“The Great Reveal is meant to ennoble you … to free you to take your grand and fulfilling role in the exciting and profound Divine Play before us”
Give the Universe a chance; synchronicity; shamans and priests. The Planetmates reveal religion, mysticism, and spirituality; meaning of Prasad:
“…you think that you “please” this Phantom — which you mistakenly call “God” but who is not (for it is not Good) — by taking up arms against the Phantoms of others and their allies. You have projected your early family drama as a child onto the heavens. And you seek to use Conforming Underling behavior — sycophantic, mindlessly obedient, repetitive, most often nonsensical (to you), expressive of “love,” devotion … what you call “worship” … and alliance against all others … which you mistakenly link with faith, as in “keeping the faith” and “defending the faith” — to procure “boons” to alleviate the anxieties you have created for yourself about this life as well as to relieve your overblown fear of death and an afterlife. You seek relief from the misery you have created for yourselves — unique to all planetmates — from this Phantom in this life as well as afterward. This is the real meaning of your ritual and prayer.
“And by the way, if you ask then how we can disembowel ritual and prayer — the essence of religion — this way, yet still allude to an All That Is with a Benevolent Consciousness? If you wonder how we could even be communicating with you if such Phantoms are only projections of unmet need, you are not remembering what we have been telling you about your sense of a separated self. For while the essence of religion is appeasement and appeal, the essence of what you refer to as spirituality and mysticism is surrender and mergence … re-union.
“Religion is a product of the separation from unity with the All That Is or the Divine, and its individual observances of ritual and prayer only reinforce that separation. Whereas, the essence of mysticism and spirituality is to dissolve that barrier to the Divine — existing in your perturbed mind — and to re-acquire your true identity, which is at-one with that … to achieve at-one-ment (atonement).
“To this end you have priests and some of those you call shamans who encourage your separation — what you call religion; and you have another kind of shaman — as well as guides and helpers of all kind around you everywhere (as “provided” by that Divine) — whose conscious as well as unconscious intents and behaviors serve to aid you in removing that separation. You call this spirituality.
“If you should, finally, question the existence of the Divine Itself, thereby removing the separation artificially by removing, in one’s beliefs, that Other from which one has become separated — if you remove the separation by simply denying the existence of half of it — then “the proof is in the pudding,” as they say. For while religion depends on believing the unbelievable, which can’t help but be constantly under assault from Reality Itself in that it is erected against and in opposition to that Reality, which you mistakenly refer to as faith, spirituality requires no sycophantic obedience. Since the Truth is that Ultimate Reality cannot be anything but helpful in that It is you — and why wouldn’t you help yourself? — why would it withhold anything that would aid you in tossing off your enslavement?
“So it is that by simply trying out the idea that there is a benevolent Universe, one finds that one receives help, assistance, and experiences that reveal that Other and, although it does not need to at this point, proves it. This is what is meant by, “Seek and you shall find, knock and it shall be opened unto you … .” Reality does not require of you blind obedience and sycophantic worship. Now why would a Benevolent God — one you say correctly is all-merciful, all-compassionate — want that of you? No, the Divine — your denied Self — is as accessible to you as it is to us. And, as we have said, it is part of a felt knowing of our consciousness that we cannot doubt.
“As for evidence for this, how do you account for the very things you are hearing right now? This Great Reveal we bring to you is meant to relieve your unnecessary suffering and free you. Of course it is meant to have you turn to and face an actual discomforting problem. But even then it is only meant to ennoble you and free you from the diminished life and futile dramas you have created as substitutes for such a grand and fulfilling role and script — one that is part of a more exciting and profound Divine Play that is being offered you.
“Still, how do you account for hearing these words right now, so at odds with so much of what you have been taught and so promising to you … but most of all from a source that in your Reality would not even be possible? Consider the blessing of the prasads themselves, as evidence of this Benevolent Reality, this God. For indeed that is the meaning of prasad: it is a blessing from Divinity or a Divine Being. Why would you be receiving these helpful words — right at this moment especially, which you know is just perfect for you — if Reality is not Benevolent? Does it not feel like a blessing to you? A prasad? And how could you be receiving this message from this consciousness that is not you as you have defined yourself? Is that not proof that this Benevolent Thing is also “higher” than you — a higher power?
