Darkness, of Sorts

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“The horror! The horror!” During high school I was never assigned Joseph Conrad’s Heart of Darkness. Neither was it required for the humanities core course at a highly selective Grove City College. Knowing that my daughter will be reading it for school, I decided to get ahead of the curve for once and read the book. I really wasn’t sure what to expect. I had gathered that it was set in Africa, but that is all I knew. I had even somehow managed to live through the ’80’s without ever seeing Apocalypse Now. Conrad layers the darkness thickly in his story of greed and cruelty in the material trade of ivory. The brief story does not dwell or linger on the suffering, but shows the deep scar never healed in Kurtz’s famous last words. It is a story still worth pondering profoundly.

By chance—in as much as anything happens by chance—I also watched Wolf Creek the same weekend. Again, I was unsure what to expect. I had heard about the movie before, but never with enough detail to give away the plot. Harshly critiqued for its exploitative narrative, the film presents a different setting that experiences the same darkness. Australia, 1990’s. Claiming to be based on actual events, Wolf Creek showcases the frightening duality of Mick Taylor, a character who holds many sleepless nights in store for me. Not that the movie itself is so terribly frightening, but the fact that people like Mick Taylor do exist, upon whom movie makers and novel writers base their characters, is darkness itself. It is the lot of humankind to be a mixed cast of characters, some of whom are decidedly unsavory.

I awake to newspapers bearing the cold, inhumane sentiments callously blasted from the lips of Santorum and Gingrich and their ilk stating that the poor can take care of themselves, the unborn have a right to be born into abject poverty, that women should be made to bow to the whims of men. My native naivety has worn off but slowly, hoping as I always have for sparks of kindness and genuine good will. Those who would be remembered as great leaders would do well to study closely the portraits of Napoleon and Stalin and their friends. And read a little Conrad. To find the still beating heart of darkness we need not venture all the way to Africa or Australia. We can find it in our own backyards.

NASA's view

Christian Underworld

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For constructing a mythology teeming with monsters, I must doff my metaphorical hat to the Underworld series of movies. Unrelentingly Gothic and stylish, I’ve watched the first two installments a number of times, but I have yet to see the last two (the latter of which is still currently in theaters). I have to admit that seeing Kate Beckinsale in her werewolf hunting gear two stories tall on midtown electronic billboards is some enticement to catch up with the story. Over the weekend I rewatched Underworld Evolution, number two in the set, to refresh my mind of the story. Quite apart from the implicit religiosity of vampires, the Underworld movies, while eschewing crucifixes and religious origins for vampires (which Bram Stoker’s Dracula by Francis Ford Coppola narrates to an explicit extent), nevertheless partake of the power of religion amid all the shootouts and weird transformations.

In Underworld Evolution, Marcus, the son of the original vampire, in a scene straight from Christian mythology, has the devil rebelling against his creator. As he is killing his powerful yet ineffectual father, Marcus predicts the beginning of a “new race created in the image of their maker—their new god. Me.” As he says this he has his own creator impaled on a demonic bat wing. Running him through with a sword he states, “And the true god has no father.” I admit I’ve been trying to read some post modern treatments of monsters, and this kind of reversal fits well with the conflicted outlook of the twenty-first century. Who is god? The good or the evil? The old certainties have grown gray and blurry. No wonder some people are uncomfortable.

Perhaps the most religious element in the film, however, is blood-memory. Blood is a cheap commodity in horror films, but it represents, in the Abrahamic traditions, life. In the Christian sense drinking communion wine is to consume the blood of Jesus, or at least to remember his death (the fancy word is anamnesis). Vampires, in Underworld Evolution, remember the lives of those whose blood they drink. The taking of life has a sacramental quality to it here. To a world less immersed in a Christian worldview, this concept might seem more macabre than it already is. Monsters often take their cues from the gods. So on a February weekend some of this feels terribly familiar. It may be a small underworld after all.

