It is the Winter of '86/'87. A young soldier has been stationed in Germany for almost a year. He angsts over the issue of always being made by fate to live in some cow pasture or desert since birth, having never lived anywhere interesting for very long - only long enough so that he may know it is possible - and having no idea that it is a network of people who play the role of both fate and destiny in his life, outside his considerable gift for charmed destiny. He lives during this time in a large barracks bay, all the way in the back of this long room, and to the left as you enter, sharing the bay with five other soldiers who have taken pains to divide up the room with shower curtains and lockers.
He has spent the better part of the past year saving, shopping, and purchasing audio equipment at inflated prices through the PX system. So now he has this huge 260 watt Yamaha stereo system on a coffee table right next to his little barracks bed, all of which is placed on his little piece of carpet which divides his area off from the other areas in the ancient barracks bay with its very thick walls. He owns a lamp, some CD's and his wardrobe at this point (understudy lifestyle?). One Friday just after he gets off duty as a mechanic and is zoning out to his stereo, his First Sergeant bursts into the room and tells him to get in uniform now; he has been volunteered to drive some ammunition across Germany on short notice. So, he jumps into uniform and will spend the weekend driving through winter-weathery, deep-freeze conditions, and will spend most of Saturday night stuck out in some forest somewhere because he was further volunteered to drive out there and rescue a German work crew who got stuck in a ditch with their porta-potty truck; straps are used to get the German's flatbed out of a ditch.
This gorgeous young man of course has been subjected to countless murders night after night, even while on tour in the military in Germany. He was also the basis for Suspiria by the same director, ten years earlier. The thing which makes him gorgeous ("green and orange," wink) is the thing which makes him "glow," something coveted and which can be seduced and even attacked. You know what that is don't you? This quality, which becomes a pretty lady possessed of talent in the story, must witness these murders every night. Though "her man" has no idea they occur, she knows they do. The unconscious always knows what we cannot face.
The barracks bay in the real world becomes the opera singer's apartment in the story, and the opera house is where she debutes unexpectedly as an ace truck drivin' man, feeling not quite ready to play the role which feels unlucky somehow. It's "a cold scene."
The costume which is attacked is both a military uniform theme and is symbolic of an aura attacked in the night; the seamstress symbolizes a talent which might be murdered off while Miss Pretty watches. The placing of the bling is symbolic of the placement of medals and patches.
The release of the ravens from the cage on stage is an ejaculation analogy. The sperm attacks the killer man.
And then of course there is the imagery collected of this young soldier walking around the streets of any number of German towns and cities, touring about when he can, and trying to absorb the reality of a foreign country in as unspoiled and spontaneous a manner as possible. And then there is the invisible presence which follows him to Munich to collect some more imagery of him exploring a foreign country, where he begins his mall-walking career. Thus, there must be some scenes with the opera singer walking around in Europe and on the mall in this movie.
Speaking of walking. Monty Python and the Holy Grail was secretly derived from this person's life at seven and eight years old, and is borrowed from subtly to make this movie. The Grail was built up from experiences gained invisibly following this kid around all of the time while he went about his kid business (same as with Danny in the Shining). The boy began this walking far and wide tendency very young - a subconsciously motivated defense mechanism used to compensate for certain pressures which can be brought to bear on a living space via group astral projection, the boy sometimes walking out several miles into the potentially dangerous Alaskan wilderness from his back yard (the "you can always go downtown" theme used in Girl Interrupted). The whole pretending to ride a horse routine was derived from the activities of some kids living in Fort Greely Alaska in 1973 and 1974, and this kid would pretend every now and then to drive a truck in a similar fashion to the pretend horsey riding in the film, which is typical kid behavior anyway.
