Sympathy for the devil

by Dr Brian Mattson

Not one of them could identify a blatantly Gnostic subversion of the biblical story when it was right in front of their faces.

In Darren Aronofsky's new star-gilt silver screen epic, Noah, Adam and Eve are luminescent and fleshless, right up until the moment they eat the forbidden fruit.

Such a notion isn't found in the Bible, of course. This, among the multitude of Aronofsky's other imaginative details like giant Lava Monsters, has caused many a reviewer's head to be scratched. Conservative-minded evangelicals write off the film because of the "liberties" taken with the text of Genesis, while a more liberal-minded group stands in favor of cutting the director some slack. After all, we shouldn't expect a professed atheist to have the same ideas of "respecting" sacred texts the way a Bible-believer would.

Both groups have missed the mark entirely. Aronofsky hasn't "taken liberties" with anything.

The Bible is not his text.

The world of Aronofsky's Noah is a thoroughly Gnostic one: a graded universe of "higher" and "lower." The "spiritual" is good, and way, way, way "up there" where the ineffable, unspeaking god dwells, and the "material" is bad, and way, way down here where our spirits are encased in material flesh. This is not only true of the fallen sons and daughters of Adam and Eve, but of fallen angels, who are explicitly depicted as being spirits trapped inside a material "body" of cooled molten lava.

Admittedly, they make pretty nifty movie characters, but they're also notorious in Gnostic speculation. Gnostics call them Archons, lesser divine beings or angels who aid "The Creator" in forming the visible universe. And Kabbalah has a pantheon of angelic beings of its own all up and down the ladder of "divine being." And fallen angels are never totally fallen in this brand of mysticism. To quote the Zohar again, a central Kabbalah text: "All things of which this world consists, the spirit as well as the body, will return to the principle and the root from which they came." Funny. That's exactly what happens to Aronofsky's Lava Monsters. They redeem themselves, shed their outer material skin, and fly back to the heavens. Incidentally, I noticed that in the film, as the family is traveling through a desolate wasteland, Shem asks his father: "Is this a Zohar mine?" Yep. That's the name of Kabbalah's sacred text.

The entire movie is, figuratively, a "Zohar" mine.

If there was any doubt about these "Watchers," Aronofsky gives several of them names: Semyaza, Magog, and Rameel. They're all well-known demons in the Jewish mystical tradition, not only in Kabbalah but also in the book of 1 Enoch.

What!? Demons are redeemed? Adolphe Franck explains the cosmology of Kabbalah: "Nothing is absolutely bad; nothing is accursed forever—not even the archangel of evil or the venomous beast, as he is sometimes called. There will come a time when he will recover his name and his angelic nature."

Okay. That's weird. But, hey, everybody in the film seems to worship "The Creator," right? Surely it's got that in its favor!

Except that when Gnostics speak about "The Creator" they are not talking about God. Oh, here in an affluent world living off the fruits of Christendom the term "Creator" generally denotes the true and living God. But here's a little "Gnosticism 101" for you: the Creator of the material world is an ignorant, arrogant, jealous, exclusive, violent, low-level, bastard son of a low level deity. He's responsible for creating the "unspiritual" world of flesh and matter, and he himself is so ignorant of the spiritual world he fancies himself the "only God" and demands absolute obedience. They generally call him "Yahweh." Or other names, too (Ialdabaoth, for example).

This Creator tries to keep Adam and Eve from the true knowledge of the divine and, when they disobey, flies into a rage and boots them from the garden.

In other words, in case you're losing the plot here: The serpent was right all along. This "god," "The Creator," whom they are worshiping is withholding something from them that the serpent will provide: divinity itself.

Noah had been given a vision of the coming deluge. He's drowning, but sees animals floating to the surface to the safety of the ark. No indication whatsoever is given that Noah is to be saved; Noah conspicuously makes that part up during an awkward moment explaining things to his family. He is sinking while the animals, "the innocent," are rising. "The Creator" who gives Noah his vision wants all the humans dead.

Many reviewers thought Noah's change into a homicidal maniac on the ark, wanting to kill his son's two newborn daughters, was a weird plot twist. It isn't weird at all. In the Director's view, Noah is worshiping a false, homicidal maniac of a god. The more faithful and "godly" Noah becomes, the more homicidal he becomes. He is becoming every bit the "image of god" that the "evil" guy who keeps talking about the "image of god," Tubal-Cain, is.

But Noah fails "The Creator." He cannot wipe out all life like his god wants him to do. "When I looked at those two girls, my heart was filled with nothing but love," he says. Noah now has something "The Creator" doesn't. Love. And Mercy. But where did he get it? And why now?

In the immediately preceding scene Noah killed Tubal-Cain and recovered the snakeskin relic: "Sophia," "Wisdom," the true light of the divine. Just a coincidence, I'm sure.

Okay, I'm almost done. The rainbows don't come at the end because God makes a covenant with Noah. The rainbows appear when Noah sobers up and embraces the serpent. He wraps the skin around his arm, and blesses his family. It is not God that commissions them to now multiply and fill the earth, but Noah, in the first person, "I," wearing the serpent talisman. (Oh, and by the way, it's not accidental that the rainbows are all circular. The circle of the "One," the Ein Sof, in Kabbalah, is the sign of monism.)

Notice this thematic change: Noah was in a drunken stupor the scene before. Now he is sober and "enlightened." Filmmakers never do that by accident.

He's transcended and outgrown that homicidal, jealous deity.

What I can say on one viewing is this:

Darren Aronofsky has produced a retelling of the Noah story without reference to the Bible at all. This was not, as he claimed, just a storied tradition of run-of-the-mill Jewish "Midrash." This was a thoroughly pagan retelling of the Noah story direct from Kabbalist and Gnostic sources. To my mind, there is simply no doubt about this.

So let me tell you what the real scandal in all of this is.

It isn't that he made a film that departed from the biblical story. It isn't that disappointed and overheated Christian critics had expectations set too high.

The scandal is this: of all the Christian leaders who went to great lengths to endorse this movie (for whatever reasons: "it's a conversation starter," "at least Hollywood is doing something on the Bible," etc.), and all of the Christian leaders who panned it for "not following the Bible"...

Not one of them could identify a blatantly Gnostic subversion of the biblical story when it was right in front of their faces.

I believe Aronofsky did it as an experiment to make fools of us: "You are so ignorant that I can put Noah (granted, it's Russell Crowe!) up on the big screen and portray him literally as the 'seed of the Serpent' and you all will watch my studio's screening and endorse it."

He's having quite the laugh. And shame on everyone who bought it.

And what a Gnostic experiment! In Gnosticism, only the "elite" are "in the know" and have the secret knowledge. Everybody else are dupes and ignorant fools. The "event" of this movie is intended to illustrate the Gnostic premise. We are dupes and fools. Would Christendom awake, please?

(This is a heavy excerpt from the source link below, please click the link below if you wish to read the entire script written by Dr Brian Mattson, only a certain percentage allowable by copyright and public domain law is included)

Source: http://drbrianmattson.com/journal/2014/3/31/sympathy-for-the-devil