Fall of the Planet of the Apes

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Perhaps it is being under the influence of a head-cold that just won’t go away, or perhaps something deeper, I decided to watch Rise of the Planet of the Apes. Raised in a fundamentalist household, I was enamored of Planet of the Apes (the original one) and watched it and all its sequels repeatedly back before VCRs made owning such chestnuts possible. Perhaps it was that taste of forbidden fruit—evolution—that left such an exotic buzz in my head, or perhaps it was the unforgettable climax. The message that we’ve done this to ourselves. I once even missed seeing a high school friend after several years’ absence on a visit home because an all-day Planet of the Apes marathon was airing on TV. Perhaps it was the subtlety, the Rod Serling feel to it, or the deep level of empathy it evoked, for whatever reason, that original movie remains one of my personal favorites. In Rupert Wyatt’s slick new backstory, something was missing.

The CGI of Rise of the Planet of the Apes is pretty remarkable, except for the occasional jerkiness of violent scenes intended to pump up the testosterone. The subtle emotions visible in Caesar’s every glance conveyed the sense that animals share rights to this planet with us. I’ve been reading about animal intelligence again, and it saddens me that we’ve reached this far in our development only to continue the fiction that homo sapiens are unique among the tree of life. It’s not much of a tree when one of the branches is not and never has been attached. Our animal cousins have much to teach us, and perhaps that’s why I keep returning to Planet of the Apes, despite Charlton Heston. Even the new movie makes several nods to the original with naming the main family Rodman, Caesar building a three-dimensional puzzle of the statue of liberty only halfway complete, calling his mother “Bright Eyes,” spraying Caesar with a hose in his cage and calling the primate center a madhouse, and the cheesy repetition of “Take your stinking paws off me you damn dirty ape!” It simply can’t rise to the level set by the writing of Rod Serling and Michael Wilson.

The box-office success of the film tells us something about ourselves. Ironically, and perhaps intentionally, Wyatt’s version neuters the evolution. The apes don’t rise from an unspeakably long evolutionary track from us, but we create them with the nemesis of twenty-first century humans, the virus. Caesar and his friends are genetically engineered by humans, and God has nothing to do with it. In the original, a theological subtlety lingered as a religious court of orangutans condemned Taylor for religious reasons. His claim of human primacy was heresy to primate sensibilities. The new version takes itself too seriously for that. We can’t jangle the evolution keys anymore because of our own national schizophrenia concerning the raw power of nature. Just when we think we’ve evolved beyond petty superstition masquerading as righteousness, yet another state attempts to guillotine the entire scientific enterprise. It’s a sure thing that if the apes don’t get us, we’ll take care of it ourselves. That was the message already in 1968.

Rising to The Abyss

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The name James Cameron has become almost synonymous with epic, large-scale adventures that suggest improbable world with stilted dialogue. The first Cameron film I watched with the awareness of his direction was Titanic. Last night I watched The Abyss for the first time. Of course, I’d heard quite a bit about the film since its release over two decades ago, and I had to satisfy my curiosity. The Abyss turns out to be a prognostication for Titanic as well as Avatar, what with the fascination Cameron has for sinking ships, friendly aliens, and impossible love reconciled. In fact, many of the characters presented in The Abyss appear to reincarnate in Cameron’s latter films under different names, but in similar circumstances. The reason the film is worth mention on a blog about religion is its heavy reliance on traditional Christian imagery of the afterlife, projected into the abyss (turning Dante on his head).

When the crew of Deep Core investigate the sunken submarine USS Montana, crew member Jammer sees what he thinks is an angel and goes into shock that lands him in a coma (just to awake at the right time to save the day). The theme of personal sacrifice and resurrection (the Christ syndrome, we might call it) is acted out by both Lindsey Brigman and her husband Bud. Lindsey drowns herself so that she can be resuscitated, with the intention of saving both herself and her estranged husband. In his turn Virgil (aka Bud-everyone get the subtle reference to Dante here?) disarms a nuclear warhead (by snipping a single wire!) by diving beneath the capacity of his oxygen supply, texting his now adoring wife that he knew it would be a one-way ticket down. Then the aliens arrive. The whole light at the end of the tunnel trope becomes factual as the aliens-angel hybrids flutter over and take Virgil to safety. In case you missed the biblical references, they part the water and you get the strange suspicion that Moses is lurking behind the scenes somewhere.