The specific quest theme was derived quite a bit from these long adventures into the woods, one long walk back home in the heavy rain, the boy's obsession with climbing to the top of a playground tower (lighthouse) which was specifically designed so kids couldn't climb all the way to the roof and find themselves high up enough to actually injure themselves falling (this involved some early afternoon hanging out of the third floor of this thing, through an opening some other kid created by kicking a metal bar out), and of course the Sir Galahad sequence was derived from an encounter the boy had with a couple of educationally enthusiastic girls in a basement, and where the boy learned to be rather educationally enthusiastic himself. And then there is the neighbor kid - a raven spy - with the huge comic book collection in his basement and who made it a point to show our boy a comic showing a man being eaten alive by butterflies, and who become's the basis for the crazy hermit with the hut in the film. Of course Arthur and chosen sidekick - First Knight - together symbolize the boy as an expression of memory from past and present life.
The Bridge of Death was derived from a narrow trail worn across a very deep and steep ditch located near a large concrete drainage outlet, not far from the housing area where the kids lived. The raven spy kid would egg the other kids on to ride their bikes down the rather dangerous little path to make it to the other side, which might cause the forks on a bike to break upon reaching the bottom of the ditch, or just an immediate crash. "Young Arthur" was impressed by this older kid with a dark green bike with a slick tire on the back and which had a bee painted on it, riding from one side to the other so easily, and of course our boy found he could do it easily too, once "chicken Robin" was overruled anyway. And then there was the time, about dusk one day, when the boy was out in the woods by his house, and then he heard a noise and took off like a bullet back towards the house, which of course became the Lancelot attack scene, and the basis for the rabbit theme, because it was just a rabbit which startled the boy (the housing block where the boy lived looked rather castle-like, and astral people are kept in his living space at all times, to keep things cool around the house).
The king and his prince son kept trapped in the tower is composite-symbolic of the boy, past memory and present combined. The dark cave was derived from several frozen solid holes in the packed Alaskan snow within which the boy became trapped; one was a caved-in igloo with its door frozen shut, which became the basis for cartoon version of the cave especially. The scene where the hieroglyphs are read in the cave corresponds with the boy exploring the frozen-shut door in his frozen hole within which he had to wait for help, or maybe freeze to death. The boy is also symbolized in the film by Sir Not Appearing In This Film. And of course an invisible ritual presence is one's life like having a python or maybe a huge anaconda in bed with you at night.
The killer in Opera was derived from another soldier who lived in the barracks with our young life-long subject, a soldier born in Rhodesia who was a practiced raven (the sharp knife) and who practiced the art of seduction with other males in order to get them into a homosexual rut, so that they might be more easily attacked and exploited from the astral (ravens are required to be bisexual, and pass this quality on to their victims over time also, effectively swapping bisexuality for true heterosexuality (the perfume effect is a part of that process too). This Rhodesian soldier tried to romance our subject, and failed. The attempted seduction occured while sitting on the bed next to the stereo, as the two were talking and playing music late into the night. The young stage manager in the movie becomes a composite-symbolic character in the nude scene which precedes the young man's murder, symbolic of the killer and the victim at once, as mirror image encounter. The killer mirrors his victim in order to seduce the victim, appealing as much as possible to what quickens the victim's enthusiasm; the victim is to help facilitate the murder. These two young soldiers took a trip with a group of other soldiers into the alps, where other attacks occured. The booze thrown at the tv is "a black arrow" which becomes the perfume delivered as "a gift" which can cause deadly asthma, among many other afflictions.
Oh yes, the "marriage." That whole theme relates information about a covertly arranged relationship which was to occur between our boy and a ten-year-old girl who was chosen because she had strong homosexual inclinations and who also liked to wear her hair short like a boy, as well as wear boy's pajamas to bed, etc.... This girl became Columbia in The Rocky Horror Picture Show by the way (that film and this one discussed here are essentially the same project on a covert level, the scrapbook, etc...), and this "arranged marriage" was to occur during the Summer, right after our young subject's eighth birthday. The reason this arranged situation was to be created is because of the previous "sexual encounter" with the two girls in the basement, and because earlier in the Spring, the boy kissed a girl out of curiosity in front of her housing unit (this became the ideological basis for the Dreem sequence seen at the beginning of the film; the boy was sitting on a wagon, and the blonde girl was sitting on a "more complex vehicle" as the "spit was swapped;" this kind of extreme symbolic substitution is common; the girl who was kissed was represented by the cheery blonde girl pictured on the dreem logo mounted on the front of the truck, and the boy was represented by the men "giving the kiss" or loading the truck with "spit;" Proudfoot means penis by the way - sexual motivation; this girl became Janet in Rocky Horror).
