIN’S ACTUAL NOTES, DRAFTS AND ARCHIVAL MATERIALS

(New York, March 20, 2018) Ira Levin’s perennial classic “Rosemary’s Baby” turned 50 in 2017, and in celebration of that milestone, IraLevin.org has released “Rosemary’s Baby Album,” a new 28-page online feature which traces the archetypal work’s development using high-resolution scans of Levin’s actual notes, drafts and related ephemera from its writing, starting with the first known setting-down of its premise on a single notepad page, in 1960.

#RosemarysBabyAlbum provides an unprecedented opportunity to peek over Levin’s shoulder, as the author that Stephen King called “the Swiss watchmaker of the suspense novel” conceives and structures his iconic tale – considering, tweaking, or outright rejecting alternate titles, character names and plot trajectories. The album also reveals some fascinating connections between real life, and the world of “Rosemary’s Baby”.

“Rosemary’s Baby Album” can be viewed online now at http://www.iralevin.org

About IraLevin.org: IraLevin.org is the official Ira Levin website, created and maintained by his estate to serve as a comprehensive source of information about his works.

Screen Shot 2018-04-07 at 14.49.21

Screenshot courtesy of IraLevin.org

Levin’s worth as a literary craftsman is exemplified not only in the perpetual in-print status of his novels or the fact that his best-known play, Deathtrap, holds the record as the longest running comedy thriller on Broadway; his competence as a storyteller is also apparent in the adaptation of nearly every one of his novels (and his play Deathtrap) into popular cinematic film versions. Also to be noted are his novels ‘A Kiss Before Dying,’ ‘Sliver,’ and ‘Son of Rosemary’ (a sequel which he dedicated to Mia Farrow who portrayed Rosemary in the now classic horror film version). A few of his novels have even worked their way into our idiomatic language within popular culture – making  The Stepford Wives, The Boys From Brazil and Rosemary’s Baby into a kind of cultural shorthand for ideas represented in these compelling and believable stories.

Unknown-2 copyAnd that is a skill Ira Levin truly had and which lives on in his work: he made the unthinkable into wholly believable parables of modern existence. We step into an Ira Levin novel on firm concrete, with matter-of-fact details both mundane and familiar, yet somehow he cleverly manages to sweep the rug out from under our very feet, so that we lose our balance with an ever increasing sense of panic-dread at the strange and unforeseeable circumstances which draw inevitably tighter around the characters we encounter there. Indeed, it is due in part to the film maker’s close adhesion to the novel – nearly word-for-word – that gives Roman Polanski’s 1968 film version it’s high quality.

images-6 copy 3We may take “Stepford Wives,” “Boys from Brazil” and “Rosemary’s Babies” for granted today because these premises have been lifted from their novel (and cinematic) sources so often – and repeated in any number of various media formats – from the plethora of Devil Baby movies to TV comedy sketches – that they have become part of our collective consciousness, and have even developed into tropes of their own! But we shouldn’t forget the origins of these stories, or Ira Levin’s ingenuity at placing them so deliberately and carefully packaged on our front doorsteps that we don’t notice the dangers hidden within them until it’s too late (and, by then, you are unable to stop turning the pages)!

Article by H.B. Gardner

#RosemarysBabyAlbum

#RosemarysBaby50thAnniversary 

The Three Mothers & SUSPIRIA: Dario, De Quincey & the Dark Goddess, Part 3

By H. B. G.

As we seek for the Devil In the Details in the final part of this article on SUSPIRIA, we reach an apotheosis on our meditations upon the  sublime darkness of The Three Mothers

PrimoPiano25_1h28m52s

The Latin phrase sub rosa means “under the rose”, and is used in English to denote secrecy or confidentiality. The rose as a symbol of secrecy and the occult has an ancient history. Jessica Harper, sub rosa, in Suspiria, 1977.

“Who dares misery love

and hug the form of Death?

Dance in Destruction’s dance

To him the Mother comes.”

Kali the Mother (poem) by Swami Vivekananda

kali-trampling-shiva-pg-reproductions

Kali by Raja Ravi Varma. The goddess Kali; naked, black and terrible as the dread realities of life and death.

