الأحد، 9 نوفمبر 2014
الثلاثاء، 4 نوفمبر 2014
السبت، 1 نوفمبر 2014
الجمعة، 31 أكتوبر 2014
الأحد، 26 أكتوبر 2014
الأحد، 19 أكتوبر 2014
السبت، 18 أكتوبر 2014
الخميس، 16 أكتوبر 2014
الأربعاء، 15 أكتوبر 2014
.jpg)
الأحد، 12 أكتوبر 2014
الخميس، 9 أكتوبر 2014
الأربعاء، 8 أكتوبر 2014
الجمعة، 3 أكتوبر 2014
annabelle
 |
| As you may or may not know, the real Annabelle doll looks more like Raggity Ann than the doll pictured above; that's important because it demonstrates the dramatic difference the makers of The Conjuring (where the doll first appeared) wanted the doll to make symbolically, and choose features that would communicate that, rather than those of the Raggity Ann doll. So, what do we have? Blond hair, blue eyes, white skin and rosy cheeks: we have--even though she might not look like it--an Aryan specimen. For The Conjuring, Annabelle is an accusation against capitalism of unfair standards of perfect beauty, and how anyone not meeting this standards (all minority groups who don't have white skin) are excluded from political power. It was the socialists, however, who performed ethnic cleansing by killing all the non-Aryans, especially the Jews, and we can see this antisemitism still alive today in Liberals and their support of ISIS, or, as they prefer to call it, ISIL, meaning the state of Israel never even existed. In giving us the doll before she became associated with Annabelle Higgins, the makers of Annabelle create an entirely different meaning for her, especially with the wedding dress the doll wears, and that is explored below. |
 |
| There are three important traits of the horror genre: first, it is the most morally rigid genre there is, meaning, that the values and virtues of the world created in a horror film are absolute: either a person is good, or they are bad, and even the slightest sin can get you killed. Secondly, horror films usually revolve around women. Women are more mysterious than men, and a horror film, usually in some way, deals with the soul, and the soul is usually portrayed as being feminine because Jesus talks about wedding the soul to Himself. The third important trait of horror films is their rampant tendency to quote other horror films, and Annabelle is no exception. There are several visual and situational references to The Conjuring, as we would expect, as well as last year's Evil Dead (the book Mia gets to look at), Oculus which came out earlier this year, maybe Chucky (I haven't seen any of those, however, other reviewers all agree this is superior to Chucky), and any psychological thriller; why? They have to build up a vocabulary of triggers to scare the audience and means of instilling fear, so they all draw from the same pool of techniques and devices. There is absolutely nothing wrong with this, rather, it shows the inter-connectivity of the film makers with other films and how they themselves are influenced by what they have seen and what has been financially successful. |
 |
| John comments that the doll was expensive and they may be a bit short on the rent for the next couple of months; why? The doll is a symbol of Mia's virginity. The doll wears a wedding dress, something that tends to get lost in discussion about her. The white symbolizes her purity, and the red sash with flower is her virginity, the "de-flowering" that takes place on the wedding night (more on this below). The doll is valuable to Mia, and she wants it for their child, because the doll was her own role model when growing up, that is why it was expensive and may come up a bit short for the rent: virginity is expensive to maintain because of the "sacrifices" one has to make to protect it. The "rent" is the renting of the physical body because these bodies do not belong to us, they belong to God, so "coming up short on the rent" means they are going to have trials and difficulties that will make it to where they do not want to praise God, but be in debt to Him (when they are having difficulty with things, they go and see the priest). There is another way in which Mia's virginity is conveyed through the film, and that is her sewing machine. From the very first time we see Mia on the sewing machine, we are certain she is going to get her finger stabbed by the needle, but she doesn't, until just before the popcorn explodes and the house catches fire. The needle is a phallic symbol, and when it does puncture Mia's finger, the blood comes forth, as in the story of Sleeping Beauty when she pricks her finger on the spindle of a spinning wheel (symbolic for losing her virginity, the breaking of the hymen and the blood that results). When that happens, it's a "second virginity" for Mia that she's giving up because now she has become married to the Lord, having survived the first set of hardships and difficulties, she will now be given even more difficult burdens so she can be perfected. Leading up to that, however, Mia is--as all good Christians should--making her "wedding garment" as in Matthew 22:12. The wedding garment is a metaphor for the soul that is to be wedded to Christ after death (think of the Song of Songs, and all the wedding imagery in that, this is the same thing). We see Mia sewing several times, but not what she is sewing, and that is because it's a metaphor for the mystical changes taking place in her soul. On a tangible level, however, we can see the sewing machine as being a sign of a traditional female skill, and a sign of her ability with traditional crafts; how many women do you know today who can sew? Besides some of my aunts who are all 50+ years old, I don't know anyone who can do more than sew a button, so we are seeing a task that Mia was obviously good at, and suited for 1970, but a task today that women would see as being a sign of a woman's oppression by her husband, like John's joke about "setting up your own sweat shop." This is another intersection of the film between Annabelle's significance in today's world--a feminist and liberal--attacking a woman like Mia, a traditional woman who chooses and wants everything a "liberated" woman like Annabelle rejects and despises. |
I was wrong.
 |
| Father Perez appears in the church at both Santa Monica and Pasadena; why? At first, it appears to either be a really cheap budget (they couldn't afford to pay another actor to be a priest at the Santa Monica location) or a regrettable oversight, but I think there is a better reason that Catholics will understand: the Church is the same every where. Individual priests vary, but Father Perez is a symbol of the Church, not an individual priest or exorcist. An exorcism does not take place in the film, why not? This is a spiritual battle between Mia and herself, not even Mia and the devil, so there is no need for an exorcism. The devil, unless he is invited in by the person (like what Annabelle does in making herself his bride) is not able to enter into a person, but he is allowed to harass us from without; why? To make us aware of his presence and to make us stronger and wiser so we not only know the right path to take in life, but why this is the right path to take. |
 |
| This is not actually Father Perez: the real Father Perez is in a hospital after having been attacked by Annabelle in front of the Church. Mia hears a loud knocking on her door, she looks through the peep hole and believes she is looking at the back of Father Perez, as he stands at the door with his back to her. When she opens the door, we the audience see his face, looking like this, then hear him say in a loud voice, "May God have mercy on your soul!" which is something Father Perez heard on his car radio as he was driving back to the Church. What is going on in this scene? Scripture from Revelation 3:20: "Those whom I love, I reprove and discipline; therefore be zealous and repent. Behold, I stand at the door and knock; if anyone hears My voice and opens the door, I will come in to him and will dine with him, and he with Me." But this is the devil knocking, not Jesus, you might point out; well, the devil can't do anything unless God allows it, which is why the devil is taking the form of Father Perez in this scene: sometimes bad things (the devil) appear to be good for us (Father Perez, a priest); sometimes bad things (trials with the devil) are actually good for us ("May God have mercy on your soul"). Why does the devil say, "May God have mercy on your soul?" Mainly as a scare tactic against Mia, to make her think she is separated from God and God might not have mercy on her, so she had better be prepared to go to hell. Now, the only time we actually hear Mia say "God" or make anything like a prayer is when, towards the end, she can't find Mia and she found the Annabelle doll in Lea's crib and bashed the doll against the crib and threw it, then was deceived into thinking she had actually been beating Lea (we will discuss this below), and when Mia thinks she did this, she cries out, "God, God," and it's because of this cry for God's help, the heart being moved by the Holy Spirit, that John is able to catch her before she attempts to jump out the window with the doll to give her soul to the devil so Lea will be safe. |
 |
| Evelyn is a great character in the story line. I have to admit that, while I was still suspecting a pro-socialist film, I was suspicious that both her and Father Perez were part of a cult working to get Mia to kill herself, but in fact, Evelyn is just a wonderful neighbor. Evelyn owns the bookstore in the background and, as Mia comes to her for help in understanding what is happening, we learn that Evelyn had a daughter named Ruby who died in a car crash she caused. So distraught at having lost her daughter, Evelyn slit her wrist to try and kill herself, but Evelyn told Mia that she heard Ruby's voice tell her that this wasn't her time and God was saving her for something. Evelyn, like Sharon Higgins, is a wonderful example of "motherhood" and mothers wanting to sacrifice themselves for the sake of the child, instead of the child being sacrificed in abortion for the sake of the mother, or father. At one part in the beginning, Mia and John are talking, and Mia expresses concern over something happening during the delivery and making John promise to choose the baby's life over her life and, reluctantly, John promises. This, again, is the exact opposite of what we saw in The Conjuring, where children were a curse. Ed Warren asks Mr. Perron if there is someone that he and the family can go stay with so they can get out of the house, and Mr. Perron says, "With eight of us?" because they have six kids. It's made clear that Mr. Perron must take extra work as a truck driver because of the size of the family, and because his wife wanted that farm house, then the whole family is in jeopardy simply because there is so many of them, which wouldn't have happened if Mrs. Perron had not had kids. Between Mia, Evelyn and Sharon, the film makers make sure the audience knows they believe in life (which was the first thing that tipped me off that this was not a pro-socialist film). Now, regarding motherhood, there is an important "quote" Annabelle makes from The Conjuring, and that is the part where Julie, Ed and Lorraine's daughter, goes into a room of the house and sees the rocking chair where her and her mother were sitting at the start of the film; now, however, it's Bathsheba sitting in the chair, as her mother Lorraine had done earlier, and holding the haunted doll Annabelle in place of Julie. In The Conjuring, you are the object that you desire, so because little Julie wanted to have the doll to play with, Julie becomes the doll sitting on her mother's (Bathsheba's) lap; why has Bathsheba replaced Lorraine? Because the film is commenting that the witch will be Julie's real mom if Julie continues to desires objects and material goods (this is a well-developed thesis in the film; please see The Devil's Hour: The Conjuring & Demonic 'Possessions' for more). In Annabelle, the exact opposite is true: when Annabelle Higgins steps out of the nursery holding the doll that will come to bear her name, and Annabelle says, "I like your doll," that is a revelation of how liberals and socialists view children and humans in general: as lifeless, will-less objects to be manipulative. Annabelle Higgins holds the doll as a mother would hold her child, not the way one holds a doll (with one arm around the waist). Annabelle doesn't understand what a soul is, apart from a piece of property that she is dedicating to Satan; she doesn't understand what free will is or virtue and sin. The reason this happens, however, is to insure that Mia does learn the difference (more on this below). |
 |
| Further details the Annabelle film makers want to use to remind the audience of the Charles Manson family murders includes the mother of Annabelle, Sharon Higgins, reminding us of the murder of Sharon Tate; like Mia, Tate had an advanced pregnancy and both women were stabbed in the stomachs. Blood was also used to make words/signs with in both the real murders and the film. In Manson's La Bianca murders, Manson went to their house because it was next-door to a house he had gone to a party at earlier that summer, the same way Annabelle and her boyfriend go next-door to Mia's and John's house after killing Annabelle's parents. There are at least two references to Rosemary's Baby, directed by Roman Polanski in 1968, who was married to Sharon Tate and whose baby she was carrying when murdered the next year. The baby carriage in the basement scene of Annabelle is identical to the one used in Rosemary's Baby. |
 |
| This is John Gordon, Mia's husband, and truly a good and upstanding husband at that. Why does John never see anything that Mia does? That would make it easier for John to believe her; as it is, he makes an act of faith in her based on their love. When things get tough, when Mia is in need, John does what his father did and takes his family to Church. It can be argued that John misses his dinner date with his wife, and that is regrettable, however, these are things that happen with a doctor, as the TV teasers for General Hospital remind us about the lives of doctors and nurses later in the film. John gives Mia the doll because Mia gave herself to him on their wedding night by having remained a virgin. John tells Mia, "There's something I want to give you," Mia replies, "The last time you said that I ended up pregnant," is because what John wanted to give Mia was himself, his own virginity. After the break-in of Annabelle and her boyfriend, Mia and John wake up one night and hear something; John goes to see what it is and it's Mia's sewing machine, running full speed, and he doesn't know how to turn it off so he unplugs it. This is how John sees Annabelle Higgins: out of control. The needle of the sewing machine is a phallic symbol, even though the sewing machine is a feminine symbol itself, so the fast repetition of the needle plunging down and up is a metaphor for the sex act; when John sees the machine running by itself, John sees it as a woman sexually out of control and his solution of unplugging it is the solution of death. In other words, latent thought processes in John's mind have played out and posed the dilemma to him: if Annabelle Higgins had been a direct threat to Mia, would John have killed Annabelle? His answer, when he pulls the cord on the sewing machine, is yes. |
The night of the opening scenes with Mia, John and the Higgins, John and Mia's bedroom window is open and through their bedroom window, we see the events unfolding in the Higgins' bedroom: Mr. Higgins getting up and Mrs. Higgins screaming and being attacked in bed. Mia wakes up, John goes to check it out, and then as Mia calls an ambulance, Annabelle Higgins makes her way into Mia's house and starts walking around, stepping out of the nursery with the doll Mia just received that day, and Annabelle tells a terrified Mia, "I like your doll." Behind Mia, Annabelle's boyfriend comes up behind her and attacks her, stabbing Mia in her stomach (she is like 8 months pregnant) and then John appears, protecting Mia; Annabelle goes into the nursery as the cops arrive, and Annabelle kills herself by slashing her throat. So, what are the symbols and how are they working?
 |
| "I like your doll," is the only thing we ever hear Annabelle (pictured above) say, and this is the only scene where we see her actually alive (as opposed to seeing her after she is dead). So, what does it mean? Of all the things a Satanist could say to get someone creeped out, or scare them, why say that? Because Annabelle erroneously sees herself in the doll. As discussed above, the doll's white dress symbolizes the purity of the little girl and her being prepared for marriage; likewise, to Annabelle, she herself is preparing for marriage to Satan with the sacrifice of her mother and father; there are two noticeable differences between the two wedding dresses, however. First, the red sash and rose are missing and, secondly, Annabelle's dress has a wide open neck and big sleeves. The neck, which symbolizes how we are led, or what will lead us, is wide-open on her dress, suggesting that Annabelle is easily dominated by others and will buy into anything (we will explore this below with Annabelle appearing to Mia as a child). Secondly, the big sleeves "conjure" the old saying, "I've got nothing up my sleeve." The big sleeves Annabelle wears suggests that she has been hiding something up her sleeves, especially from her parents, that she didn't just become a hippie, but a Satanist in a cult, fully participating in all their rites. Annabelle's dress is white because, unlike the white dress of the doll symbolizing being alive in the Holy Spirit with innocence, purity and faith, Annabelle's white dress symbolizes the death of the soul in Satan with the death of innocence, purity and faith within her soul and hence, her spiritual death. We will continue this discussion in the next caption below. |
 |
| It's still difficult to see in this image, however, Annabelle has slit her neck just before the police arrived and killed her boyfriend (in the nursery of John's and Mia's home). Having slit her neck, she used the blood to make the symbol on the wall, and provides the "last detail" of her wedding dress for Satan. On the doll's dress, the red sash symbolizes a chastity belt, an old-fashioned device that was strapped on girls to insure they wouldn't have sex before marriage; the flower on the belt symbolizes the "deflowering" that takes place on the wedding night and the red color is the color of the blood from the breaking of the hymen of a virgin. The red is mimicked then, in Annabelle--not around the waist, because she hasn't been chaste, which is pleasing to Satan--but around the neck, showing that she was easily led to her death and destruction by her own hand in destroying what God created (rather like the Bathsheba hanging herself in The Conjuring). We will discuss this further below, because this image is the point of the entire film. The last difference between Annabelle and the doll is the hair: Annabelle has wild and frizzy hair that is unkept; the doll has perfectly kept hair, well-trimmed and braided. The hair symbolizes our thoughts, so Annabelle's wild hair reveals how wild she is, whereas the doll's hair that is all in place shows that she symbolizes "being in the rightful place herself," just like when Mia puts her on the shelf with the other dolls and says, "There, she fits right in," Mia also accepts her place, unlike feminists today who rebel at their place in society, the family and relationships. Why does Annabelle Higgins belong to the cult Disciples of the Ram? The "ram" probably refers to the ram that was caught in the bush when Abraham was going to sacrifice Isaac but was told to stop and sacrifice the ram instead (Genesis 22: 13). What am I talking about? If the ram had been the last sacrifice of the Bible, instead of the ram being a prophecy of the sacrifice of Jesus, then Satan would still rule over us and have unlimited souls to claim. Adhering to the ram is to refuse acknowledging the Sacrifice of Jesus Christ. In the symbol on the wall above, the two arms of the "x" is the horns of the ram, while the little triangle caused by the third line going to the right is the head of the ram. |
 |
| Here is a close up of the image above with the blood from Annabelle's neck around her waist--the opposite of a chastity belt--and a drop of her blood landing near the eye of the doll and then slowly seeping in-between the doll's face and eye rim; why does this happen? OIt is through the "eyes of self-destruction" that feminists like Annabelle Higgins see traditional women like Mia. Annabelle the spirit and Annabelle through the doll attacks Mia because that is what feminists do, they degrade and mock women who sew, are faithful to their husbands, do not have a career outside the home, and are dedicated to raising their children. Remember, this is a post-Summer Of Love world, during which the hippies, high on every drug they could get, questioned everything about society and existence, and Annabelle, being a hippie, was a part of that; Mia and John were not. We can see this social dichotomy still in society today: the liberal Left and the conservative Right. This is the foundation for the conflict of the film, Annabelle Higgins attacking Mia for being a traditional homemaker instead of a promiscuous hippie like herself. That Mia triumphs and perseveres is the thesis of the film and the side of the debate the film makers take for their own. |
 |
| This takes place in Pasedena, and Lea sleeps in her crib, Mia having fallen asleep while General Hospital was playing, and we heard from the TV, "Doctores and nurses dedicate their lives to the wonder that is the human being," and then, Annabelle Higgins' ghost shows up in the back room on the left side, then she enters front and center from the right side and walks up to the baby's crib, leans over it and says, "I like your doll," again. This is a clear conflict with The Conjuring, that reduces Julie Warren to a doll, whereas in Annabelle, the Satanist has reduced the baby to a doll. Why? Again, socialists understand humans to be animals, no being of their own, just animals, that's why we heard the General Hospital introduction before Annabelle shows up, to remind us of how wonderful human beings are and how terrible someone like Annabelle is. |
 |
| This is the second important scene: John and Mia were supposed to have had a special dinner date tonight, and John ended up not getting home on time, so Mia is upset. As she started putting things away, she heard someone's voice by the curtain of the window; she went over to it and pulled it back and was knocked to the floor by an invisible force that giggled like a little girl and sounded as if it were running down the hallway. On one level, this reveals to us what is going on inside of Mia: she is acting like a little girl. John has been so loving and supportive of her through everything, and she is going to throw a temper tantrum like a little girl because he wasn't able to make it home. On another level, the scene reveals something quite disturbing about Annabelle Higgins, again utilizing the sewing machine as it did the first time it started running on its own (see paragraph below for discussion). |
 |
| It seems that the two children, the girl and boy, on the stairs at the bottom of Mia's apartment building, probably come from another horror film, but I don't know which one. Who are the children, and why do they draw those pictures of the truck running over Lea's baby carriage? When the little girl tries to tell Mia her name, her brother makes her be quiet, but the little girl starts to say that they live outside, and--with "little Annabelle" that we see in Mia's apartment--I think we can guess these children probably belong to the devil, even though they look normal enough. How can we say this? The devil will use innocent things to achieve evil ends, and the little girl telling us "outside," suggests they are outside of the realm of good and holy things, especially when we realize what they are drawing. The drawings appear to be quickly dismissed by Mia and John, but the devil knows better. |
.jpg) |
| This is perhaps one of the scariest parts of the film. Mia has been down in their storage locker, putting something away, and this old baby carriage rolls out on its own and Mia hears baby cries; going to the carriage, she sees a bloody cloth and runs away; from behind the carriage, the devil, all black and wearing Maleficent horns, rises up and looks at her. Mia runs to the elevator, but the devil grabs her left arm and puts the mark of the Disciples of the Ram on her arm, which later disappears; what does this scene mean, and why does it happen? The basement is a classic symbol of that which we have buried within us, that which is put away and we don't want to think about it, those things that are either repressed or oppressed. The carriage rolling out with the bloody cloth in it suggests that Mia has buried the "prophecy" of the kids' drawings about the baby carriage rolling out in front of the truck and Lea dying. Why would the devil use this? Because it's Mia's fear he's playing with. The devil cannot take life; if someone dies, it's their appointed time, unless they take their own life, like Annabelle Higgins. By increasing Mia's fear, the devil increases her anxiety about it and therefore her dependency upon herself. Her fear that something will happen to Lea, the devil reasons, will build to an unbearable level and she will be more willing to offer her soul for Lea. Did the devil mark Mia's soul? No, it's an illusion to scare Mia to think she doesn't have any control and that she's going to lose her daughter. |
 |
| The family going to Church at the end of the film when Father Perez hands Mia the photograph of her and Lea. This is as good of a place as any to discuss it. At the start of the film, John and Mia had a disagreement about naming their baby "Phyllis" if is was a girl, after John's grandmother; no one liked Phyllis so the name seemed to be ruled out. "Lea" is an English name meaning "meadow," whereas "Phyllis" is a Greek name referring to the myth of Phyllis that no one would want to have to go through. When her husband of one night, King Demophon, failed to return to her as promised, Phyllis hung herself; an almond tree grew where she was buried and, when Demophon finally did return, it blossomed. Yea, no one would want to name their child after this, however, this is the fate of nearly all Christians. As is spoken in theSong Of Songs, Christ will come to us like a Bridegroom, like Demophon, and it's wonderful when we feel Jesus with us and He sends us warm fuzzy feelings and consolation,... then He leaves, and there is desolation. We wonder if the consolations were real after all; at this point, many fail and fall away, wanting to find pleasant "meadows" to live in rather than doing the hard work of the Cross we are called to. Phyllis hanging herself is a way of saying that she hung upon the Tree of the Cross, because that is what we are called to do, to be faithful to Him and makes ourselves like Him, which means allowing ourselves to be crucified; that Phyllis was successful is validated by the tree blooming when Demophon returned (remember Matthew 21:19 when Jesus comes to the fig tree and curses it because it had no fruit). None of us would choose the hard and difficult path (well, a few saints would consciously choose the hard path, but I am not one of them) so God has to choose it for us. |
 |
| In this scene, Mia believes the devil has taken her baby and wants Lea's soul, as is written on the ceiling of the nursery. Mia goes into the nursery after a red crayon rolls out into the hallway on the floor. Now, these are smart film makers, they know a little baby like Lea, who can barely sit up on her own, isn't going to have crayons at this age because she would just put them in her mouth. So, where does the crayon--the same one we saw in the beginning of The Conjuring the doll was using to write notes with--come from? It's not a crayon, it's a metaphor. The crayon symbolizes the childishness of Annabelle Higgins (the little girl we saw earlier who ran at Mia) but that childishness is still in the grown woman's ghost, which is being used by the devil. The scrawled writing on the ceiling is unnatural--people don't write on the ceiling--and that itself is a symbol of a woman Annabelle's age being so childish and how it got her into hell. |
 |
| In this scene, Mia is afraid and holds Lea, while in the background, we watch Annabelle sit up, stand up, then levitate in front of the light coming in through the window; when Mia turns around, she sees the devil holding the doll, and for all of us, this is probably the best lesson: either we devote our lives to God, or we are being controlled by Satan, just like the doll (the light coming in through the window symbolizes the light of illumination and reflection). As the saying goes, if you are not progressing in the spiritual life, you are digressing, because there is nothing static about the soul: either it is being regularly fed on the Word of God, or it is being starved and ruined by sin, even if those are just venial sins, they lead to greater, mortal sins. Again, Mia is going through these trials because she has an imperfection that she is clinging to and doesn't know, or refuses, to give her and her baby's life to God; that's the hard way to do it, better to do it before so this doesn't happen to you. |
The mother finds the doll in the store and buys it for her daughter who is going through nursing school, the young lady we saw in the beginning talking about the doll with her roommate, which was also in The Conjuring. How is the end and beginning related? This brings up another important sub-text throughout the film: healthcare professionals. John is studying to be a doctor, the two girls are studying to be nurses, and we hear the theme for General Hospital; why? Because after failing to successfully destroy everything traditional about women and the family, the next institution Annabelle attacks is healthcare. Does that sound familiar? Is there someone today who is trying to apply a hippie alternative to the US healthcare industry? (hint: Obamacare)
 |
| Here we have the third wedding dress of the film. Evelyn wears a white dress that signifies she is about to wed herself to Christ, and the red sash is on her head, symbolizing her thoughts, that she is truly thinking of love when she does what she does. Evelyn holding the Annabelle doll is a completely different experience from Annabelle Higgins holding it. This may seem far-fetched and if it is, I apologize, however, given that--at the start of the film--Mia watches a show on TV about the Charles Manson family, then they are attacked that night by like-minded Satanists, it seems relevant. The reason Charles Manson had murders committed was to start Helter Skelter which would bring down white people in America: "Ghastly murders of whites by blacks would be met with retaliation, and a split between racist and non-racist whites would yield whites' self-annihilation. Blacks' triumph, as it were, would merely precede their being ruled by the [Chalres Manson] Family, which would ride out the conflict in 'the bottomless pit,' a secret city beneath Death Valley," (Wikipedia). Between Barack Obama and Eric Holder, Jesse Jackson and Al Sharpton, there is plenty of material suggesting that the federal government is attempting to implement Charles Manson's plan today; but Evelyn didn't buy it. She is a business owner--she owns the bookstore Mia goes to--and she is well-adjusted, if not sad, but friendly and ready to help anyone she can. If we consider Annabelle the doll, as a symbol against traditional women, marriages, families and tradition at large, (because remember, Annabelle Higgins was a hippie, and a Satanic hippie at that: she wanted all order and institutions to be ended because those are what reflect God, whereas chaos reflects Satan), then Evelyn laying down her life to end the evil of Annabelle Higgins was laying down any "grudges" she might have, and making sure she was not a victim of evil, but a hero. In other words, in being active on her own part, Evelyn successfully avoids becoming a "doll" for people like Charles Manson (who was a master manipulator of women) and Obama (who is also a master manipulator of women) to control the way Annabelle Higgins herself was being controlled by her boyfriend and the devil. |
Eat Your Art Out,
The Fine Art Diner
الاشتراك في:
الرسائل (Atom)