Beauty and the Beast

In 2017, a live action remake of Disney’s 1991 animation, Beauty and the Beast was released staring Emma Watson as Belle, Dan Stevens as the Beast and Emma Thompson, Ewan McGregor, Luke Evans, Ian McKellen, Kevin Kline [and more] in supporting roles.

Since its release [March ’17] the film has grossed over one billion dollars, making it the top earning  film of the year and the 28th top grossing film of all time.

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The story is taken from Jeanne-Marie Leprince de Beaumont’s eighteenth-century French fairy tale La Belle et La Bete, and has similarities to the Grimms Brothers’ tale Bear Skin [1812], with variants from Italy in Don Giovanni de la Fortuna and Italo Calvino’s The Devil’s Breeches [1956]. As I outline below there are resonating themes in Goethe’s Faust as well.

Of course, the moniker of this blog being Bear Skin, I cannot refuse an opportunity to examine the subtle layers of this story, its variants and its influences.

What causes this story to be so timeless and resonant? What themes and motifs strike a chord with generation after generation of viewers and readers?

The plot:

A wealthy Prince is punished for his hubris one night when a sorceress comes to him disguised as a beggar. He rejects her request for hospitality and is cursed to bear the form of a hideous beast, his whole household to become inanimate objects, his lands to descend into an eternal winter and the outside world to forget all about them.

The curse is irreversible unless the Beast find someone to truly love him despite his beastly appearance. The time limit is set by a single rose, which sheds a petal every year giving the Beast only a handful of years to restore his true form.

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Time passes until by some glitch of destiny, Belle’s elderly father stumbles through a lost forest pathway into the Beast’s territory. Caught by the Beast for trespassing and daring to steal a single rose for his daughter Belle, the old man is locked up in the tower dungeons.

The lone horse returns to Belle, alerting her of her father’s troubles. She urges the horse to take her to her father, and so Belle finds herself too, face to face with the fearsome Beast in his strange wintery kingdom. Bargaining the release of her father, Belle offers herself as single prisoner for her father’s crimes. The Beast agrees and Belle becomes his prisoner.

Here she discovers the house is alive with staff turned into inanimate items – clocks, dressers, tea pots and tea cups, candelabra, pianoforte, stools, hat-stands and more. The staff love and care for Belle and begin to pin their hopes upon the sweet girl for their redemption.

Indeed the gruff beast soon softens to the girl in his house, wondering if she could truly love him. Caring for his wounds after a wolf attack and sharing his love for his vast library, the two become friends and indeed for a while it seems they might truly fall in love.

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Back in the village, Belle’s father tells the locals of the Beast and with pompous Gaston, stirs them up to rescue Belle. However, selfish Gaston uses the old man’s ramblings about talking chairs and tables to lock up the old man in order that the glory of slaying the Beast might be his own.

With the help of a magic mirror, Belle sees her father’s trouble and begs the Beast to let her go. Because his love for her has grown so deep, the Beast releases her and in doing so, relinquishes any hope that he and his household can ever be freed of the curse.

The villagers storm the castle to kill the Beast and are gamely held off by the army of household items defending their master.

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Meanwhile, Belle arrives in the village to find and release her father. Having released him she immediately returns to the castle to defend the Beast. There she finds a showdown between Gaston and the Beast, who is mortally wounded.

Is she too late to tell the beast she loves him? Can the curse be lifted and all the land restored?

Other stories which resonate: 

The Brother’s Grimm fairy tale Bear Skin, tells of a man wandering alone and lost in the woods, who is offered untold wealth by the devil in exchange for the form of a beast. At the end of an allotted time the devil would return and claim the man’s soul unless within that time, he could, even with his beastly appearance, gain the true love of someone. The man is given bottomless pockets of money, but his beastly appearance prevents people from getting close.

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Can he find love? Can the curse be reversed?

An ancient German legend of Faust, later immortalised by Christopher Marlowe in The Tragical History of the Life and Death of Doctor Faustus [1588] and by Johann Wolfgang von Goethe in Faust [1806] shows some similarities to these tales.

In this tale, an ambitious and successful scholar, Johann Faust, makes a pact with the devil to exchange unlimited knowledge and worldly pleasures for his soul. He enjoys 24 years of limitless power, privilege, knowledge and influence before the devil returns to claim his soul.

