Friday, July 19, 2013

The Conjuring Is,... Pro-Socialist


Do you remember a film called Margin Call? Tuld (Jeremy Irons) said, upon hearing of the financial collapse of his business, that "The music has stopped," whereas, in The Iron Lady with Meryl Strep, the music is always starting to signify the good days of prosperity having returned. In The Conjuring, when the music stops in the music box, Rory, a little boy, appears behind you; why? "Behind," always symbolizes the past, where we have come from (like Gerry Lanes's [Brad Pitt] rearview car mirror being broken off just before the zombies attack Philadelphia in World War Z) and Rory is a little dead boy, a victim of a satanic witch sacrifice inspired by the dark entity ruling the Perron home. When the "music stops"--when economic prosperity has stopped--we will look back at what went wrong and see the "dead child," the child who was sacrificed is the future that was sacrificed because, according to the film, capitalism is a dead end because it's ruled by the devil. This is quite easy to prove because the film wants us to know what it's saying. Second point: please notice the stylized "swirl" on Lorraine's face from the mirror within the music box: it invokes Tim Burton, Hollywood's die-hard socialist, meaning that Lorraine is "marked" by socialism, unlike the "marks" of possession by the witch Bathsheba on Carolyn Perron. Third point: the music box is designed like a circus big-top, and where else have we seen a circus? Madagascar 3: Europe's Most Wanted, a decidedly pro-capitalist film. The Conjuring spills over with a wonderful abundance of "movie references," but it's not so wonderful what it does with them, and we will fully discuss this in the upcoming post. AFTER, not before, I get The Conjuring up, I will go see RED 2.
The acting is impeccable. The directing is impeccable. The cinematography and pacing is impeccable; it's a great, classic horror film. It's also definitely pro-socialist, coating it in a dangerous layer of Christianity (specifically Roman Catholicism, so--my fellow Catholics--we must be wary of this) and there is no possible way to get around it; I tried. I was going to throw out socialism/capitalism, and just do a straight psychoanalysis since we haven't done one of those in awhile, but it's impossible without looking at the role material objects and capital play in the film and, that makes it by far the most anti-capitalist and disturbing film yet made, really. This is not a movie for kids. There is no nudity in the film, but it's too scary (there were about ten 6-8 year-olds in the audience and I couldn't believe parents would bring their kids to see a film like this, so don't take your kids, go see Turbo, Despicable Me 2 or Monsters University, instead). It's tempting to read this as pro-Christian, however, even with the very last quote we see from the real Ed Warren at the end, a terrible act is committed in the film to alert us that this isn't in any way a Catholic film.
Eat Your Art Out,
The Fine Art Diner