Wednesday, August 2, 2017

Appendix: The Mummy (2017)

There was so much in The Mummy that I was easily overwhelmed: an incredible amount of work went into that film, so it shouldn't be a surprise that I just now figured something out, something kind of big that was the obvious elephant in the room I kept overlooking, so instead of making you go back through the post to look for it, I'm just putting up an appendix (in addition to including it in the main post for the film).
Again, Nick will later tell Jenny that he thought there was another parachute, but we never see him look for another one, which is pretty odd, isn't it? And as Jenny says, Nick doesn't hesitate to give her the only parachute, because he wants to get as far away from her as possible. Just another little note, as there are several references to other Tom Cruise films in The Mummy (so we can compare Nick Morton's lack of heroism to the kinds of heroes Cruise typically portrays) so we should be mindful of Annabelle Wallis (Jenny Halsey) and where we have seen her: as Jane Seymour in The Tudors (Henry VIII is the perfect example of the adulterer)  and as the mother in Annabelle, which was very much about chastity and adultery, marriage and purity (please see I Like Your Doll: Annabelle and the Charles Manson Family for more). 
When Nick and Jenny are at Waverly Abby, and Ahmanet has had Nick on the alter, ready to stab him with the Knife of Set, Nick escapes in the yellow ambulance, and Jenny runs after him, accusing him of "Just leaving" her there,... We discussed that Nick is possibly leaving her there because Nick's reply is, "Did you see that?" referring to what happened on the alter, because it's obvious that this was a re-enactment of what Jenny and Nick did in her Baghdad hotel room, and Nick wants to get away from Jenny because he doesn't want any of that to happen. What I have just realized is, in the scene pictured above (the zero gravity scene when Nick gives Jenny the parachute) it's possible, even likely that Nick is "getting rid of Jenny" to get her as far away from himself as he possibly can even this early in the film. Seeing what happened to Vale, the camel spiders, the dust storm and Greenway being shot, as well as the massive attack by the black birds on the plane, Nick probably all ready realizes that this is happening because of Ahmanet-Jenny and just as Vale died, it would be better for Nick to die, too (remember, his last name, "Morton," means "death"). This imperative detail (if I am right, and I think this is spot-on) heightens the spiritual dimension of the film significantly, especially with the King Arthur reference the film provides,....
What is one of the details we see at Waverly Abbey? When Nick tries getting away from Ahmanet and he drives the ambulance right back to the Abbey; Nick can't get away from her. The same could be said of Jenny. Even after Nick has died in a plane crash, Jenny is there, outside, waiting to see Nick, and then there she is. After Nick leaves the pub and is in the alleyway, he suddenly finds himself in front of Jenny again, just as he finds himself in front of Ahmanet again at the Abbey. 
Since Jenny is a form of "Jennifer" (which is how Jeckyll addresses her, her "alter ego") and "Jennifer" is a form of Guinevere," then Nick is being called upon to be a "King Arthur," a knight in shining armor; why? As Jeckyll tells him, "A sacrifice for the greater good," and if Nick is willing to die to get away from Jenny, as he appears to be in the zero-gravity scene, then that's a pretty significant sacrifice. "But wait," you oh-so-keen-reader remind me, "Jeckyll wanted to kill Nick and Nick wouldn't have anything to do with it, which is why Nick is still in the room when Jeckyll turns into Hyde," and that is a most excellent point, dear reader, however, I think--and I leave it to you to decide--that it's actually one, being willing to be murdered by someone, instead of just taking advantage of a plane crashing with you in it anyway, but two, and more importantly, that Jeckyll wants to complete the ritual, so he's not only suggesting to murder Nick, but allow Nick to become possessed by the devil, and then kill Nick, and what are the chances of that ritual going all as planned? About nil. This is, of course, exactly what Nick ends up doing himself, however, all the events of the film have prepared him to make that decision.
What decision?
To become a knight.
Another little detail I forgot to add was the shirt Nick wears. Supposedly, this isn't one of his shirts, since he woke up at the morgue naked, this was somehow supplied to him. If you notice throughout the film, he doesn't button the sleeves, and there seems to be some tears, especially in the area of the arms; why? Is it a cheap shirt? Possibly, however, the unbuttoned shirt sleeves suggests that Nick has something "up his sleeve," and stealing the Knife of Set from Ahmanet, the way he stole the map from Jenny, would certainly validate that interpretation. What about the holes in the shirt? It's almost as if the shirt is ripping at the seams, like Nick's The Hulk, about to transform, and in the scenes when we notice it most, especially the underwater scene when Nick tries to save Jenny from drowning, Nick is transforming, he's risking everything to save her, rather than just save himself by getting away from her and hoping the catastrophic events don't take place. In other words, the film makers, like those of Transformers and King Arthur, are calling upon men to once again become the protectors of women, rather than just the joe she spent the night with. 
It's not simply enough, the film makers argue, for Nick to say "No," to having sex with Jenny (and only saying "No," after he has seen the devastating consequences for himself that engaging in sex with her has in store for him), for Nick to become a hero, he has to become a knight who doesn't engage in sex at all. We see this in, for example, Transformers: The Last Knight, with an explicit discussion regarding the last time Cade (Mark Wahlberg) had engaged in sex, as well as the lack of sex--even romance--in King Arthur: Legend Of  the Sword. Why is this important? Actually, it's earth-shattering! Liberal culture has taught that men are promiscuous and that's just how they are, so that then they could argue women have the right to be promiscuous as well, so that's how we get the "Jennys" of the world. The Mummy argues that men have to be chaste and pure, it's not enough to just not have sex once with a certain woman, but men have to rise up and become the knights of old, or men are going to be completely wiped out of the history books, just like ancient Egyptian society tried to do to Ahmanet. (If you haven't read the full post on The Mummyyou can find the complete analysis of the film here at this link).
Eat Your Art Out,
The Fine Art Diner