Of course, some of these ideas will be fresher in viewer’s minds from Titantic and Avatar, but the theme of resurrection following self-sacrifice is a staple of Hollywood. It is the right combination for a feel-good movie, even if it ends up being sad. Perhaps it is the mark of living in a secular nation that has its origins in a Christian worldview. The battle of our religious status as a nation rages on, but the fact is, no matter how free we are with our religion, we will flock to movies where the protagonist willingly sacrifices him(less frequently her)-self with the reward of new life. This is not a Cameron trope, it is a United States self-image on the large screen. The technical gaffs of the underwater world of The Abyss may be many, but the film captured the imagination of many Americans, paving the way for the enormous success of Titanic and Avatar. Despite our tough exterior and willingness to start wars, we like to think of ourselves as the ultimate Christians.

Instruction, through Film

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In an increasingly technological world, the acquisition of knowledge often seems like a moving target. For thousands of years the process of research meant lifting yourself out of the chair, or couch, or log, and going to where the written collection of human knowledge resided—the library. Assurbanipal, emperor of Assyria, assembled a great library in antiquity, as did the sages of Alexandria, Egypt. From those days until my own lifetime, if you wanted to learn something you went to where the books resided. The birth of the Internet has changed knowledge storage considerably, but not completely. You might find bits of Assurbanipal’s Akkadian wisdom online (Alexandria’s, unfortunately, didn’t survive antiquity), next to thousands of e-books, blogs, and tweets. And of course, videos. Although many of my blog posts refer to horror movies, one of my favorite sources of information has always been the documentary. Despite the fact that it’s spoon-fed knowledge, there’s nothing quite like watching the experts tell you what you need to know on this or that topic.

Assurbanipal, lion hunter, emperor, librarian.

I was, naturally, pleased to learn of documentary-log.com. The folks from the site were kind enough to contact me since they offer many religion documentaries for free. I suspect that most readers of this blog have some interest in religion since I seldom write about anything else. Documentary-log.com currently has over thirty professionally made documentaries from various producers (including the History channel) available for viewing. Just sit back, click, and learn. I added to my own knowledge-base yesterday. This is particularly nice for those of us who can’t really afford the constantly increasing expense of buying access to television service. If your interests are greater than religion, they have many other categories of documentaries available as well. There are much worse ways to spend an afternoon.

One of the questions that arises in my conversations these days is whether all of the material online is changing knowledge itself. There’s no question that it’s a time saver. Prof. J. C. L. Gibson once remarked, while looking for a passage in class at Edinburgh, “So much of scholarship is turning pages.” He was a man who still did not use a typewriter, up to the day of his death. There is something to the old form of knowledge that stays with me as I watch the world inexorably change around me. There was a thrill to finding a book from 1516 on the open shelves at the New College library of Edinburgh University, to touching its centuries-old pages and marveling. Sitting in John Gibson’s office as he puffed on his pipe and trying to defend my new ideas against his old ones, I felt that knowledge was being hammered into me. There is an arcane knowledge to starting every day with a wee dram and a prayer that the World Wide Web just hasn’t managed to capture yet.

The Evil Living

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Returning home from my campus visits, I needed some brainless relaxation. Since we don’t have any television service at home, this means watching movies. I’d heard quite a bit about The Evil Dead over the years—a movie that was scary back in the 80’s when it appeared. Improvements in special effects and the intensity of engineered sound are capable of drawing a person into an alternate reality for a couple of hours these days, and the endless reiteration of earlier movie effects somehow robs the early thrillers of their impact. The Evil Dead, however, capitalizes on confusion about the menace and teeters on the brink of morality for the entire 85 minutes. Naturally, when looking for a source of fear, it seeks a religious agent. The source of the evil in the woods is narrated in a voice-over of the presumably dead scientist who has discovered Sumerian texts that release demons in the forest (mostly in the form of falling trees).

Sumerian is always a safe bet if you want a language that your viewers will not be able to identify. The earliest known recorded language, Sumerian is still difficult even for experts, and it conveys all the strangeness of long ago. We do know that the Sumerians recorded myths that involve what we might call “demons” today, but the possession of humans was a much later development—probably a pre-scientific way of explaining epilepsy. As our five students seek a weekend getaway in the woods, they become possessed and face the moral question of just when a person ceases to be human. At what stage does someone have the right to kill someone else? Perhaps unintentionally, the movie gives us the answer, “Never.” This kind of morality has a place in America, one of the very few “first world” nations in which the death penalty is still legal. Often promoted by those dead-set against abortion. Where do we draw the line saying a person has crossed over into the unforgivable other?