In Part 1 we saw how Thomas De Quincey, in his exceptional work: ‘Levana and Our Ladies of Sorrow’  (a part of his ‘Suspiria de Profundis’ (1845) which gave the name to Dario Argento’s cinematic masterpiece – Suspiria) was able to personify those forces “that incarnate themselves in all individual sufferings of man’s heart;” in the form of The Three Mothers: Mater Suspiriorum – the Mother of Sighs, Mater Lachrymarum – the Mother of Tears, and Mater Tenebrarum – the Mother of Darkness. These powers which afflict every human – sighs, tears, and darkness – were seen by De Quincey as existential conditions which are  a commission from God “to plague the human heart until they have unfolded the capacities of the spirit.”

In Part 2 we noted how this dark, mythic, feminine trinity has an ancient pedigree tied to Witchcraft and goddesses extending back to ancient times. Some of these occult elements have slipped, deliberately or by fortune, into Argento’s Three Mothers trilogy, as well as in other horror tales and films.

brides-of-dracula

Another diabolical feminine trinity and example of unholy motherhood and the shadowy feminine: The Brides of Dracula. Dracula, 1931. In the novel, the brides are offered a wailing infant by their dark master in order to appease their bloodlust. The Shadow side of the Mother as devourer of her own young.

Dracula: Bram Stoker's Dracula

The Brides of Dracula subject Jonathan Harker (Keanu Reeves) to a Left-Hand Path spiritual  experience in Bram Stoker’s Dracula. The Bride on the left, like the Gorgon, the Furies and sometimes Hecate, has serpents wreathed in her hair. The offering of a babe by Dracula (literally: The Dragon) to the three brides (in lieu of Jonathan Harker) is included in this 1992 film version.

 

4PoGT

“The 3 Beggars”Grief, Pain & Despair – in Lars Van Trier’s Antichrist, 2009. There is a discernible resonance with The Three Mothers motif and the darker aspects of Mother Nature in this film.

Besides inspiring SUSPIRIA’s creator Dario Argento with an excellent trope for his Three Mothers trilogy, we also discover in De Quincey’s Suspiria de Profundis an ancient and profound spiritual truth: “that mighty system of central forces hidden in the deep bosom of human life, which by passion, by strife, by temptation, by the energies of resistance, works for ever upon children – resting not day or night,…” In our development towards adulthood, and with the complicity of goddess Levana, these forces – sighs, tears and darkness, or “The Three Mothers” – work upon each of us at the core of our being, our psyche. That part which forever looks for succor, strength and understanding in the face of adversity experienced in the inevitable crises of human existence.

suspiria2

Udo Kier and Jessica Harper in Suspiria. 1977.

mother-of-tears-udo-kier

Udo Kier in Mother of Tears, 2007.

Seeking succor or understanding in The Three Mothers trilogy often leads to a conversation with the wonderfully talented Udo Kier or Daria Nicolodi.

MV5BNjFiYmJkNDctYzBmYi00OTJiLWFiNjAtYmM2MTE5Y2JlNzFjXkEyXkFqcGdeQXVyMjUyNDk2ODc@._V1_

Leigh McCloskey and Daria Nicolodi in Inferno. 1980.

MV5BMzA4MTEzYWMtNzFkMS00MjlmLTlmYjItNjk4NzU1OTM1YWY1XkEyXkFqcGdeQXVyMjQwMDg0Ng@@._V1_SX1777_CR0,0,1777,947_AL_

Barbara Magnolfi as Olga in Suspiria. She is seated like a goddess from ancient Europe, like Cybele or the Lady of Elche. A woman who, we suspect, knows more about the mysterious Tanz Academy than she cares to admit.