“But these are only the faintest glimmerings of the evidence in your experience, the blessings and guidance, the teachings and knowings that come — miraculously it seems — to you once you give the Universe a chance … once you give the Universe a chance to reveal it as it is … not as you want it to be, out of your fevered mania. Once you give the Universe a chance to actually be benevolent, not just as you are coerced into saying it is in your current unaccepting-of-actual-blessedness state, you find that It is, more so than you have ever imagined it could be….”
[Pt 2 of 26th prasad — Arrogance. More coming….
To see the entire book, to which this will be added eventually (book is two-thirds updated), go to http://mladzema.wordpress.com/the-great-reveal-book-6/ …
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All We Are Saying Is Give the Universe a Chance … Darkness Creates the Very Light to Dispel It: Part Two of 32nd Prasad from Planetmates, Human Redemption — Facing Darkness
Faith and Benevolence … “It Would Drive Me Crazy,” You Say. As if You Are Not Already Crazy. Part 2 of 32nd Prasad from the Planetmates, Human Redemption – Facing Darkness
You are aware at some level that Reality is this way. It is what you refer to as God being All-Merciful and All-Forgiving. But hear us that you by no means have to wait till after you have died to experience that. It is available to you at any moment.
Faith and Benevolence, Part Two of Elaboration of The Thirty-Second Prasad: Human Redemption—Facing Darkness
At any rate, in fleeing the possibility of overwhelming fear (this delusion of yours), you flee ordinary fear, helpful fear, the fear that catapults the good you do: Darkness creates the very Light to dispel it; just as Light needs a Darkness for it even to exist. Yet you are fascinated by horror, not horrified by it. You turn from your fears, then you project them—more twisted and horrible for you viewing them indirectly now—onto the dramas of screen and into your imaginings of doings of those unlike you. And you are fascinated with them in this altered form—not connected to you in any way. You need to take back these projections of horror onto screen and scapegoated others and realize they exist within you. You need to be horrified at the Reality you are creating. Only then will you be motivated to write a different script, a more wonderful one. And it would be that much more wonderful inspired by and propelled by this fear that is natural in view of this horror of your making.
So, no. Love is not letting go of fear. Love is facing real fear so one might be able to do something about what is causing it. Concern for the welfare of those other than oneself is what would motivate one to do that. And that is the very definition of Love. No. Apathy is letting go of fear. Insensitivity is letting go of fear. And this is the path you most assuredly plod at this moment. Whereas, being conscious of the darkness, and only then…that is, with the darkness and suffering in mind and motivating the best possible alternative of good to negate that, knowing that is the correct thing to do…is Faith. So, actually it is only Faith that is the letting go of fear.
You say, “I can’t stand it.” You say that because you fear it would be overwhelming. With Faith, you know that you never ever receive more than you can handle. That is the Nature of Reality. It is a benevolent Reality—a helping and comforting one—giving you only that which you can handle at any time and for the purpose of your higher good and ever expanding en-joy-ment. It can not help but be assistive in your overall, long term happiness because it is not, as you in wrong-gettedness have made it, separate from you. It IS you. You ARE it. So how can it not be on your side? How can it not want the greatest joy for you since it IS you? And it is only by thinking that you are separate that you can have such a thing as self-defeating behavior, self-destruction…or suicide—those peculiar inventions of you.
It is simple. You need to give the Universe a chance. Have faith that you can “stand” it, that the Universe does not contain things you cannot “stand,” things that would somehow “destroy” you or make you deranged. For right there with your assertion that you would not be able to “stand” it is the refrain, “It would drive me crazy!” Seriously? As if you you are not already crazy. As if it is not “crazy” to run from helpful fear and try to manifest a light that has no darkness and that continues unending. Not only is that impossible, but how could it not be the most boring kind of hell imaginable?