Well anyway, the marriage started out well enough because the boy got his own educational enthusiam satisfied. But then Lancelot showed up and crashed the wedding. This was also symbolized by Lancelot showing up to save Galahad from the educationally enthusiastic girl matrix (they only mate up with nothing, heh, heh). It helps to realize that symbols are encrypted by mixing them up in this fashion, where one scene melds into another on a symbolic level. The knights in the film of course symbolize experience-based memory which is encrypted into the boy's aura as personality traits, thus each knight would represent a different element of the boy's character at this point in his young life. Lancelot is the strong phallic character who sets the sexual situation right, so the boy and girl spent the rest of their time together just having fun running around the woods and picking blueberries - becoming friends - so the girl was taken away once it was obvious that no seriously weird relations would result from the union. The reason Lancelot killed so many is because the astral "wedding guests" were working to kill the nature in the boy Lancelot symbolized, effectively stealing the boy's yet-to-be-utilized sexual nature (talent-array). As the boy expressed his nature true, ravens died all around him (the Black Beast encountered in the caved-in igloo was symbolic of these ravenous ravens). The reason the girl in the film is fat is because fat was substituted for homosexual inclinations as a symbol. Human nature likes to keep these forms of nature trimmed down.
Another fat symbol is of course the Holy Hand Grenade, which was representative of a decomissioned hand grenade, normally used for military training purposes, which the boy had acquired from his father and had deposited in his toy box. Upon acquiring the relic, the boy was naturally fascinated by how the thing worked, with its hammer setting off the blasting cap and all. And of course boy had to know how long it took to detonate and when you had to throw it (the boys father was also a raven, and the grenade represented a more sexual kind of gift, like the cake given to the prostitute in Eyes Wide Shut).
The handgrenade was used against the rabbit of course because the rabbit "was also dynamite," and people do run from dynamite (rabbit is also a clitoris symbol). The rabbit became a symbol for the unexpected noises which might scare the boy while he was out exploring the woods. This noise situation occured twice. Once as previously explained, and once as the boy decided to go miles out and explore deep into the woods. He eventually found the tank trails out there, and began exploring these. He came upon some discarded cabinetry left in a huge puddle to the side of a trail, and decided to pretend it was a boat and pretend-sail it. It was at this moment he heard for the first time that deep, muffled roar only aluminum armor plating can make when traveling along at nearly fifty miles per hour (this was also the basis for the aluminum armor used in Excalibur). The boy was startled to the nth degree and immediately ran into the woods, sprinting along in desperate hopes of finding "shrubbery" behind which he might hide. He found some bushes and, like an infantry man, took cover, only to look up out at the tank trail and witness an M113 Armored Personel carrier, in early seventies olive-drab-white-star colors speeding by.
Two scenes were created out of this one encounter: the encounter between Arthur and the Knights Who Say Nee, and the one where the big rabbit-shaped APC is built in the woods out of light material and then sent into the French. Notice, noise, whether made by the huge rabbit or by knights stumbling around in the woods, is emphasized and it is these noises in the woods which scare Arthur. The hiding behavior seen in the knights in the film was derived watching the boy hide behind the bushes while watching the frightening APC drive by at at break-neck speed, with the soldier sitting up so high behind the 50 cal. The tall knight encountered by Arthur in the woods was symbolic of both the APC and the boys father, who sent the boy into the darkening woods to get a stick the night he was scared by the rabbit, thus the big trojan rabbit was made of sticks.