The Evil Dead has become a cult classic over the years. Its relatively low budget of less than half-a-million dollars brought an astonishing box office return on the investment. The gore, tame by more modern standards, does not mask that what is really at issue here: the question of right versus wrong. What is truly evil? Sumerians aside, what possesses people and drives them to destroy one another? The Evil Dead, like many horror films, reaches for a religious answer. As the supernatural fog begins to clear, however, we might not like what we see in the clear light of day. Religion may be an excuse, but the assaults upon one another are what Nietzsche famously called “human, all too human.” The sooner we clear our vision and pay attention to what is actually happening, the sooner we can combat the horror.

Jesus for President

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From my economical hotel to Duke University was maybe a twenty-minute drive. As a stranger in town I prefered to stay off the heavily traveled corridors during busy morning commute times, never being sure when exactly my exit was coming up. So I took the backroads. Along the way I started to see churches with denominational names I’ve never even heard before. I quickly lost count of just how many houses of worship I passed. With all this rich fare, perhaps it is time to tighten the old Bible belt a bit. The short drive reminded me of my one and only fact-gathering trip sponsored by Nashotah House. I was sent to Asbury Seminary in Wilmore, Kentucky for a technology conference. Accompanied by an Episcopal priest and a Lutheran pastor, I was not the only one of us to feel a bit besieged by the in-your-face evangelicalism of Kentucky. My Lutheran colleague wistfully commented, “but the ELCA is ‘Evangelical.’” A different species of evangelical entirely.

The chapel at Duke University easily dominates the west campus. The divinity school is one of the flagship seminaries of the United Methodist Church. Founded by the tobacco money of James Buchanan Duke (who also owned the estate in New Jersey where our ill-fated garden was planted this summer) and the fledgling Trinity College, Duke is an interesting mix of the sacred and profane; Eliade in quadrangles and limestone. The campus sports identity is the Blue Devils, and this diabolical emblem can be seen leering from tote bags and campus buses connecting east and west. Money and religion, devils and saints. Life offers many choices, and Duke, as an exclusive institution, serves the blended family of academics in Bible land.

One of my daughter’s favorite movies as a child was Disney’s Lilo and Stitch. In case you missed it, Stitch is an alien (you’ve got to love it already!), and Lilo is a little girl who loves Elvis, a true southern prodigy. The movie features Elvis singing Giant, Baum and Kaye’s “Devil in Disguise.” Although a song about love in crisis, “Devil in Disguise” seems a decidedly useful trope. Human institutions often disguise themselves as divine. After all, no suite trumps the God card. Religion is so prevalent in the Bible Belt that Christianity is less a religion and more a culture. That culture is at barbed odds with itself, for its deepest, darkest desires are out of line with the utter selflessness that Jesus seems to imply is at the heart of Christianity. Travel is one of the greatest teaching tools we have. Sometimes your own country can feel like foreign soil.

Let the Left One In

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When you’ve got a good thing going, why stop? Reading Timothy Beal’s Religion and its Monsters put me in the mood for a vampire flick over the holiday weekend. I had watched with longing as Matt Reeves’ Let Me In flew into and out of theatres back in 2010. Advertised as a thoughtful vampire story based on John Ajvide Lindqvist’s novel, Let the Right One In, and having a real moral struggle unlike the Twilight saga’s dulled fangs, it had been on my “to see” list for quite some time. This movie doesn’t disappoint. The specific aspect to which I refer, of course, is the religious. Vampires may be the most religious monsters ever invented, and like all good, subversive movies Let Me In casts the religious aspect in an unexpected role. Religion and the vampire interact through the character of Owen’s mother. Her face never seen on the screen, she shuffles outside the range of view and tells her son of the need for prayer and belief. Her life is a shambles and 12-year-old Owen knows it.

Abby, the vampire next door, is a monster capable and desirous of love. Her vampiric self is not exposed to crucifixes or blessed communion wafers, but to the torment of outliving those she loves. Eternal life is her curse, and religion can do nothing to solve it. When Owen slips twenty dollars from his Mom’s purse to buy Abby some candy, Jesus is watching from the mirror. When the bullies torment Owen, Jesus is nowhere to be found. The symbolism, whether intentional or not, is apt social commentary. Our religion is there to punish us, not to help us. If in doubt, listen to the politicians and televangelists; God is intensely angry—Jonathan Edwards wasn’t even halfway there. Their surfeit of rectitude puts the rest of us to shame. Until they’re elected.