Now, when seeking for the Devil In the Details in occult themed horror films, adversity, or the idea of an Adversary, logically leads us to Satan, which is Hebrew: שָּׂטָן‎‎ satan, meaning “enemy” or “adversary.” Any thing which opposes us, or which we fear, or that seduces and leads astray from the Right Hand Path laid out by the traditionally accepted social structures in which one lives, whatever operates as an energy of resistance is exactly what bedevils us. But when we view adversity through the lens of De Quincey’s opium induced revelations in Levana and Our Ladies of Sorrow,  the words of Prof. Brené Brown ring true: “The dark does not destroy the light; it defines it.”

Will Tears, Sighs and Darkness crush us? Or, will the opposing forces necessitate an “unfolding of the capacities of the spirit”?

Mother_of_tears_2

Mater Lachrymarum (Moran Atias) has a taste for tears and fears. Mother of Tears, 2007.

Unknown-5

Our Lady of Sorrows

Will Tears, Sighs and Darkness crush us? Or, will the opposing forces necessitate an “unfolding of the capacities of the spirit”? Embracing Darkness, tasting our own tears – and the tears of the world. Confronting the Shadow within oneself, and in the outer world in which we walk and work, is required for growth – individually and as a society. As spiritual beings are we not defined by our limitations? Moreover, are we not obliged to ever continue expanding beyond our own limits? Are we not forced to evolve from our narrow or outmoded ways of thought? The Adversary provides the resistance that encourages growth and renewal in the courageous heart and mentally stable. This is what we see happen with the protagonists of the three films in Argento’s Three Mothers trilogy.

kali-eating

Kali as Devouring Mother

To regress or stagnate for too long is to resist the vital urge to progress, blossom and create, and ultimately to cease living. Life, in all it’s dreary and miserable circumstances, challenges us to transcend our boundaries and to take our path (inwards and outwards) towards the next level. We soon learned that Death and Renewal are the name of the game of life which sets out to devour you – body and soul.

∇∇∇∇∇∇∇∇∇∇∇∇∇∇∇∇∇∇∇∇∇∇∇∇

Screen Shot 2017-08-21 at 15.10.47

Inferno, 1980

There are three keys to understanding The Three Mothers, as we learn in the introduction of Inferno…

The first Key: The area around the location of the houses of The Three Mothers becomes blighted and are places of death. There is a miasma around their houses like a sickly-sweet smell. The smell of death and decay. As beings existing in conditioned material existence,  (i.e. the body is my house of flesh), death is certain; the body’s earthy odor may be disregarded or disguised but never extinguished. These jars of clay we inhabit reek of the earth and are short-lived. This odor is the ever-present knowledge of our own mortality.

The Second Key: The name and the portrait of the Mother residing in each house is to be found in the cellar. That is to say, behind the outward facade of the personas we parade about in the daylight world, the presence of Sighs, Tears and Darkness often remain below the surface – unacknowledged, in the basement of the subconscious – where the monsters dwell. But these demons may be awakened and summoned under strange circumstances or by forbidden or occult methods, like with De Quincey’s opium dreams.

The Third Key: “Is to be found beneath the soles of your shoes”; that is, where you stand at any given moment of your life. For we are ever standing at the crossroads of Hekate, of past,  present and future, left or right or forwards. Wherever or whenever we find ourselves we are always confronted by a choice of direction, where to go and how we spend our limited amount of time as embodied creatures on earth.

Time is short. The ticking of a clock is the steady footsteps of an assassin approaching.

Mater Tenebrarum states at the conclusion of Inferno…

Unknown

Veronica Lazar, Inferno, 1980, as Mater Tenebrarum

Mater Tenebrarum: “Your journey has come to an end. Everything around you will become dark, and someone will take your hand. You’ll be pleased, not unhappy. You’ll enjoy moments of incredible brightness. You think it’s magic. No, I’m not a magician. Now we have to hurry because we still have to pass through a number of strange phases in your change. You were looking for me, just like your sister. This is what you wanted. I’m coming to get you!”

Mark: “Tell me who you are!”

Mater Tenebrarum: “The Three Mothers. Haven’t you understood? Mater Tenebrarum! Mater Lachrymarum! Mater Suspiriorum! But men call us by a single name; a name which strikes fear into everyone’s heart. They call us DEATH! DEATH!”