In Marlowe’s version, Faustus is granted no grace and indeed refuses all opportunities to repent of his wager, due to his own understanding of the Calvinist doctrines of total depravity and of limited atonement. He simply acknowledges that all men are born to sin and the destiny of his soul is set and is dragged off to eternal suffering by the devils.

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Goethe’s later version had Faust saved from eternal damnation, not only by the grace of God but by the pleading intercessory prayers of Faust’s beloved Gretchen.

The Message:

In each story, the plight of the Prince/ Beast is the human predicament.  For all characters – the Beast, Faust and Bear Skin –  all live the consequences of their selfish and foolish actions, requiring “redemption” from the wickedness they sowed.

In Bear Skin and Faust, an arrogant or lost man is seduced by the devil to engage in a wager for his soul, for a time period during which power and privilege is offset with a beastly appearance and loss of true relationships.

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In Beauty and the Beast, The Prince’s hubris leads to a living “hell” – he retains his majesty but becomes an unlovable creature. He finds his actions not only ensnare him, but affect those around him, poisoning those he was in a close relationship with [household] and even the nature and the land in which he lived.

Each major religion or faith system seeks to address this challenge facing humanity – what is wrong with us, what ails our relationship with each other and with the environment and what is the solution?

According to Hindu teaching, humans are reborn endlessly, living the consequences of the sins of each of our lives finding no release unless we purify ourselves of attachment and hubris. According to Buddhist teaching, karma for our deeds follows us within this life time and into the next. Nirvana is found through renunciation and meditation.

In most wisdom teachings of the ancient world, human hubris affects our community and the natural world in which we live, immutably harming relationships and the environement.

According to the Hebrew faith, humans were created in perfect harmony, beautiful and noble but because of hubris, lost their innocence and became wanderers in the earth, wearing the skins of animals and becoming more and more depraved. Not unlike the story of Bear Skin or of Beauty and Beast, humanity is cursed to live out the consequences of their vice and greed, until something or someone shows them true love and redemption.

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As is often outlined in this blog, the “hero journey” is one in which a “hero” experiences a death trial  which they are reborn from, providing salvation for their community.

Here too we have Belle, a girl willing to sacrificially take the place of her father and become imprisoned to the fearsome beast in his wintry castle. There the Beast learns to love her to hope that one day she could love him too.

His test comes closest to his own point of redemption when he is challenged to let Belle go, essentially surrendering any chance of being restored. This act of surrender shows greater love than any show of power could.  He allows her to go and return to him, freely expressing her own love in return to him in his dying hour and turning back the curse.

So too, the Hebrew account of the Fall of man, is countered by the appearance of a “second Adam”, one who surrenders his own freedoms and life to reverse the curse that befalls all humans wearing “skins of animals” and cursed by broken relationships with each other and the environment.

This love story restores humans into their former glory, Princes and Princesses, and restores the eternal winter to spring and brings joy where there was mourning.

Pinocchio

Pinocchio is a classic children’s tale, first written by by Italian writer Carlo Collodi in 1883. It is a story of puppet’s journey to become a “real boy” and is commonly counted among the most popular children’s tales of all time.

Indeed, the Disney adaptation in 1940 cemented its place in the hearts and minds of children across the world. However, like many fairy tales, myths and legends, the original story is remarkably dark and even sinister in parts. Moreover, many of the motifs and elements of the story hark back to deep and resonant mythical themes.

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The story begins in Tuscany Italy, where a poor and childless woodcarver Geppetto, is given a piece of wood that talks and weeps. He carves it into a marionette and calls the puppet  Pinocchio. Immediately the puppet shows willful ungratefulness to his “father” Geppetto, kicking him and running away.

Geppetto searches for Pinochio but ends up getting thrown into jail. The hungry puppet returns home and falls asleep in front of the fire. When he awakes and Geppetto returns from jail, they find that his feet have been burned off in the fire.

Ever loving Geppetto repairs Pinocchio’s feet and sells his jacket to purchase the puppet a book to attend school. However, the marionette’s mischief does not end here. On the way to school Pinocchio is diverted by a Marionette Theatre Company and sells his school book to attend. Here he gains five gold coins but instead of returning to poor Geppetto, the puppet is lured by a wicked Cat and Fox who try to extort him of his money and leave him hanging for dead.

Cat and Fox

Rescued by a fairy with Blue Hair, Pinocchio lies to her about his gold coins and famously his nose grows long. She urges him to be a good boy and sends him on his way.