Vampires have their origin in creatures that steal the life-essence of the living. Whether blood, semen, or psychic energy, the vampire feasts while the victim withers. Let Me In, by telling the story of a pre-pubescent vampire, shifts the focus of culpability. A 12-year-old is beneath the age of responsibility according to the Judeo-Christian tradition. Unable to determine right from wrong, the child simply seeks what all living creatures do—the possibility of existence. When Owen discovers that his new friend, his only friend, is a vampire, he tries to find answers from his religious mother. She is asleep. He calls his absent father who blames the religion of his mother. The moral guidance here comes from the monster. The bullies would win if it weren’t for what the authorities call evil. Sometimes I think Jonathan Edwards got it all backwards, for when power determines who is righteous it is the bullies who dangle spiders over the fire.

Hic Sunt Dracones

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Even a visionary like Thomas Edison can’t know the directions in which an invention might be taken. The idea of the moving picture has immersed human beings in an alternate reality that is sometimes difficult to separate from the physical world we daily inhabit. As soon as movies were invented, producers and directors began to explore the depths of fear with the monster movie. What they were really exploring was the mystery of religion. I frequently write of the nexus of religion and the monstrous, and Timothy K. Beal wrote a book on that subject a decade ago in which I found another affirmation of my suspicion. Forthrightly titled Religion and its Monsters (Routledge, 2002), Beal’s playful yet serious exploration of the scary traces the origins of monsters to Genesis, and even earlier. Taking on Leviathan, the biblical sea serpent, Beal demonstrates the pre-biblical pedigree of this fierce monster and shows that, like most truly frightening entities, it began as a god. Indeed, what we call religion today grew up around fear of those forces beyond our control, a nature so harsh it could be none other than divine. The writers of the Bible clearly knew this story as Beal traces it from Genesis to Job, from Psalms to Jonah, from Leviathan to Devil.

In a shot/reverse shot formation, Beal takes us to modern-day monsters and shows their religious origins. Those things that frighten us on the big screen crawl there from their origins in the temples, shrines, and chapels of religions that don’t manage to subdue evil completely. The claims are made that the gods are stronger than the chaos that surrounds us, but they are still fighting nevertheless. From Dracula to Godzilla, the monsters have the gods on the run. And when the human protagonists finally get their monster pinned down, they discover that it is often God wearing a mask. Our monsters are gods gone bad. How else could they revive from the dead at the end of the reel? They never truly disappear. And if they do, there’s always more where they came from. The reason, Beal concludes, is that we are, in fact, the monsters.

According to the analysis of W. Scott Poole, Timothy Beal, like myself, falls into the “monster kid” generation. As I grew up, I quickly learned that to confess my interest in monsters was to risk the labels of juvenile, naïve, and immature. Grown ups are interested in money and sex and power. Only kids have any interest in dinosaurs, mythology, and monsters. An epiphany of sorts, however, seems to be unfolding. Scholars of religion in my generation are peeling back the rubber masks of our movie monsters and are discovering the face of the divine. Perhaps we are all adolescents at heart, fixated on the weird and bizarre because the paths to money, power, and temptations of the flesh are blocked to us. Or perhaps we are the Magellans charting a course for regions off the map. It is those regions, as Beal reminds us, that are illustrated with sea serpents and inscribed hic sunt dracones, “here be dragons.” Doubt it? Read your Bible and find out for yourself.

Trouble with Triffids

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Some time ago, I posted about the John Wyndham novel, The Day of the Triffids. In playing on the loss of humanity’s primary sense of sight, the story creates a truly eerie scenario in which people are harvested by plants. Not just any plants, but alien plants! Of course, such an idea demanded a movie rendition. The film was released the year I was born, but I only just got around to watching it. Compared to the psychologically thrilling novel, the movie doesn’t ever reach the intended level of terror. Nevertheless, religion, as usual, plays a role in the movie. As Bill Masen, the protagonist, makes his way from London to Paris, attempting to find other people who retain their sight after a devastating meteor shower blinded most of the world, he comes upon a mansion where the wealthy owners are caring for the disabled. (Hard to imagine that these days, but it was the 60’s, and idealism was kicking in.) While discussing their rather hopeless options, Bill suggests there is little reason for optimism. His new-found love interest, Christine, says “We must keep faith,” to which Bill replies, “It’s going to take more than that to get through this.”