Inferno1

Through a mirror darkly. Mater Tenebrarum reflects our greatest fear.

santa-muerte-3

Death and renewal is the specific work of the Dark Goddess. Death of the outworn habits, or ways of thinking or acting, which constrict or no longer serve us along our chosen paths.

As beautifully expressed by the soul journeying in the afterlife in The Egyptian Book of the Dead:

“I am a long lived serpent; I pass the night and am reborn every day. I am a snake which is in the limits of the earth; I pass the night and am reborn, renewed and rejuvenated every day.” 

1200px-20041229-Coatlicue_(Museo_Nacional_de_Antropología)_MQ-3

“Mother of the Gods,” Coatlicue, “She of the Serpent Skirt,” a 2.7 metre (8.9 ft) tall statue discovered in Mexico City in 1790. Europeans regarded the statue as a horrible, deformed monster. Mexican Indians on the other hand began to worship it, visiting it with candles and adorning it with flowers. To prevent this, the statue was buried in the patio of the University of Mexico where it could not be seen. Note the garland of severed hands, hearts and skull and compare with the Indian goddess Kali who is similarly adorned. Her head is severed and two serpent heads are emerging and uniting, merging the dual streams of existence. Compare to Kundalini-Shakti, Chinnamasta, et al.

“Gods suppressed become devils, and often it is these devils whom we first encounter when we turn inward.”

– Joseph Campbell

ψψψψψψψψψψψψψψψψψψψψψψψ

giphy-1

Screen Shot 2017-08-21 at 15.10.16

Three keys are given in Argento’s Inferno, 1980

Reject, Explode, Explore, Unlearn

We mentioned in Part 2 that the snake is a symbol of the Gnostic witch goddess Hecate, whose affinity with the Three Mothers we elucidated. As a symbol, the serpent (or magnified as the dragon) plays an integral part in occultism and is also often associated with other female deities and demonesses acquainted with the chthonic – or cosmic – powers of transformative darkness from various Pagan cultures: Tiamat, Lilith, Lamia, Ceto, Medusa, Kali, Coatlicue, et al.

tumblr_n7a0k0lJrf1tevpqro1_400

Albert-Joseph Penot, Bat woman, 1890. Our image of Lilith.

These goddesses are usually depicted with fierce or horrific embodiments and attributes – often embellished by serpent imagery. The lesson expressed here through all times and cultures is that of transformation. Death and renewal come when we confront our fears and desires and learn to dance with the Shadow.

 

 

Douriscup_83d40m_Athene_aegisWingedLionessOwl_pythonVomitsJason_fleeceInTree_Vatican

Athena, goddess of wisdom, bearing the Gorgon head on her breastplate (heart chakra) and the owl – a creature with the ability to see in darkness – in her left hand, oversees the rebirth of the hero Jason from the mouth of the devouring serpent- dragon.

A serpent sheds it’s skin when it has become worn out.

giphy.gif

From cloudy husk to renewed beauty.

Just as the moon sheds it’s shadow every month…

giphy-2

“…we still have to pass through a number of strange phases in your change.” From darkness into light and back around again.

Or a duckling chick outgrows it’s egg.

giphy-3

It is neccesary to destroy the old form in order to release the new. Ducks and geese take part in the three elemental realms of land, water and air.

“Every act of creation is first an act of destruction.”

~ Pablo Picasso

The Dark Goddess resides at the crossroads of transformation.

Offer your sighs, tears and darkness at her altar and be transformed.

Ψ∇∇∇∇∇∇∇∇∇∇∇∇∇∇∇∇∇∇∇∇∇∇∇∇∇∇∇∇∇∇∇∇∇Ψ

k55

Bengali cult image of Kali

Sex & Death

These are some esoteric icons of Our Ladies of Darkness

8c268db5a78be95aa32086606d7fc790

Chinnamasta is a Tantric goddess par excellence.  artist: Daniel Corcuera Nekronikon Temple

When it comes to Dark Goddesses and horror, Indian culture has exhibited some of the most sublime and profound examples of the terrible feminine divine. Kali is a goddess widely worshipped. Her name means “The Force of Time,” and “The Black One;” for Time births, sustains, transforms and devours all. This Dark Goddess has various forms and avatars. One which bears relevancy here is a triple formed icon: Chinnamasta, the Beheaded Goddess, who – like Hecate – is 3 goddesses in 1.