The Cat and Fox return and succeed in stealing gullible Pinocchio’s gold and in his attempt to complain to the courts, he is thrown in jail. Further adventures have Pinocchio labouring for a farmer, shipwrecked at sea, captured by the Circus and turned into a Donkey.

All this time poor Geppetto has been searching for Pinocchio and himself ended up in the belly of a giant fish. Here, in the belly of the fish,  Pinocchio himself shipwrecked, finds his father and together they escape.

Blue Hair Fairy

Finally, humbled and repentant, Pinocchio works diligently, saves money and cares for his father. Visited by the fairy with the Blue Hair in a dream, Pinocchio finds that he has indeed become a “real boy.”

The story of an inanimate object’s metamorphosis into a being of consciousness and its consequent relationship with its maker is recurrent in mythical literature. From the Torah’s account of Adam and Eve in Genesis, to  Ovid’s Pygmalion, to Mary Shelley’s Frankenstein, and to more modern iterations is sci-fi and fantasy Blade Runner each explore the nuances of the relationship between creation and creator in different ways.

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  • Can a maker imbue his or her creation with consciousness and life, simply by loving it enough?
  • What does true freedom and love between parent and child, between creator and creation really look like?
  • What is the consequence to a creator of a creation who is given life and yet is unloved?
  • What is the consequence to a creation of rejecting the creator and seeking its own path?

In many ways, the story of Pinocchio follows the classic tropes of a “hero journey”: the leaving of the familiar, the meeting with supernatural aids or mentors, the encounters with trials and enemies, the ordeal resulting in death and the final resurrection and return.

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Pinnochio’s story, like the story of Adam and Eve, begins with rebellion. Awake and consciousness, the first choices of this new being are ones of curiosity, independence, freedom and necessary rejection of the advice of both conscience [the cricket] and the father. However, this journey leads to strife, suffering, loss, imprisonment and even death.

Adam and Eve

His turning point is his encounter with his father Geppetto in the belly of the giant fish. Here Pinocchio, descends as though into death and rescues the father, returning him to life. Rising from the ashes of this death experience, Pinocchio is a different person – loving, humble, respectful and caring for his father. It is here that receives his ultimate wish from the fairy, his wish to become a “real boy.”

The classic mythological story, Star Wars: Return of the Jedi, shapes a similar motif when Luke Skywalker encounters his father, the Sith Lord, Darth Vader. Luke knows he will never become a true Jedi until he faces his father. When Luke faces Darth Vader and he resists the pressure to turn to the dark side,  he redeems his father, much like Pinocchio, redeems Geppetto from the belly of the giant fish.

This narrative trope is starkly paralleled in the Star Wars: The Force Awakens, in which acolyte to the dark side Kylo Ren faces his father Han Solo, and in an act which will make him worthy of the dark side, kills his father. With this initiation rite, he sets himself free from the tradition his father represents and graduates to the place of true dark lord.

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Pinocchio differs from darker tales such as Frankenstein and Blade Runner, which reflect on the despair and murderous ends sought by a creation spurned and unloved by its creator/ father. Pinocchio is loved by Geppetto and what holds him back from becoming a “real boy” is his own rejection of this love. His transformation comes through sacrificial reconciliation of himself to his father.

And so the biblical account of Christ, who is described as a second Adam, tells the story of a son who descends into death, to be sacrificially reconciled to the father. He reverses the alienation created by the first Adam, and leads humanity forward to ultimate metamorphosis into “true sonship” ….

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…from puppet to “real child”.

 

 

 

All you need is love!

Ever wonder what narrative the nudists are following?

It’s easy to understand greenies – a love for nature, the environment, animals and concern for natural resources becomes a passion and cause worth campaigning governements and big corporations about.

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But what about the nudists?

I lived in South Korea for a few years and become accustomed to the “jim jil bang” or “steam room” sauna and spas. Common across Korea and Japan, these spas are regulars for people of all ages, and while segregated by gender, are completely nude.

However, picnicing nude, playing sport nude, swimming and otherwise doing all of normal life, outdoor and mixed gender activities entirely nude,  is a curiousity.

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Not all nudist colonies espouse sexual libertarianism. Many seem to be communities of people living normal lives communally – in the nude.

In Byron Bay and other hippie communities around Australia, high proportions of the residents would consider themselves left leaning, green voters.  Within these communities, nudist colonies, nude beaches and other such activities are not uncommon.

These communities boast high density of artisans, permaculture experts and organic farmers, yoga and meditation classes and instructors and health professionals with a penchant for “herbal” remedies. Many of these would consider themselves to be highly spiritual people; nearly all of them would espouse pacifism. .