No, this being “destroyed” or made mad by emotions cannot happen. In fact, you are made mad by NOT letting yourselves have these natural emotions. Chopping up your experience that way into pieces—some of which you are desperate for and others of which you must not acknowledge lest you be “destroyed”—is exactly that disintegration that you call madness.
So it is that madness you already have that causes you to think that what you need to do and would be the most beneficial to you overall is the opposite of that. It is your delusion and magnified fear that makes you think any experience can ever “destroy” or “derange” you. And on the contrary, in trying to “stand” it—your fear, guilt, shame, and so on—you will find how benevolent the Universe is, once again. You are aware at some level that Reality is this way. It is what you refer to as God being All-Merciful and All-Forgiving. But hear us that you by no means have to wait till after you have died to experience that. It is available to you at any moment.
So, you need just to resist the running away, the turning from the important things. You need to face it, “stand” it, so you can learn you can with-“stand” it. “Stand” in place and embrace your natural fear as you would the savior it is. You need to follow this fear to its source, which is the precarious state we are in in which All, including yourselves, is at this moment falling over a precipice into a deep abyss. In allowing your fear to inform you, it will show you that dark abyss. And into it you must stare. You must not shrink from looking deeply into that void. For from it emanates the grandest and noblest of intents and motivations. It is only by taking in the darkness that you can engage in manifesting that which is light, or good, or life-affirming.
The Thirty-Second Prasad: Human Redemption – Facing Darkness
For you have damned yourself in what you have done, and you are pulling all of Nature on this planet in with you. So you need the saving and the reconciliation with Nature implied in redemption. For that, you need face and embrace your plight. You need look into the darkness you have created.
Only by turning toward the darkest of nights that you have pulled over us can you discern the brightest of brights that lies at its center. Your evil is capable of catapulting the greatest of good. This we need you to do for the sake of all. But the most important thing is that in this way lies your salvation.
Continue with Like a Prodigal Son, You Are Being Invited Back Into Eden … Can You Accept a “Friendly Universe”? Part 3 of 32nd Prasad, Human Redemption – Facing Darkness
Return to To Reconcile with Nature You Need Humility and to Stop Projecting Your Unreal Malevolence Onto the Universe, Say Planetmates: Part 1 of The 32nd Prasad, Human Redemption — Facing Darkness
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Culture War Allegory … “The Awakening” in America’s Not-So “Pleasantville”: Evolved Parenting Results in Authenticity and Defeat of Body Snatchers
Culture War, Class War, Chapter Six: “Pleasantville” as Culture War Allegory
“Pleasantville” as Culture War Allegory: Thinking for Oneself Gets You “Colorized”
Not So “Pleasantville”
The film, “Pleasantville,” is a postmodern sociological allegory or fable released in 1998. It begins in then-current time against a backdrop of the usual violence, chaos, and turbulence that we are conditioned by the media to believe characterized the Nineties in America. Two high school teenagers, David and Jennifer, played by Tobey Maguire and Reese Witherspoon are planning their evening.
A Tale of Two Siblings
David is planning to watch the Pleasantville marathon on television and to participate in the trivia contest that will be part of it. Pleasantville is a an old sitcom from the 1950s in the Father Knows Best, Leave It to Beaver, My Three Sons style which has attained a cult-like following and is shown regularly on a cable channel similar to the “Nick at Nite” one that we know of which specialized in reruns of old sitcoms. It becomes clear that David is an ardent devotee of the show in part because it compensates for the lameness of his real life. Unlike his sister, who is portrayed as a real “firecracker” of a young woman, he doesn’t date or participate in the school scene. It is implied that he may be using the sitcom as an escape from not only a boring life but a threatening one and that he longs to live in the kind of ordered, safe, and unchallenging reality that the sitcom depicts. David is such an avid follower of the show that he is shown to be a master of “Pleasantville” trivia and is primed and eager for the contest on Pleasantville trivia.