Indeed, God is no help against the triffids. These intelligent, moving plants are soon everywhere, consuming humans and intent on taking over the planet. Bill and Christine, along with their adopted daughter Susan, make their way to Spain in hope of finding a military solution. They stop at a mission, topped with a cross and inhabited with a helplessly blind, and expecting, couple. The message is clear—there is no god to help those left to their own devices. Even those who live in god’s real estate have been abandoned. Those who survive are those who help themselves. Eventually our hapless heroes are rescued by the navy and a submarine moves them safely away from triffid-infested Europe. Then, in the final scene, our blended family is seen walking into a church while a voiceover declares that the triffids did not defeat humanity after all, and “Mankind survived and once again have reason to give thanks.”

Exegeting this film, however, leads to some uncomfortable conclusions. Those who had no divine aid give thanks to an impotent deity after it is all over. The solution for destroying triffids—salt water (you might want to store that away for future use)—is discovered by scientists and is applied at their personal peril. Even the heavenly-based origin of the menace has divine overtones: colorful portents in the sky are the provenance of God. In 1962 science had not yet even reached the moon. The default fallback, based on decades of evangelical sculpting of culture, is to give thanks to the Lord, despite the devastation. Indeed, a new Garden of Eden might be said to have resulted from the triffid assault. In this garden parasitic plants teach humans to give thanks, but the vast majority of humanity remains blind.

Close Commandments

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Okay, so I’ll admit that Jeffrey Kripal’s Authors of the Impossible put me in the mood for Close Encounters of the Third Kind. Watching this movie always calls for an investment of time and some emotional energy since it does drag a bit and there are some ponderously majestic scenes that simply make me want to scream. As I powered up the old DVD player this weekend, however, I received an epiphany while watching the movie for the first time in years. Early on during Richard Dreyfuss’s breakdown, the kids (incongruously) gather around the television with excitement to watch the Ten Commandments. The reason, clearly, is that they want to stay up late, and even having to watch Cecil B. DeMille’s warhorse is an adequate excuse. I’ll admit that it was one of my motivations for watching the lush, but equally dull, Ten Commandments as a child. Yes, I took it to be a pious attempt to render God’s literally true memoirs into celluloid, but its 4-hour running time did promise to keep me out of bed until after ten.

Young Moses experiences a theophany.

As my wife and I watched Close Encounters over the weekend, I realized for the first time that much of the cinematography is based on the Ten Commandments. Dreyfuss is a visionary, a prophet, if you will. He is drawn to a sacred mountain (Devil’s Tower) where, like Moses, he makes his way up and down, unable to decide whether to enter the divine presence or not. One of the pacing problems in the book of Exodus is the mental image of an 80 year-old Moses laboriously making his way up and down Sinai as God sends him on various errands. I imagine the children of Israel having time to cast a whole herd of golden cattle. As the UFOs make their grand appearance somewhat near the end of Close Encounters Roy Neary (Dreyfuss) and Jillian Guiler climb the mountain, see the theophanic display, and start back down. Only to go up again. On their way to Devil’s Tower they drive by several dead animals, like those struck down in the fifth plague of Exodus. The army forcing the people out of the area is itself an exodus. The return of those kidnapped by the aliens is a kind of letting go of those held captive. Apparently the Egyptians and aliens have a long history anyway.

I have no idea if Steven Spielberg was intentionally modeling Close Encounters on the Ten Commandments, but corollaries are clearly there. 1977 had not yet witnessed the decline of Erich von Däniken’s star, catapulted into orbit by Chariots of the Gods? where once again we find God driving spaceships and giving the Egyptians a hand with those pesky pyramids. Even the surnames of the characters seem to be a play on their biblical roles. Roy Neary, the one who draws near to God, the only one selected to literally ascend to heaven at the end, and Jillian Guiler, whose suspicion keeps her earthbound with her son Barry, who bears an eerie resemblance to the childlike aliens whom he befriends. Berry is the movie’s Joshua, the one who will keep the faith alive for the next generation. The story came to Spielberg, according to the media, when he saw a meteor shower in New Jersey as a youth. I missed last week’s meteor shower in New Jersey, and my baby ark on the Nile never sailed.

