Updated 4/25/08. Improvements/re-writes for the “Logan’s Run” write up. Now MUCH MUCH better than it was before! ;)
The following movies incorporate an interesting amount of Egyptian symbolism into their plots – Pyramids, eyes (of Horus) obelisks, ankhs, suns (Ra) and so on are a few of the most common. (For those who may not know, Egyptian symbolism is heavily used in secret societies such as the Freemasons, and the “Illuminati” aka, the Brotherhood, since they supposedly can trace themselves back to Babylon and Egypt, according to the alternative history/conspiracy researchers. As a result of their origins, you’ll find this symbolism all over U.S. paper money and embedded within the architecture and street layouts of Washington, D.C.)
Logan’s Run — 1976. Michael York, Jenny Agutter, Richard Jordan, Peter Ustinov.
It’s the year 2274, and what’s left of humankind resides in a huge domed city controlled by computer servo-mechanisms. Life is all about the pursuit of hedonistic pleasure, and nobody lives past the age of 30 – because on your 30th birthday, everybody faces Carousel, the ritual sacrifice. Nobody minds though, because they’ve all been told that they’ll just reincarnate, and like everybody else, they just believe what they’re told. Logan 5 (York) is a “Sandman”, responsible for terminating “Runners” – those fleeing Carousel, trying to make it to the safe haven known as Sanctuary outside the city. Logan is given an assignment to flee Carousel as his 30th birthday approaches and make it to Sanctuary, with the intent of destroying it. But when he crosses paths with a girl named Jessica 6 and becomes entangled in her group’s plot to escape to Sanctuary, he finds himself going along for the ride — not because it’s his assignment, but because he’s fallen for her and has become a Runner himself.
Key Egyptian/Illuminati symbolism
The Ankh necklaces. In ancient Egypt, the ankh was a symbol for life. In the movie it represents the symbolism for “Sanctuary,” which is the safe haven for runners escaping their deaths in the domed city. So, an aptly fitting symbol.
Washington D.C., where Logan and Jessica find themselves after they escape the domed city; happens to be the “Illuminati/Brotherhood” capital of the U.S. D.C. has many notable Egyptian and esoteric features, including the obelisk National Monument, the dome of the Capitol building, pentagrams in the street layout, as well as pyramid with an owl perched atop the missing capstone within the the street layout as well. So, no coincidence this city of all the possible cities was chosen as the city that the lead characters emerge into.
The obelisk featured so prominently in several scenes – more Egyptian symbolism.
The sun, (Ra) also featured prominently in the scene when Logan and Jessica first emerge from the cave. More Egyptian symbolism, and a big time important symbolism within the so-called Illuminati.
The cats (worshipped by Egyptians) living with the old man at the White House – there were bezillions of cats everywhere.
The old man reiterating several times that cats have 3 names. Not sure what that was all about, but it was a stressed point. The number three is a big one in many of these movies with meaningful symbolisms, as noted in many of my movie summaries.
Other notable symbolism
There was plenty of other interesting symbolism to be found in this movie, including a couple which seemed to tie into Illuminati mind control (as written about extensively by Fritz Springmeier, discussed elsewhere on this site):
Code “033 03.” 33, in numerology/freemasonry means Master level; 3 – the Trinity, Father, Son and feminine principle, which we see with Old Man, Logan, and Jessica.
The crystal life clocks embedded in the palms of people’s hands. Crystal technology is reminiscent of Atlantis, another technologically advanced, hedonistic society gone awry according to legend.
The Domed city. Domes are part of Brotherhood architecture, traditionally used for its energy trapping capabilities. The White House being the best known example in the U.S. Domed city also used in “The Truman Show.”
Carousel. Carousels in themselves are a symbolism used in mind control systems (as noted in the work of Fritz Springmeier), and the death ritual with its circle, robes and masks, people moving counterclockwise around a red rose figure (more Illuminati symbolism) is all symbolic of Illuminati/Brotherhood occult rituals. A near identical set up can be found in “Eyes Wide Shut” with the occult ritual orgy, and the circle of people in red and black robes and masks, moving counter-clockwise around the circle. As noted in my Mind Control Symbolisms… write up, so many of these movies have overlapping repeating symbolisms and themes.
30. And tying into Carousel…..People in the movie are all killed in Carousel at the age of 30, specifically. Why 30? Especially considering that in the original short story that the movie is based on, everybody was killed off at the age of 22, I believe. It was changed for the movie. Well according to my mind control research, the Illuminati/ “MK Ultra” mind control/sex slaves are typically killed off at the age of….30. A symbolism also found in Eyes Wide Shut, see that review for more information.