But his sister, Jennifer, is planning for a hot date at home…their parents being away for the weekend providing an opportunity for her to be unchaperoned with her guy—which she eagerly anticipates. At odds over what will be played on the TV–Jennifer wanting to watch instead an MTV concert with her date—they wrestle over the TV remote and end up breaking it. However all is not lost as at just that moment and completely inexplicably a television repairman played by Don Knotts drives up in his truck, knocks on the door, and imposes his services on them in fixing the problem.
Don Knotts—perfectly cast, in a Jungian sense, for it is often the impish or normally overlooked and unnoticed element that initiates sweeping changes in people’s lives—indeed does introduce the magical element into the film. He produces a different kind of remote control, which he claims has special effects saying, “You want something to put you right in the show!” Sure enough, in checking out the remote they hit a mysterious button and are transported into the TV and thus into the sitcom and the town that is called Pleasantville.
To Follow Or Not to Follow “The Script”
After their initial confusion, they realize what has happened and try to return, but do not know how to. David–who it becomes apparent has been thrust into the role of Bud in the sitcom–advises his sister–Jennifer who has become Mary Sue in the TV series–to go along with events until they figure a way to get home. Since he knows all the plots of every show of the sitcom, his idea is that they act out the events as they are supposed to happen and that they do what the two characters–the teenage son and daughter of the parents in the sitcom, Betty and George Parker, played superbly by Joan Allen and William H. Macy–are known to do in the different episodes he has seen.
Essentially, then, David as Bud is advising his sister to “follow the script.” And of course it is not hard to discern at this point that we are beginning to see a metaphor for psychological realities and that “following the script” has a broader meaning for a choice that everyone must make in life in growing up, viz., to follow the script laid out for oneself by one’s parents and society in general or to follow one’s inner direction and inner guide in asserting one’s individuality and expressing one’s unique self.
The rest of the movie is the story of how these two characters–transported magically from the future as well as from the real world as opposed to a made-up TV world–introduce change into the town and thereby color. Mary Sue, formerly Jennifer, does it consciously. Rebelling against her brother’s admonishments to follow the script, she goes on a date with someone she is not supposed to according to the sitcom script and then–horror of horrors for a 1950s world – engages in sex with him at the local “lover’s lane”–where the farthest that anyone goes, according to “script,” is holding hands. We find later that her date describes this unheard of experience to his classmates, and, like ripples emanating from a pebble dropped in a pond, her action results in a number of the school youth engaging in sex and thereby becoming, to everyone’s amazement, colorized!
The brother also introduces change, and therefore color, but it is done unconsciously at first. As mentioned, he tries to get his sister to follow the script. Still, in a metaphorically powerful scene, when he is late for work at the local malt shop–this is unheard of as well because “Pleasantville” is a world where no one is ever late for work–he inadvertently introduces change himself. In fact, he introduces the most insidious element of change because he explicitly advises–without realizing what he has unleashed–that his boss think for himself!
In this scene Bud, formerly David, finds his boss and coworker, Mr. Johnson, played by Jeff Daniels, stuck at the end of the counter, cleaning away with a wash cloth, like a stuck record, at the same spot, even as the surface of the counter is rubbing away.
When the soda jerk, Mr. Johnson, explains confusedly that the normal regimen would have required Bud to arrive at work before he, Mr. Johnson, could go on to the rest of his chores, “Bud” simply suggests to Mr. Johnson that in the future he continue with his next chore even if Bud isn’t there.
So simply in being himself, coming from a future in which people react to change by thinking out new responses and thereby adapting to them, Bud, aka David, introduces a totally new element into the soda jerk’s script. This has far reaching consequences as the movie progresses and Mr. Johnson begins thinking for himself and having ideas about other things as well. In this way, the soda jerk, soon to be artist, too ends up “colored.”
“The Awakening” in a WWII Generation World of “Blue Meanies” and “Nowhere Men” … “Yellow Submarine” … “Pleasantville”
“Pleasantville” and “Yellow Submarine”: The WWII Generation World of “Blue Meanies” and “Nowhere Men” vs. “The Awakening”Blue Meanies
The 1998 movie, “Pleasantville,”thematically, is remarkably akin to the 1968-released movie “Yellow Submarine” put out by the Sixties Generation rock group The Beatles.