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The elements that unite hippies, greenies and nudists seem to point back to eastern mystical thought.

Interestingly, Hebrew thought, also an eastern faith, has a lot to say about the relationship between these ideas. Hebrew narrative places the first humans in a garden, in relationship to each other, the planet and the divine, without barriers.

Breakdown in relationship with the divine caused the first humans to feel shame and seek to conceal their previously uninhibited nudity.

The breakdown continued to spread into bickering and blaming between them, the death of innocent animals, and finally the murder of one brother by another.

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Within a dozen generation, the whole planet collapsed in a massive natural disaster wiping out all life.

So narrative synergies begins to emerge. These Eastern narratives are all reaching back to the Garden of Eden.

Nudists thus live within a highly ideological framework. Eastern meditation seeks to abandon the ego, abandon the self with its trappings and coverings which are the cause of the destruction of relationships with fellow humans, the planet and ulimately the divine.

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The ego constructs barriers by identifying a self which is different to others. These barriers lead to bickering, blaming, fighting and bloodshed. It is these barriers that must go.

It is the human ego that destroys the planet selfishly and we face imminent judgement by nature in the form of tidal waves, asteroids, ice ages or global warming. The ego must be denied.

It is true union with the divine that we seek and eastern thought via meditative practices, the shedding of the ego, the oneness of self with the earth and with fellow humanity, that restoration is found.

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Both eastern ideologies, Hebrew and Buddhist, espouse the centrality of love and peace.

But what is missing from the neo-Buddhist narrative – that is present in the Hebrew narrative is the “person” of the divine. In eastern thought, there is no person to know or unite with. It is the removal of “person”  in a search for nirvana that is the fountain of peace. All clinging to “person” creates attachment, and attachment creates pain and suffering.

And arguably one cannot truly love, without attachment and personhood.

So Hebrew ideology and eastern ideology embraced by hippies, greenies and nudists, a kind of neo-buddhism, agree on many things. But they part ways on this one core feature.

For the Hebrews, to believe the divine is a person, the divine must have feelings, thoughts, a heart and must suffer pain. For the divine to be restored to relationship with humanity, the divine must suffer pain, because it was humanity that betrayed and denied.

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When Noah and his family left that Ark after the catclysmic flood, God sent a rainbow and promised that never again would the world suffer in such a way.

Yet human ego still causes much bloodshed and destruction in the earth, more and more it seems with each passing year.

God’s promise to humanity, was also a promise to the earth, that something else, someone else would bear the pain and suffering caused by human “ego” or “sin.”

Nudists needn’t live in a forrest, eat vegetables, meditate and seek harmony with the planet and each other in order to save the planet and ourselves.

We humans need only look to the personal divine, the man-God, who took all the suffering we caused upon himself to restore relationship with us.

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This relationship is true Eden, true community, true harmony with each other and the planet, true shalom in relationship with God.

Prometheus [2012]

In his 2012 film Prometheus,, Ridley Scott revisits his Aliens franchise, deciding to tell the origin of not only his Alien creatures, but of humanity.

Plot Summary

The film opens with a humanoid  creature left on earth, a rocky and watery desolate place.  As his space ship leaves him, he drinks a potion and he collapses into the stream. His body dissolves into the water, and fragmented DNA reforms into strands; life is started on earth.

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Years later, in 2089, scientists Shaw and Holloway discover cave paintings of humans worshiping giants who are pointing to a constellation. They gather the data and present it to the Weyland corporation, invested in research into the origins of humanity. It seems Shaw and Holloway have found a star map. Weyland commissions the expedition aboard the space vessel, Prometheus, to seek out the star system and its inhabitable planet there.  The ship, and crew in cyro-sleep,  are guided by robot David.

Shaw and Holloway and the crew awake to find themselves near a desolate planet with a curious hive like structure. Within, there is a breathable atmosphere and heaped up bones and carcases of the inhabitants. The place seems to be a sarcophagus. David, proficient at multiple forms of communication, is able to awaken hologram like memories of the deaths of the giants here. It seems they were escaping a terror. David also opens long shut doors, taking the expedition into a temple-like chamber full of vases. Although dormant, from these vases quickly grow squirming, menacing demons – Aliens.

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The crew take a preserved giant head and one of the vases, back into the space ship. In the process they lose two crew in the honeycomb tunnels of the hive. These two poor souls are the first victims of the rapidly growing, frightening creatures disturbed in the chamber. In true Aliens style we know it’s just a matter of time before each crew member gets their come-uppance.

