Psycho | Robert W. Sullivan IV

Archive for Psycho

MaXXXine

Posted in Alchemy, Astrology, Blog, Blog post, Carl Jung, Cinema Symbolism, Classic Horror, Entertainment, Freemasonry, Gnosticism, Hollywood, Illuminati, Kabbalah, Magick, Movies, Mysticism, Occult Hollywood, Secret Societies, Supernatural, Symbolism, Tarot Cards, The Occult, Universal Horror with tags Alfred Hitchcock, Astrology, Cecil Hotel, Cinema Symbolism, Elisa Lam, Freemasonry, Friday the 13th, Gnosticism, Hollywood, Illuminati, MaXXXine, Night Stalker, Occult Hollywood, Pearl, Psycho, Richard Ramirez, Robert W. Sullivan IV, Royal Arch of Enoch, The Art of Memory, X on April 20, 2024 by robertwsullivan4

Kevin Bacon got his start in Friday the 13th (1980), which is why he is in MaXXXine, making his appearance an art of memory trick. It looks like the Cecil Hotel also turns up, one of Richard Ramirez’s (1960-2013) haunts. Easter egg: Rob predicts that Pearl’s ghost (or maybe Maxine’s) will kill Elisa Lam during the film’s epilogue.

Halloween Ends – WURG Radio in Haddonfield

Posted in Astrology, Blog, Blog post, Carl Jung, Cinema, Cinema Symbolism, Education, Film, Halloween, History, Hollywood, Horror Movies, Occult Hollywood, Philosophy, Stanley Kubrick, Supernatural, Symbolism, Tarot Cards, The Occult, Witchcraft with tags Astrology, Beltane, Cinema Symbolism, Halloween, Halloween Ends, Halloween III, Michael Myers, Occult Hollywood, Psycho, Robert W. Sullivan IV, Samhain, Season of the Witch, Stanley Kubrick, Sun and Moon, Tarot Cards, The Occult, The Shining, Walpurgisnacht on October 15, 2022 by robertwsullivan4

Haddonfield’s WURG Radio in Halloween Ends (2022) recalls WalpURGisnacht, the spring equivalent of Samhain when demons and witches roam the land.

Halloween Ends – opening credits

Posted in Astrology, Blog, Blog post, Carl Jung, Cinema Symbolism, Classic Horror, Film, Halloween, Hollywood, Horror Movies, Monsters, Movies, Mysticism, Occult Hollywood, Philosophy, Stanley Kubrick, Supernatural, Symbolism, Tarot Cards, The Occult with tags Astrology, Cinema Symbolism, Halloween, Halloween Ends, Halloween III, Jung, Kubrick, Michael Myers, Occult Hollywood, Periwinkle Blue, Psycho, Robert W. Sullivan IV, Samhain, Silver Shamrock, The Overlook Hotel, The Shining on October 14, 2022 by robertwsullivan4

Halloween Ends‘ (2022) blue opening credits conjures three movies: The Shining (1980), Halloween III: Season of the Witch (1982), and Psycho (1960), wherein the latter periwinkle blue was Mrs. Bates’ favorite color.

First Look – Cinema Symbolism 3!

Posted in Alchemy, Batman, Black Swan, Blog, Blog post, Carl Jung, Cinema Symbolism, Film, Freemasonry, Gnosticism, Halloween, Hollywood, Illuminati, Joker, Joseph Campbell, Kabbalah, Lucifer, Movie History, Philosophy, Radio, Royal Arch of Enoch, Symbolism, The Occult, Wizard of Oz with tags 9/11, Archetypes, Bates Motel, Batman, Beauty and the Beast, Cinema Symbolism, Dark Night of the Scarecrow, Freemasonry, Gnosticism, Illuminati, Joker, Jung, Kubrick, Metropolis, Mother!, Occult Symbolism, Psycho, Red Shoes, Red Sparrow, Robert W. Sullivan IV, Star Wars, Suspiria, The Mummy, Witchcraft on May 19, 2020 by robertwsullivan4

Coming autumn 2020… Stay tuned. Cover by Blame it on Rebekkah Designs.

13 May 2018: Excerpt from Cinema Symbolism 3….

Posted in Bible, Blog, Blog post, Cinema Symbolism, Education, Film, Hollywood, Movies, Mysticism, Mythology, Reading, Religion, Sorcery with tags Alfred Hitchcock., Bates Motel, Bible, Cinema Symbolism 3, Psycho, Robert W. Sullivan IV on May 13, 2018 by robertwsullivan4

Currently writing Cinema Symbolism 3. Here is an excerpt (rough draft) for your consideration.