See how these scenes are just melded together around one idea? This is called primordial encryption, where the encrypted idea becomes primordial and is mixed up with some different symbolically relevant realities using holographic methods, in such a manner that the idea must be deciphered back out and understood. For example, the Black Knight encountered in the woods symbolizes war games encountered, as well as the mad hermit as a cross-referencing symbol. Symbols often cross-reference very extensively with many other symbols in a story or even amongst many stories. And the Black Knight also cross-references with the sheep's skin hurled at Arthur as he kneeled to pray.
The herring bit is one of the references to sticks in the film. The idea is that when a boy discovers that he can break himself a stick off a small tree, and then sharpen it, he thinks could probably kill a bear or moose with it, just like a swallow might carry a coconut.
The guy who drove by in the wagon with the stick in his hand is another example - the shrubber. He also ties the scene in with the other M-113 scenes. The stick substitutes for the 50 calibur machinegun on the APC and the shrubber for the soldier behind it, sitting up high. The reason they make all of these references is because they can experience what the kid experiences, even storing and replaying the kid's memories far more efficiently than can the child, taking notice of what impresses the child most when an event occurs in the child's life.
Enthusiasm of course "can kill" under these circumstances, for example, in Argento's Opera, they put a crystal-ball-shaped light on top of the stereo which flashes to the beat of the music, which symbolizes the beat of the music making the opera understudy's third eye flash enthusiastically, sending ravens - depressive energy deposits, which others have been deposited into her nature - out to haunt some famous musicians somewhere, musicians who know her via astral tv and up close while she sleeps; the ravens "become understudies." Anyway, an enthusiastic duck walking about in the woods in his youth, casting about for a shrubbery, says "nee" a bit much loud and in the face for some people's tastes.
The scene with the "witch" refers to this group of kids in Alaska playing some kind of tie-up game with a girl, and they took her up into the tower and up to the third floor where the fake light fixture was kept. The kids liked this lighthouse, and used it for all sorts of games. They tied the girl up and kept her as a play hostage up there one afternoon, and "young Arthur" happened by, playing some other imaginary game. In the movie, they simply substitute scales for the tower, the symbols both refering to a solar-phallic state of balance and focus, a "balanced reality map," which is always being torn down and rebuilt, like the various towers in tarot, thus the lighthouse is significant to these people who watch these kids from an invisible perspective. Understanding is always imperfect, thus it dies and is reborn. Anyway, this theme is made use of in movies about our experimental subject here, where some element of his or someone else's illuminated nature, symbolized by a woman, is chased up some winding stairs and is trapped or held hostage on the top floor or even the roof. Opera is one such movie, as is Resident Evil: Apocalypse. In Opera, the "women" held hostage up high are reprogrammed, and therefore deranged for a time, to illuminate someone else's aura, and in Resident Evil, a "red light" is programmed.
Young king's first imagining of God was also put in the movie - just a kid staring up at the sky and imagining an old man with a beard in some clouds - typical.
Another reference to the M-113 comes in the form of the three-headed giant. Confusion, fat, and armor are similar analogies. All of these states of being are temporary, like an erection, but must be managed so the host who entertains these natures is not killed or rendered weak when "the tower finally falls" and the armoring, fat, or confusion must breakdown. It is better to build an immunization against all three states of being, becoming stronger and also attractive of illumination. In fact, all three of these Capricorn class primordial natures can be used for developmental purposes, by those who understand primordial nature in question; the erection analogy can become a scaffold used to build serious talent over time, and immunization is essentially talent. Fat can be transformed into muscle, armor into tonus, and confusion into sure understanding. The idea is not to take on too much fat, armor, or confusion.
Umm this is way to smart for a rambling. This should like be in a place not atributed to movies or the Web. Don't get me wrong but this is some deep dookie and way to deep for this place. All this readin and thinkin be making me thirsty. Hey this could be made into a drinkin game?
hmmmmmmmmmmmmmmm......
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Good, Bad I'm the one with the gun.
The Real Opera Story?
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