In “Yellow Submarine” there is a region ruled by the “Blue Meanies.” These Blue Meanies, especially their leader, are depicted as powerful and cruel, yet sniveling, insecure, weak, and selfish underneath. Their angry and oppressive personas are shown to reveal poor little whining babies behind them. Their actions are shown to be those of “big babies,” whose gruff exterior must remain intact at all costs, lest their hidden sniveling and hurt little selves be revealed. The analogy the Beatles are making to those of the WWII Generation—at that time the parental generation, those “over 30″—is impossible not to make.
The movies are so similar in theme that the only major thematic difference between “Pleasantville” and “Yellow Submarine” is that it is music that is not allowed in “Yellow Submarine” whereas in “Pleasantville” it is color. But the idea behind them both is the same: Music and color both represent deep feeling, aliveness, thinking for oneself, and change. In “Yellow Submarine,” the man without music is Nowhere Man, who “knows not where he’s going to, doesn’t have a point of view.” In Pleasantville, the men without color act in the same ways, performing the same actions, day in, day out, without change, zombie- or robot-like–like characters in a 1950s-style sitcom in which nothing unpleasant, different, new, or too emotional is allowed to occur.
And above all, the black-and-white men do not think for themselves. This is graphically portrayed in the scene mentioned where the owner of the town malt shop, Mr. Johnson, portrayed by Jeff Daniels, is left cleaning the same spot of the counter for hours so that its top is rubbed away because his coworker is late and the routine they use to close up cannot be completed in the way it is done, everyday, in exactly the same way. Confronted with this small change, he shows himself to be the “Nowhere Man” and like a needle stuck on a record, he is rigidly stuck repeating the same action, not having the power to think of an alternative action in response to a change in the usual routine.
“The Awakening” – No Longer a Distant Vision
The differences in the years of the release and the different artistic modes used to express the themes of these two movies have something to say as well. In 1968 the changes in culture of the New Age were a vision and a hope. It is appropriate and telling that “Yellow Submarine” was expressed in animated form. Like a dream that would take a long time to realize, it needed to be expressed in cartoon-like fashion, for the time of its emergence in reality was too far off.
By contrast, “Pleasantville” blends a fantasy world–appropriately it is a TV sitcom, which has more similarities with reality than an animation – with the actual reality of postmodern times. The advance toward reality is patent in the evolution from an animated form–indicating the change is far off, a fantasy, a wish, a hope–in the 1968 movie; to a black-and-white form involving real actors, real people; and then to a colorized version involving real people in what is supposed to be real time and real cultural reality, in the movie released thirty years later. One might say that what was a fantasy over forty years ago is, however unconsciously, being heralded as, hopefully, emerging and coming into being now–in actual, black-and-white or colored, real time and place.
Reversing the Invasion of the Body Snatchers: The Preeminence of Inner Authority – Authenticity Rising
The Preeminence of Inner Authority – Authenticity Rising:
Reversing the Invasion of the Body Snatchers
Reversing the Invasion of the Body Snatchers
Concerning the movie “Pleasantville,” noted movie critic Roger Ebert quite astutely pointed out that it was “like the defeat of the body snatchers” (from his excellent review, “Pleasantville” ). One might also say that it is one in which Holden Caulfield, the character in J. D. Salinger’s Catcher in the Rye, wins out and children do not grow up to be adult “phonies.” Another analogy would be that it is a depiction in which Peter Pan stays young, when he succeeds in keeping the children from ever growing up and thereby losing their capacity to “fly”–representing the capacity to dream, to envision, to be open to new possibilities, to adventure.
What It Is That Makes One Alive
Against this backdrop of lack of real aliveness, the introduction of “color” into the town of Pleasantville through the introduction of sex is not seen as something bad at all. Similarly, in recent history, despite the increasing drum beating of the Religious Right in the last three decades, those of us who grew up in the Fifties know that the introduction of sex–in the Sixties, as in the “sexual revolution”–was a step forward from the hypocritical sameness and plodding repression of the Fifties.
Other elements introduced into Pleasantville that produce colorization in the participants include thinking for oneself (Jeff Daniels in his role as the soda jerk), intellectual passion (the sister), questioning the way things are supposed to be or, in Sixties terms, questioning authority (when the brother finally becomes colored), artistic and creative passion (Jeff Daniels again), and even the passion of honest rage (the chairman of the Chamber of Commerce). These elements arise in Pleasantville just as they arose into the collective consciousness of those of us living in the Fifties and Sixties.
Of course I am not naively saying that these elements never existed before the Sixties. The underlying factor that was introduced into the movie causing color and that was also introduced into our society causing all the sociocultural changes that we, usually, complain about is the factor of choosing something different than what is expected by society, than what is expected by the outside. What is introduced in the movie–as it was introduced in our culture–is the preeminence of inner authority in making decisions, as opposed to outer authority.
A New Psychohistorical Era!
In psychohistorical terms this difference is marked by Lloyd deMause as a difference in a mode of child-rearing. The black-and-white Fifties Pleasantville is a representation of a mode of child-rearing—which characterized the Fifties—wherein the role of the parents is to “mold,” model, and guide children along paths that the parents have deemed to be correct–called the socializing mode of child-rearing. The child is expected to be a clone of the parents, a mini-me, or at least to represent the parents’ ideas of proper behavior, ideals, and mode of living, irregardless of whether the parent models them or not. And when not, the phrase “Do as I say, not as I do” and the term hypocrite as applied to the parents are apropos. The basic nature of the child is considered to be sinful and evil or at least beastial; the classic novel Lord of the Flies depicts this view of human nature. Therefore the child needs to become other than itself and conform itself to something outside of itself in order for she or he to be considered “good” and to receive good responses in turn from parents and society.
By contrast, the colorized Pleasantville represents the mode of child-caring that came out, big time, beginning in the Sixties, wherein the parents’ role is that of “bringing out” from and supporting, encouraging, and helping the child to discover what the child’s talents and inherent abilities, feelings, and proclivities are, and then encouraging the child to “believe in him/herself” in the expression of those inherent and inborn good qualities and values–termed the helping mode of child-caring. [Footnote 1]
This mode contains a radically new view of basic human nature. Humans are seen to be essentially good (even “divine”). It is evil and painful events impinging upon the child from the outside—family and society—that are deemed causative in taking the child from its natural state of innocence and goodness and inherent unique talents to one wherein the child is corrupted and thus becomes beastial and lacking in inherent good qualities and talents.
Therefore the solution is to protect the child from traumas coming from the outside, especially the huge one of feeling unloved through not being seen or respected as a unique individual…as opposed to being seen as a mere outgrowth or mini-me of a parental entity. And in so doing the parents’ role includes helping the child to discover his or her uniqueness and dispensing unconditional love, that is, love that is given freely, without the requirement, as in the socializing mode, that the child do and be what the parents want before the child is accepted or shown approval or any emotional warmth.
In representing this advanced mode of being (and child-caring) the “colorized” people in Pleasantville open themselves to possibilities that were never before considered; they stray from the earlier mode requiring strict conformity to parental scripts. Robert Kennedy’s Sixties quote comes to mind as expressing this: “Some people look at things as they are and ask, why? I think of things that never were and ask, why not?” This means, then, a capacity to experiment and adventure in one’s life, which, at bottom, involve a belief in questioning authority and thinking for oneself in Sixties terms or, in Sathya Sai Baba’s words, a belief that we are, each of us, “experiments in truth” in our sojourns on Earth. And just as these elements and beliefs became more and more a part of America’s collective consciousness in the Sixties and Seventies and ever since then, they also gradually develop in “Pleasantville.”
The “Messy” Scenery of Healing
“Love My Uncertainty”
One reviewer described the ending of the movie as “not at all easy and tidy, but rather very, very messy” ( “Pleasantville” by Chris A. Bolton). Ebert–more astutely but not quite correctly—wrote that the determining factor in whether someone became “colored” was the factor of change. The first reviewer, like someone with one foot still in “Pleasantville” or one who is still not fully colored, does not understand that the ending, wherein the characters proclaim that they do not know what is going to happen next, contains exactly the essential message of the movie. The ending can only be “messy” if one expects a particular ending.
The reviewer is very much like the critics of Occupy Wall Street who claim the protesters do not have a message, or a leader…essentially don’t know where they are going. He is wrong for the same reasons those critics are.
The whole point of change is that it is always something one does not expect. Likewise, when people act out of inner rather than outer authority, one can only expect that what happens will be unique, like people are when they are not conforming to external expectations. So there could be no pat or predicted ending. The moviegoer could not leave knowing whether Betty Parker, the Stepford housewife turned liberated woman, returns to her husband, George, or takes off with the soda jerk turned artist, Mr. Johnson, because that would destroy the uncertainty inherent in change, growth, aliveness, and so on. So the ending is exactly what it has to be.
And this ending expresses the spiritual razor’s edge each of us must cross during our life’s sojourn. Whenever we try to put life, or love, into a box, package, or a gilded cage, it dies or stagnates—just like a boring black-and-white sitcom world. Real change and spiritual growth means letting go and opening oneself to the unexpected and the unknown. So it is in this vein that the spiritual teacher Sai Baba tells his followers, “Love my uncertainty,” in helping them to deal–after the usual “honeymoon phase” at the beginning of their spiritual path–with the trials, changes, tribulations, and suffering that his devotees experience later on, along their path to greater purity of heart and compassion, and eventually spiritual liberation.
The Scenery of Healing
One of the reasons the movie, “Pleasantville,” so appealed to me is that its view of current events is so akin to that which I have been expressing in other of my more recent writings–e.g., the articles “The Sometimes Messy Scenery of Healing“ and “The Emerging Perinatal Unconscious“ and the books Apocalypse – No!, Apocalypse Emergency: Apocalypse? Or Earth Rebirth? and Apocalypse, or New Age? The Emerging Perinatal Unconscious–wherein I make the argument that recent events are not evidence of a downfall of civilization, as conservatives like Newt Gingrich and Pat Buchanan would have us believe, but are the necessary “birth pains” of a new age being born.
In Pleasantville, indeed, though everyone smiles and there is no crime or unpleasantness–which is supposed to reflect the view of reality presented in Fifties sitcoms like Father Knows Best and Leave It to Beaver–it is inherently flawed in that it is lacking in “color.” Those of us who lived through the Fifties know that the lack of color is an apt metaphor for exactly the way it was at that time. It was a back-and-white world–a world that covered up its underlying nastiness and evil by repression and denial–psychological defense mechanisms that characterize the World-War-Two Generation especially.
New Mantram: “Thinking for Oneself Is Good!”
The point in the movie, which is so appealing, is that it causes us to look again at the changes in our society that have occurred because of the various “revolutions” of postmodern times–civil rights, student antiwar, women’s rights, sexual, and so on–and to stop bemoaning the “messiness” that comes with freedom. We have more choice, more freedom now than ever. And this freedom allows us the opportunity for a higher spirituality—some would say the only true spirituality—which involves the harrowing path of deciding for oneself, based upon one’s ability to intuit or “feel” the correct path, and experiencing the consequences of one’s choices, as opposed to the preordained religiosity of following a script.
Though many would argue this, one has only to look, as this movie forces us to do, back at where we started. And from that perspective, with that stultifying, hypocritical, dishonest, and phony kind of supposed “living” in mind, we can easily see the changes and progress made in individual freedom and, dare I say, genuine spirituality, and accept the uncertainty, emotional pain, apparent evil, “messiness,” social and political turbulence, and all the rest that comes with it.
1.See “The History of Childhood As the History of Child Abuse” by Lloyd deMause on the Primal Spirit site.
Return to Culture War, Class War, Chapter Five: The King Won’t Die – An Aborted Changing of the Guard
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