Persistence of Demons

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Although released in April, Insidious is a film for the long nights of winter. At least with my schedule of keeping up with a culture that is moving too fast, this feels like a reasonable rationale for having just watched it. I tried not to read reviews of the movie when it came out since I prefer to experience the thrills first hand when I watch a film. Like many horror movies, Insidious revolves around the supernatural. Specifically, Insidious takes on the specter of the afterlife. Unlike The Exorcist, the demon in Insidious is not expelled by a priest, but by a psychic, borrowing a few celluloid feet from Poltergeist. Adding a couple of ghost hunters to the plot reinforces the idea of the secular demon that so often appears in the learned discussions of the TAPS team as they tilt with unseen entities on SyFy.

In an increasingly secular society, the fear of the dead is very much alive. Even a casual stroll through Barnes & Noble (the only show in town now) will demonstrate the popularity of the paranormal. Somehow sitting in pews listening to a sweaty orator go on about what he (sometimes she) thinks God is wanting us to do has disconnected us from the realm of the dead. Paul Tillich famously declared that God is a person’s “ultimate concern.” In an age when technology is hovering on the edge of keeping consciousness alive forever, people wonder what happens to the self when the body dies. Call it soul, consciousness, mind, or personality, we can’t deny—no matter how secular—that something inside makes each of us unique. The myth of flying about with angels playing harps doesn’t match everyone’s expectation of an afterlife any more. At least some of us hope for electric guitars.

Insidious opts for a realm like Limbo known as “the Further.” This is a place we have been before. The hopelessly corny The Seventh Sign gave us “the Guf” as a now empty federal reserve of souls. The Greeks gave us Tartarus and the Zoroastrians “the place of worst existence.” No matter what we call it, our brains like to believe there is some place out there that we go when the biomass we drive each day finally hits the wall. Increasingly it has become a negative place where darkness reigns. Insidious’s “the Further” is a hopeless realm of the dead, acting out their evil intent. There are no angels, but demons abide. It seems that we’ve outgrown the concept that angels are watching over us, but we can’t escape the creeping sensation that diabolical entities are peering at us from the shadows. During these long nights of winter, Insidious invites us to take a journey to where there is no heaven, but hell is surely not hard to find. All we have to do is close our eyes.

Silent Might

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Iowa is a state for reflection. For many years Christmas in Iowa was a family tradition, but living on the east coast makes such pilgrimages rare. On Christmas Eve in Ames, we drove past a Nazarene Church decked out for the holiday with a sign reading, “Jesus Came for You.” Perhaps I watch too many movies, but the images that came to mind were of Rambo and The Terminator—menacing figures who’ve sought out their victims for revenge. Coming for you was a threat rather than a promise. Who can forget Arnold’s “I’ll be back”? Was the child who came sent with a mission of punishment or of peace? To hear presidential candidates and other evangelicals tell the Christmas story, it is clearly the former—the Rambo of God who blows away the sins of the world—that we should expect. The Prince of Pieces.

That version of Christianity that likes to present itself as the default, the natural form of what the church has taught all these years, has a strong current of threat running through it. God never shows up unless there is a problem—an absentee father only too swift to remove his ample belt to begin a sound thrashing. Religion often thrives in the context of menace. Teaching that people are evil by nature and only good when under promise of Hell, such believers understand the coming of Jesus to be cause for fear and alarm. According to Luke, the angels began their message with “Fear not.”

How Christmas is understood reflects on the view of Christianity that believers choose. For the advent and arrival of an emissary can be cause for celebration or of fear. In some mangers the infant conceals a cudgel and woe to those who suggest equal treatment of all or a non-literal reading of favorite prooftexts. This time of year stands as an excellent test of what this child will grow up to be in the minds of his latter-day cohort. What arrival should we anticipate? If it is the Jesus of the politicians and evangelicals, we only have to look at the headlines to discover the answer.

What child is this?