704fcc166d9ff9093147f5861a9488e1--witch-mythology

Chinnamasta: A triple goddess, empowered by Desire – the primal, foundational sexual energy which is the cause and gateway of existence, decapitates herself in order to nourish her two companions (the dual forces of existence personified within the field of time) with her own blood, and herself as well. The incessant recycling flow of life. Here the goddesses carry shears like Atropos of The Fates.

colour-horror-02

The Mother of Darkness demands blood in Inferno, 1980.

In a profound act of self sacrifice we see Chinnamasta decapitate herself. Three streams of blood spout from her neck to nourish her two handmaidens, Varnini and Dakini. The third stream reaches the goddess’s own mouth to be consumed by her own severed head. She stands upon Kama, the god of eros, embraced by his female companion, Rati, who takes the female superior position. This is a mystical truth as a metaphorical image of the sublime horror of life feeding upon death, with sex and death (and rebirth) as the doorways between the worlds.

175a622bad56612f8bd45c5d41ce4061

Her mantra is: “I bow to Chinnamasta; She who is the Sacrifice, the Sacrificer, and the Receiver of the Sacrifice. May She liberate all beings.” Chinnamasta, Calcutta Art Studio lithograph, c. 1885

images-2

“She” takes the assertive posture in the film Antichrist.

Sex, death, transformation… these are the keys of the Dark Goddess, The Dark Mother. While it may seem that we have strayed far from Suspiria, we have managed, by reading the occult symbols and looking at myths, to obtain some spiritual insight from an occult horror film series. If it is not obvious at first, even to the film makers, it is for the simple reason that “the occult” literally means what is “hidden” or secret, even when it is a plain and open secret. Something which the rational mind often pushes away into shadowy corners. Sex and death, sorrows and tears, sighs and darkness are an inevitable part of conditioned (physical) human existence, but their wisdom is “sub rosa.”

We are all limited by time, Mother Kali, which restricts us to these material conditions. We can fear and be disturbed by these forces, but we can also permit them to transform us and teach us profound truths.

Sex and death, sorrows and tears, sighs and darkness are an inevitable part of conditioned human existence.

Were these symbols which we’ve examined in this 3 part article used consciously by the filmmakers in bringing these vivid nightmares to the silver screen? Perhaps a few. More likely it is the work of the disturbed, or exalted, human imagination that summons these iconic accoutrements and archetypes forth from the shadows of the subconscious. What we do know is that both Thomas De Quincey’s ‘Suspiria de Profundis,’ and Dario Argento’s Three Mothers Trilogy, whether consciously or unconsciously, have tapped into something primal and eternal, with the ability to evoke humankind’s primal fears at their deepest level… sub rosa.

1200px-William_Blake_006

The Night of Enitharmon’s Joy, often referred as The Triple Hecate or simply Hecate, is a 1795 work of art by the English artist and poet William Blake

bbc977a094bd765275039d6550795fa4--stone-sculpture-art-sculpture

Indian Yogini with ever-blossoming lotus for head.          stone sculpture

Sub Rosa

If you enjoyed this 3-part article on Suspiria and the Dark Goddess, please feel free to like, share, comment and view our other projects here at Devil In the Details. We hope to have more things of interest in the near future.

Finally, we leave you with these images of the  Headless Yogini, or Flowering or Blossoming Yogini. The ever-blossoming and expansion of cosmic consciousness firmly rooted in the physical plane.

May you break open and blossom to unfold the capacities of your spirit.

22366506_700178743507198_5775601049710157026_n

This is a Yogini inspired by Lajja Gauri iconography that was made in Orissa and that is now at the Yogini Temple of Purnima  in Villa de Leyva, Colombia. More info is available Via Facebook @yoginisoracle