The rainbow. With the age of “30” and “carousel” now noted, now take a closer look at the movie box cover with the rainbow. On the surface, it parallels “The Wizard of Oz’s” over the rainbow – but as noted in the Eyes Wide Shut write up, the rainbows are also one of those symbols used in mind control. The phrase “over the rainbow” in the context of mind control has to do with living life in a tranced out dream state, coupled with sex kitten programming. Which fits in the context of “Logan’s Run,” a very sexual, hedonistic society living life in an oblivious dream state.
Water. Water, water, everywhere in this movie. Symbolically represents truth and emotions, and was also noted in my write ups for “Dark City” and “The Truman Show.” The entire end of the movie revolves around water – Logan and Jessica go back to the Dome City to tell everybody the truth about the outside world and save them, and in order to get back into the city they have to jump into the water and swim through several closed off openings; At this point in the movie, you could say Logan has finally become fully human, and has connected with real emotions and actual empathy for the first time in his entire life. They also discover at this point that the city is right on the ocean, being powered by the seawater – which means that “the powers that be” who are in charge of running the city are very aware of the truth about the outside surroundings – even if everybody else is kept in the dark.
Going back to rescue those left behind. Speaking of Logan and Jessica returning to the Dome City to tell everybody the truth and save everybody, as noted in my The Island write up, this is a concept that Rudolf Steiner talks about in his book called “How to Know Higher Worlds.” Following is an excerpts from that book which illustrate the parallels, (the voice narrating is supposed to be that of “the great guardian of the threshold”):
“You have freed yourself from the world of the senses. You have earned the right of citizenship in the supersensible world. From now on, you may work from there. For you yourself, you no longer need your physical bodily nature in its present form. If all you wanted was to acquire the capacity to dwell in the supersensible world, you would never need to return to the world of the senses. [….] Some day you will be able to unite with my form, but I myself cannot find perfect blessedness as long as there are others who are still unfortunate! As a single, liberated individual, you could enter the realm of the supersensible today. But then you would have to look down upon those sentient beings who are not yet freed. You would have separated your destiny from theirs. But you are linked together with all sentient beings. […] You must share with the others the powers that you achieved with them. Therefore, I refuse to admit you to the highest regions of the supersensible world until you have used all your powers for the deliverance of your fellow world and fellow beings.”
Flag/Book. At one point towards the end when Logan is fighting off Francis 7, Logan throws a book at him, representing knowledge, while Francis grabs a tattered American flag on a pole, representing nationalism, brainwashing, the system, etc. to attack Logan with in response. Thought that was an interesting use of symbolism.
A parallel to this movie is “The Matrix.” In both movies, our male heroes (Logan, Neo) start out living in a dream world lie – one based on blissful hedonism where the public is lied to, the other being computer generated A.I., respectively; Both meet up with a female counterpart (Jessica 6, Trinity) who set them on the path of awakening, and become their love interest and partner in crime; The two then meet up with the male father figure (Old Man, Morpheus) forming the completed “trinity” of Father, Son, and the feminine principle). Then they make the decision to return to the dream world/illusion (dome city/the Matrix) to rescue the rest of humanity. “Logan’s Run also parallels the movie “Labyrinth” during the first half, (or rather, Labyrinth parallels Logan’s, since Logan’s came first) as well as The Wizard of Oz in many ways, (hence, another reason for the rainbow on the cover…)
All in all, “Logan’s Run” is absolutely dripping in symbolism, tying directly into the Illuminati/Brotherhood “cult of Egypt,” and with a nice little smattering of mind control programming references thrown in for kicks, since the “Illuminati/Brotherhood” is heavily involved in that as well.
Young Sherlock Holmes (aka Sherlock Holmes and the Pyramid of Fear) – 1985. Nicholas Rowe, Alan Cox, Sophie Ward, Anthony Higgins.
What would Sherlock Holmes have been like in his youth? How did he meet up with Watson? What got them started on a life of crime solving? This movie imagines that…but with a plot that’s chock full of Egyptian occult/Illuminati symbolism making it worthy of being mentioned. With three Hollywood elite big wigs at the helm, (producer Steven Spielberg, writer Chris Columbus, and director Barry Levinson) it means this movie is going to be well done, with a dark edge to it and secondary layers and symbolism.
When several people around Victorian London are shot by poisoned blow darts, experiencing hallucinations that drive them to their premature deaths, a young Sherlock Holmes (Rowe) and his classmate/friend John Watson (Cox) are on the case, poking about and looking for answers. What they uncover is a plot involving a secret Egyptian-based cult comprised of upstanding London citizens leading double lives with plans to kill several businessmen.
With its secret Egyptian occult society and ritual sacrifices in the big underground pyramid, the movie’s plot is a direct tie to the other Spielberg movie, “Indiana Jones and the Temple of Doom” from a year earlier. Guess Spielberg was going through his occult-ritual-sacrifices-by-secret-groups phase. ;) It gives a dark and edgy spin to this otherwise family-fare movie. Either it was a phase he was going through, or there’s some not-so-hidden meaning behind it. Nowadays the public is becoming more and more aware of the Egyptian-influenced occult groups and secret societies that run the world, thanks to authors David Icke, Jordan Maxwell, and others, movies such as “National Treasure” etc., so we sort of take this stuff for granted now. But back then the public was pretty clueless about it all. However…someone such as Spielberg, part of Hollyweird’s Elite and probably a secret society member himself, would definitely be aware of such things. He seemed compelled to make several movies that incorporated his knowledge into the plots, either out of giddiness for what he knows, or to spread a message to people who have “eyes to see and ears and to hear,” or because these movies serve as giant occult rituals in themselves. Take your pick. Either way, it’s such a strange contrast to find this content mixed up in a Victorian era England Sherlock Holmes movie. ! If nothing else, it at least makes it interesting.
Bubba Ho Tep — 2002. Bruce Campbell, Ossie Davis, Bob Ivy, Ella Joyce
The plot of Bubba Ho-tep centers on what seems like ridiculous absurdity on the surface…Elvis (Campbell) is alive and well and living out his last days in a convalescent home, duking it out against a resurrected Egyptian mummy with the help of an old black man (Davis) who believes he’s JFK. But if you look closer, the movie seems to be one big reference to Elvis and his Illuminati mind controlled puppet existence.
We have Elvis, going up against what of all things but…a dried up old Egyptian mummy? People with no background in the Egyptian-based occult Illuminati and no knowledge that Elvis was supposedly their puppet will only see something fun and campy. But with a little background into who Elvis was, suddenly, you see this as possibly being a symbolic metaphor for Elvis battling to his death against his Illuminati controllers/handlers.
The last line of the movie was actually pretty telling when you have this realization going on. Elvis is lying flat on his back outside, under the stars at night, about to die, and he’s feeling serene and content because he managed to kill the mummy. Suddenly, in the sky appears several Egyptian hieroglyphics, translating to “ALL IS WELL”, as Elvis smiles and says, “…But my soul is still mine…..”
They killed Elvis, but they didn’t get his soul. When you do the research into mind controlled slaves, you’ll find many a mind controlled victim reminding themselves, or being reminded by helpful others, that at least “they” can’t get their soul. “They” may be able to make your life a living hell while you’re alive, but they’ll never get your soul.
If you’re still unconvinced, then an interesting side note worth mentioning is that Elvis got his start at Nashville’s Sun Records, (Sun — Ra, the Sun God; the sun is very important in Illuminati symbolism) and from what I read, (can’t verify it myself…) after Elvis died, his record label released an album that featured Egyptian symbols and pictures all over the cover.
The other central character of “Bubba Ho-tep” is “JFK”, played by Ossie Davis. We see an old black man in a suit when we look at JFK, but the (deluded?) JFK believes that he really is JFK. His room at the convalescent home is done up just like a bedroom at the Oval Office, and he claims that his life is connected via an implant to “Them” in Washington, and at the flip of a switch they can turn off his life. (symbolic of how “they” switched off the real JFK’s life in an instant?) He even shows a scar on the back of his skull. ! Pretty funny when you’re watching this scene. Everybody laughed in the theater during this whole part. But isn’t this plot concept also just a little…strange?? I thought so. So why “JFK” then? Why make Elvis’ sidekick and partner in bustin’ some mummy ass be JFK??
Possibly because JFK was offed by the Illuminati Brotherhood too, and was another victim of theirs. So it’s very fitting when you think about it. We get to watch Elvis and JFK kill/seek their revenge/break free of the mummy/Illuminati Brotherhood, and succeed in killing it…..unlike how it went in real life.
Bubba Ho-Tep is worth watching if you’re looking for something unique, original, and well done. Bruce Campbell IS Elvis in this movie, and Ossie Davis makes a great black JFK. “They dyed my skin!”
© 2006-2008
Carissa Conti