A new book examining the occult motifs contained within popular films such as ‘The Wizard of Oz,’ and ‘Fight Club,’ as well as in the ‘Lord of the Rings’ series and the ‘Back to the Future’ trilogy is now available, and ‘Conspiro Media’ has interviewed the author for an up-close-and-personal perspective.
Why is James Bond’s numerical designation, ‘007’? Where does the name ‘Luke Skywalker’ come from? What’s the deadly bunny rabbit in Monty Python’s ’Holy Grail’ film representative of?… These are just some of the questions that are discussed with Robert W. Sullivan IV, the man behind, ‘Cinema Symbolism: A Guide to Esoteric Imagery in Popular Movies.’
Born and currently based in the US State of Maryland, 43-year-old Sullivan is a lawyer, jurist, historian, theologian, and antiquarian. In 1997, he joined Amicable-St. John’s Lodge #25, Baltimore, and, in 1999, became a 32nd degree Scottish Rite Mason (‘Valley of Baltimore, Orient of Maryland’). His first published work was 2012’s ‘The Royal Arch of Enoch: The Impact of Masonic Ritual, Philosophy, and Symbolism.’ This book – in his own words – “presents a real-life ‘Da Vinci Code / National Treasure’ mystery which, until the publication of this book, was previously unknown to history and historians in both the East and West.” The result of over twenty years of research, it “documents an undiscovered historical anomaly: How a high-degree Masonic ritual – developed in France in the mid-1700s – included elements of the ‘Book of Enoch’ (AKA I Enoch) which was considered lost until Freemason and traveller, James Bruce returned to Europe with copies from Ethiopia in 1773. This high-degree ritual titled, ‘The Royal Arch of Enoch,’ documents the recovery of the ‘lost word of a Master Mason,’ the Name of God.” It “also documents the symbolic restoration of the sun as the premier icon in all of Freemasonry.” Allegories pertaining to the sun are, as you might expect, at the core of ‘Cinema Symbolism.’ Sullivan talks about this during the ‘Conspiro Media’ interview, detailing the overarching solar motifs that are the inspiration for many of our best-loved and known movie characters and plotlines. They’re referencing ancient legends and myths associated with, what he describes in his new book as, “the idolatrous worship of the solar great father.” This inevitably leads us into the realm of astrotheology where the story of Jesus is revealed to be a metaphor symbolising the journey of the sun as it makes its way through each house of the zodiac from a northern hemisphere perspective beginning at the Spring/vernal equinox point (March 20th/21st) when its power and influence on the Earth starts to strengthen. Sullivan writes in his introduction, “the adoration and worship of the sun is the sign of Pisces in Christianity. For example, Jesus walks on water and washes feet since Pisces is a water sign that rules the feet. Jesus has also 12 Apostles who are the 12 houses of the zodiac anthropomorphised. Within occult Christianity, Jesus is the ‘sun of God’ who is dead and buried at the winter solstice (December 20th-22nd) only to be resurrected at the vernal equinox culminating with the ‘Easter’ celebration of the sun emerging from the three-month tomb of winter announcing longer days and warmer weather.” In movies, Sullivan tells ‘Conspiro Media,’ the sun is Neo from ‘The Matrix’ and Chance the gardener in the Oscar-winning 1979 film ‘Being There’ with Peter Sellers (to name but only two). Then there’s the counter-balance of the moon – the “lunar great mother.” This can be seen in the Princess Leia character in 1977’s ‘Star Wars,’ a heroine-figure who wears white robes “personifying the moon’s nocturnal brilliance.”
‘Cinema Symbolism,’ also delves into movies that are immersed in iconography linked to numerology, the Tarot, alchemy, Freemasonry, and the doctrines of Gnosticism (which is a word taken from the ancient Greek, γνωστικός; ’gnostigos’ / ’learned’ from ’gnosis’; ’knowledge’). As Sullivan states in his book-intro, “Gnostic ideas influenced many ancient religions which teach that gnosis – variously interpreted as knowledge, enlightenment, salvation, emancipation or oneness with God – may be reached by practising philanthropy to the point of personal poverty, sexual abstinence and diligently searching for wisdom by helping others.”
In the ‘Conspiro Media’ interview (available directly below), Robert gives us his take on a number of films including ‘Black Swan’ and ‘The Omen’ and ‘Matrix’ trilogies, as well as the aforementioned ‘Star Wars‘ and James Bond series, ‘Being There,‘ and ‘Holy Grail.‘ In fact, he talks at some length about the Monty Python comedy-team and the very strong likelihood that they were (and are) very ‘switched-in’ to occult ideas, as was 007 creator, Ian Fleming incidentally.
He also talks about Bram Stoker’s Dracula in relation to Theosophy and Helena Blavatsky, the influence of occultists Aleister Crowley and John Dee in the world of entertainment, and the oft-asked question – that being; why exactly do top directors, producers, and screenwriters blanket their movies in occult symbolism?…
* This interview was recorded on August 12th 2014*
You can find out more about Robert at his website:
‘Cinema Symbolism’ (and ‘The Royal Arch of Enoch’) is available to buy from the following page on Robert’s site: