![]() ![]() This Cult of Transfiguration, uses pain, deprivation and ultimately a carefully constructed clinical form of torture which for them is the road in which to search for ‘secrets of life.’ But unlike Shelley’s Dr. Power hungry Cardinal Richelieu seeks to bring down the group of nuns and take control of France. Directed by Ken Russell and based on Huxleys Devils of Loudon. In contrast to the angelic martyred figure, Vanessa Redgrave plays a devil-possessed, sexually repressed nun. (the Transfiguration) Christ’s appearance in radiant glory to three of his disciples (Matthew 17:2, Mark 9:2–3, Luke 9:28–36).Their methods, while equally brutal, stand in contrast with the motivations of the Medieval scourge of inflicting pain that was for the sole purpose of punishing, eliminating your enemies, relishing in sadism, barbarism, suffering and bloodshed, merely to bring about death slowly.Ī complete change of form or appearance into a more beautiful or spiritual state: in this light the junk undergoes a transfiguration it shines. An anonymous and beautiful little girl becomes, at first, a helpless victim, then a monstrous ‘thing’, and then is exalted to a heroic saint and visionary figure. The subjects of their research also, at this point, becomes objects. Saint-Joan Mother Joan of the Angels 1960 Directed by Jerzy Kawalerowicz Flavia The Heretic Nun (1974) also doomed to be flayed alive The end result is creation of a theoretical equation, that asserts, if you dehumanize, brutalize and cause the body enough pain, the subject’s psyche and physical being has no where else to go but toward an elevated sense of euphoria, to become Transfigured, like that of Christ on the cross, or Saint Joan de Arc. ![]() religion ( although the act of faith in their mission becomes emblematic itself of fanaticism and religious avidity) because it bares an almost anthropological approach a modern form of ’empirical’ torture, a method of collecting data. Helena Petrovna Blavatsky and The Theosophical Movement -table rappings etc. They are consumed with Mysticism or Spiritualism, (not to be confused with spirituality) a modernized form of a movement that was pervasive around the end of the 19th century and continuing around the early 1900’s, and which this cabal, assumes a very clinical, anthropologically scientific approach. The film’s antagonists are a group of clandestine, ultra wealthy, suggestive of high up in government, perhaps even royalty, seemingly above the law and untouchable, apparently with a hierarchy of leaders of an advanced age. ![]() Now, if you abstract Shelley’s allegory and invert the narrative to where the matter of science does not seek out the mysteries of life in terms of how to create it from “ the electrical secrets of heaven“ and an infinity of atoms, harness it, control it, thereby becoming god- like yourself …momentarily. Anna with her head shaved appears as a Joan of Arc figure. ![]() But the images, the spirit of the story and the characters can serve to evoke these primal questions and fears that have been built into our natures as human subjects. Whale’s campier adaptation from Mary Shelley’smore meditative novel, is still self possessed of science, the origin of being human, the question of ‘a’ God’s role in this existence and ultimately, reflectively, ‘man’s’ ( I loathe using normative masculine case ugh.) relationship to himself, his creator and the universe that bore him.Īnna in chains 12 year old Lucie in chainsįrankenstein is an existential science-fiction fantasy with multiple layers and questions that can not be answered in 70 minutes on camera. If you enter into watching Martyrs thinking that it’s a straight out of the French New Wave of Torture Porn films, you’ll miss a transformative piece of film making.įrom the time Colin Clive utters “It’s alive, It’s alive” in James Whale’s seminal classic Frankenstein 1931, the tone is set. Lucie slowly devolves into madness, as she cannot exorcise the demon who has been haunting her, a nightmarish and violent phantom born out of Lucie’s guilt for having left another little girl at the mercy of their abductors. She calls upon her faithful friend from the orphanage, Anna, who was also a victim of child abuse and utterly worships Lucie, to help her clean up after the massacre at the seemingly upper class home. Directed by Pascal Laugier ( House of Voices 2004, The Tall Man 2012) stars the unreal Morjana Alaoui as Anna, Mylène Jampanoïas Lucie and Catherine Begin as Mademoiselle.įifteen years after Lucie escapes a horrific abduction in which she is subjected to prolonged torture and deprivation, she goes on a mission of revenge on the couple who brutally held her captive. ![]()
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