Bates Motel was one of this author’s favorite television series. It aired on the A&E Network for five seasons from 2013 to 2017. The show was a modern retelling of Hitchcock’s Psycho with hardcore Easter eggs turning up during its entire run. The eggs served to pay homage to Hitchcock and Psycho (1960). Psycho is replete with esoteric symbolism, so it is no wonder Bates Motel followed in its footsteps.

(Left) Susanna and the Elders oil painting by either Frans van Mieris the Elder (1635-1681) or Willem van Mieris (1662-1747), Frans’ youngest son. The painting, based on a story from the Bible, shows three men, like Norman Bates, spying on a bathing woman. In the Biblical tale, the men accuse her of erotic blackmail; in Room 1 of the Bates Motel, Norman qua Mother brutally stabs the naked woman. (Right) During Psycho’s climatic grand finale, Norman assumes Susanna’s same posture as he is being subdued by Sam Loomis.

For instance, the oil painting Norman Bates (Anthony Perkins, 1932-1992) uses to cover the secret peephole in the Bates Motel parlor symbolizes his repressed sexuality. Voyeuristically watching Marion Crane (Janet Leigh, 1927-2004), his passion brings jealous “Mother” to life; she, not Norman, seals her fate. The image is a replica of a painting called Susanna and the Elders. It depicts a story from the Bible–Book of Daniel, Chapter 13–in which three old men spy on an innocent woman as she gets ready to bathe, but when they find themselves overcome with passion, they accuse her of sexual blackmail. Later, when he is caught by Sam Loomis (John Gavin, 1931-2018), Norman’s position mirrors Susanna’s from the painting: his clothes are torn while his head is thrown back, and his right arm lifted high in the air. Stripped of his mother’s dress and his cheap wig, Norman is finally seen “naked” for all he is: mother and son, female and male, guilty and innocent.

Working on Cinema Symbolism 3….

Posted in Blog, Blog post, Cinema Symbolism, Film, Horror Movies, Movies, Symbolism with tags Alfred Hitchcock., Bates Motel, Cinema Symbolism, Cinema Symbolism 3, Crying, Mulholland Drive, Music, Psycho, Roy Orbison on April 7, 2018 by robertwsullivan4

Here’s a teaser: “Unlike the original film’s and book’s counterpart, Marion Crane survives her experience at the motel in this episode. The iconic shower scene from the original film was duplicated in this episode. However, Sam takes Marion’s place of being the original victim and Norman is not his “Mother” persona when killing him. After Norman kills Sam, he says “Oh, mother, what have I done?” echoing the line “Mother, what have you done?” in Psycho. When Norman kills Sam, Roy Orbison’s (1936-1988) “Crying” (1962) is playing. The music is designed to conjure David Lynch’s film, Mulholland Drive (2001), in which Orbison’s song is performed in Spanish, “Llorando,” by Rebekah Del Rio in Club Silencio. In Lynch’s movie, the song terminates the dream world of Betty Elms (Naomi Watts) returning her to the real world of Diane Selwin (Watts again). In Bates Motel, the use of the song connotes the same thing: Norman becomes cognizant that “Mother” is another side of his personality–a dark vision–and that he has been murdering as her the entire time. Like Mulholland Drive, the music signifies the deconstruction the fantasy, returning the characters–Elms and Bates–back to their bleak realities.”

Masonic Halloween Special

Posted in Alchemy, Astrology, Blog post, Cinema Symbolism, Education, Enochian Magick, Esoterica, Freemasonry, Gnosticism, History, Hollywood, Illuminati, Lucifer, Magick, Mysticism, Occult Hollywood, Philosophy, Royal Arch of Enoch, Sorcery, Symbolism, Theurgy, Witchcraft with tags Alfred Hitchcock., Freemasonry, Halloween, Michael Myers, Psycho, Samhain, Stanley Kubrick, The Exorcist, The Shining, Vernal Equinox, Witchcraft on October 31, 2014 by robertwsullivan4

Rob’s Masonic Halloween Special is now airing on Gnostic Warrior! Rob talks Samhain, Freemasonry, and some of the esoteric iconography of the 1978 film Halloween. To listen to this brand new show click banner:
HalloweenSecrets

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