Aboard the ship, Shaw examines the giant head and discovers a close match to human DNA. They have discovered the Engineers – the predecessors to human life on earth. The discovery sends ripples through the crew aboard, “you’re messing with 300 years of Darwinism.” When Holloway asks Shaw if this disproves her faith, marked by a cross around her neck, she retorts, “but who made them?”

David opens the alien vase and extracts what looks like vials of liquid from within it.  Most enigmatically, he deliberately places a tiny drop of the black ink into Holloway’s glass of water.  That night Holloway and Shaw make love, but not before we discover that her father died fighting ebola in Africa and that she is sterile and cannot bear children.

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The next day, the crew return into the hive, however Holloway is seriously ill, and Shaw, unknown to her, is now pregnant with an alien foetus.  David explores alone and discovers the cockpit of the Engineers‘ spaceship. He activates the hologram memories again and discovers that the Engineers were bound for earth.

Curiously, the spaceship is packed to the gills with vases like those in the temple. It’s almost as if the ship is packed with weapons – fearful biological weapons.

Most interestingly, David discovers an Engineer in cryosleep with an audible heart beat. One is still alive.

Holloway is very ill and Captain Vickers will not allow him back on board. When the crew try to return him to get medical help, Vickers instead torches him with a flame thrower. Not long after Fifield, one of the ships crew left in the hive tunnels over night arrives, crazed and zombified. He too is promptly killed. Inside the ship, Weyland the elderly millionaire who established the Prometheus expedition, is found. It seems,  he commissioned the expedition to find the Engineers and discover the secret to his own immortality. Strangely, Captain Vickers is revealed to be his daughter. Both she and David have known the deadly nature of this expedition and are party to Weylands hubris.

At this point though now it is dawning on the crew, Shaw in particular, that the expedition is doomed. The alien foetus within her has grown rapidly and threatens to kill her. Boldly, she accesses a medical pod and performs surgery on herself, extracting the wriggling creatures and sewing herself up with laser stitches and staples. With only a few jabs of pain killers to abdomen and legs, she then proceeds to race and chase for the remainder of the film. The foetus she leaves to die, locked in the medical pod.

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Weyland and David awaken the Engineer, the one remaining creature of the race who spawned life on earth and are promptly and soundly beaten. This is no benevolent creator; no. The Engineer is bent on piloting his spacecraft straight towards earth where the vials of alien embyos and black sludge will obliterate life.

Is this the moral kick back for daring to name your space ship Prometheus? Is the search to find the gods, or to be like the gods, worthy of mortal punishment?

One by one the characters on the team Prometheus die off; in true Ridley fashion the female protagonist kicks butt. Despite the cesarian section, she shoots, kills, climbs and fights for the remainder of the film. She also maintains her faith, and although the Engineers wished to obliterate life on earth, she wishes to find the reason why, and the reason why they created life in the first place.

Thematic Points: 

Technology and Artificial Intelligence

Cryo-sleep, light speed, star maps, human like robots capabale of jealousy and deceit and proficient at “over 6 million forms of communication, ” the film explores a future only 80 years ahead of our own. David the robot is an enigmatic character, at once loyal to Weyland, he deliberately infects Holloway with Alien substance. His loyalty shifts from Weyland to Shaw upon Weyland’s death however, perhaps revealing a rather human expediency to preserve his own existence.

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Faith 

Shaw wears a crucifix and maintains a faith beyond scientific reason. At one point it is mentioned that surely by 2089, religion and faith would be no longer relevant. However, she is bent on asking the deepest of age old questions. Science fiction the genre, is able to ask the questions asked by myths and legends throughout time – why are we here ? where did we come from? What is the meaning of our existence? Is our creator benevolent or not? In fact, science fiction reasserts that humanity is not on a trajectory away from spiritual wonderings but into the same ones. The genius of Star Wars was that it portrayed a future and advanced scientific world into which spirituality was integrated, instead of being tied to the dated and contextual issues of post-enlightenment rationalism.

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The Myth of Prometheus & the Quest for Immortality

The central theme in Prometheus concerns the Titan who defies the gods and gifts humanity with fire, for which he is subjected to eternal punishment.  The gods want to limit their creations in case they attempt to usurp the gods.