Crimes and Misogynies

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Mill Creek Entertainment has, through no fault of its own, accounted for many an idle hour of my weekends. Assiduously gathering and collating public domain movies, mostly of dubious quality, into sets of fifty movies per box, sold at a rate that probably isn’t actually cheap since most of the movies are available free online, Mill Creek panders to the connoisseur of B, C, D, or even lower, movies. Sometimes, however, a good one slips through. That’s how I discovered Bluebeard (1944). One of John Carradine’s many movies, this version of the seventeenth-century tale of a murderous husband is set in Paris sometime in the not-too-distant past, Gaston Morel is a demented puppeteer who murders his models because of a religious incident. In the final confession scene Morel explains how he, as a starving artist, took a homeless girl to his studio to nurse her back to health. As he sketched her, he realized she reminded him of the Maid of Orleans—Joan of Arc. After her recovery, she turned to a life of debauchery, driving Morel insane with rage. He thus comes to kill his models due to his tattered faith (and fragile psychology).

Despite some typical overacting and strange plot twists (why would a Paris police inspector take his American girlfriend to examine evidence to solve a crime about which he is clueless? Was he planning to run for president later?), the movie manages to provide an intelligent number of turns in the plot to keep viewers interested to the end. The concept of a killer deranged by an idealistic fiction of a female victim is somewhat frightening because it continues to this day. Long before Eve bit the fruit, ancient Mesopotamians feared the demonic female of the night who later came to be called Lilith. When the unruly female entered Judeo-Christian tradition, however, she became the target of the hate and fears of too many men who had their own ideas (backed by their own religions) of how women should act.

Witch-hunts (of all varieties) have their basis in religion-fueled misogynies. Religious texts, written mostly by men, set the standard of female behavior. Those who fail to live up to it must be enemies of the world order of masculine ideals. They are the heretics, the expendable, the feminine. As someone raised by a woman without benefit of her husband, I have never had any doubts that women were just as, if not more, capable of making it in the world as men. Yet even then, in the 60’s, many women believed equal rights with men to be immoral because of the magisterial pronouncements of the male Bible. Remember, God for the Bible is a bearded man. And upon close inspection, at times at least, one may discern in that beard a touch of blue.

Parable

Nightmare Behind Holidays

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Among the first mythical creatures to go extinct when the early rays of the Enlightenment began to filter through the blinds of superstitious antiquity, were demons. It was recognized that the activities attributed to demonic possession closely resembled epilepsy and psychological illness and that Occam’s Razor would remove any unseen entities with its no-nonsense straight-edge in one deft pass. And yet they remain. Among the ghost hunting crowd, demons have been recategorized from fallen angels to entities that have never been human. Their reality is assumed, and results of investigations, not surprisingly, support that assumption. It was, however, a Dirt Devil advertisement that created a desire to watch The Exorcist now when darkness comes early and the leaves have fallen from the naked branches and a chill has permeated the air.

As I watched the still disturbing film, I realized that I had also watched the Exorcism of Emily Rose and The Last Exorcism within the past few months as well. I am no fan of demon movies; even with no demonic forces out there, inevitably young women are tormented by what ultimately turns out to be a male establishment. My threshold for watching the suffering of others, even if only acted, is minimal. Movie makers—and often horror writers—know and exploit this, bringing us to face the real demons, the shadowy regions of our own minds. The Exorcist is particularly effective in this since it is Fr. Karras’s demon that ultimately wins out. Having never read the novel, I’m not sure whose idea it was to make the demon Pazuzu, but once again the origins of demons does not fit modern media’s expectations.

Pazuzu was a Mesopotamian “demon.” Akkadian doesn’t have a proper word for what the Judeo-Christian tradition would introduce as a fallen angel. Demons were simply a way of explaining profound misfortunes such as droughts, pestilence, or the Bush administration. Eventually such misfortunes became personified and took on the ability to possess a human being. Here is where psychology and neurology have come to banish demons. Part of the terror of The Exorcist is that such scientific explanations are laid flat in the face of real supernatural power. The lessons of over-consumerism, as evidenced in Black Friday eclipsing Thanksgiving for many (the lines were formed in many locations well before midnight, cutting into family time in order to get first crack at the bargains) show the demon more clearly. Holidays are measured in importance by the amount of money spent. Perhaps it is no wonder that Halloween’s demons have lingered through November and even to the end of the year.