Weyland is an elderly millionaire who seeks to find the origin of life and take immortality for himself. This hubris leads the mission to sure death and the unelashing of a terrible biological weapon into the universe. It seems both Weyland’s accomplices, David and Captain Vickers know of the dangers of the mission and comply. The moral framework of the story judges Weyland but not Shaw. She wishes to know her creator and to ask “why” and survives to continue her quest. Conversely, Weyland wishes to wrest immortality for himself, and so suffers judgement for his hubris.

The Origin of Life

As mentioned above, the narrative is set within the 21st century and is thus constrained by contemporary rational scientfic questions of life and origin. The story does not counter Darwinian evolution, instead addresses the missing link in evolutionary theory, “how did life start?” The Engineers are thus named because they are the agents of life [and death] but not the creators themselves. The film closes with Shaw jetting off, still searching for the answers. Moreover,  robotic responses [placed in the mouth of David] as to “why does it matter?”, sound hollow to the human heart and spirit. To be human is to question.

Interestingly, the Engineer who comes to prehistoric earth to generate life, gives up his own life,  for life to continue. Notes on the film production process allude to alternative plot elements, including an Engineer coming to earth 2000 years ago, to intervene in human barbarity, but was crucified. However Scott removed the plot element for fear it was too heavy handed.

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The Problem of Evil

The giants created life on earth and now seek to destroy it ? Why?  It’s like the planet and its hive are an enormous trap, set to lure over-reaching mortals in search of eternal life and answers of being, and then in turn to release utter destruction upon them and their species.

There is an amorality about the plot as well. The Engineers themselves are and have been consumed by Aliens. This biological weapon is indiscriminate, much like ebola, or the burrowing worm that lives in the eyeball intent only to blind, or the insect that lays it’s larva in the chest of a live host only to burst forth into life, killing it.

Why do we live alongside such creatures and imagine a benevolent world with a benign creator. Life is cruel – we alone place meaning onto that cruelty. So goes the questions as to the nature of morality in this universe.

However, it is intrinsic to narrative to create a meaningful universe. The characters have agency, face a crisis and struggle for catharsis. The absence of morality leaves both good and evil neutral – and removes the crisis. If there were no questions of morality, there would be nothing “wrong” with aliens destroying life; and we inherently believe in life. The suffering and randomness experienced in the universe does not discredit the existence of God, but rather, the existence of ultimate meaning  affirms that our suffering is significant and our struggle for catharsis, has worth.

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Some Final Thoughts:

In an earlier blog, Noah and the Quest for Immortality, I touched on the age old question, expressed in myths, legends and the greats of world literature – the question of life immortal. In the Epic of Gilgamesh, the hero discovers that immortality lies only in human civilization and not in any herbal remedy to prolong life. The Noah story, which refashions this tale, reinjects into this epic narrative the note of eternal life. It lies in a promised descendent who would take destruction upon himself, delivering life and relationship with God back to humanity.

In the biblical account of Adam and Eve, the pair are originally granted immortality in the Garden and need not lust for it. Curiously they are tricked to eat of the fruit “of the knowledge of good and evil.” I say curiously,  because this knowledge is something they already possessed. Otherwise the dare would have no meaning for them. Why would they be tempted to take of what they already had ?

The power in the temptation was for them to believe God was withholding something from them – equality with him. He was a killjoy, a cheater, someone who wanted less for them than they could attain. The fruit of the “knowledge of good and evil” would bridge the gap. So in taking what they already had, they showed distrust for God’s voice and so distrust for God’s nature and their own identity. In doing so, they lost relationship with God, and so lost immortality.

The quest ever since then has been to reattain immortality. And more importantly, to reattain relationship with God. These two things should not be equated to be the same thing.

What the film Prometheus shows us, is that it’s not the quest for relationship with God, or to ask “why” that gets humanity into problems, but the selfish quest for immortality and its power, to the exlcusion of relationship with this creator, that is the problem. The one who seeks to know God, must also listen to how this God is telling the story of redemption in unexpected ways.

The film was a popular and critical success, grossing over $400 million world wide. Nevertheless, there  are major weaknesses to the plot, including the strange choice to have a young actor [Guy Pearce] made up to look like an old man Weyland. Moreover, the unlikely way Shaw runs, fights, climbs and chases after experiencing major abdominal surgery is close to ludicrous. Various other characters such as Captain Vickers and other minor characters are underdeveloped leaving plot elements enigmatic or weakened.

Nevertheless the story is an interesting prequel to the Aliens saga and exploration of origins.