First review: Bone Tomahawk (2015)

A boorish piece of film. Nauseating even at second viewing. Repulsive.
Were it not for the embedded allegories i couldn’t stand it at all.

To recommend this movie to anyone would be a mistake, let me tell you.
It appears to have been made with the sole purpose of arousing a sense of disgust.
It is so long and horribly boring. The editing is done badly.
Contains scenes of easily cringing gore and brutality with no appeal whatsoever.

Verdict- Made to dissuade people; from the idea of a secret cabal of psychopaths and the pathway to suppress them.

To summarize: The secret tribe of Troglodytes, cave dwelling cannibalistic savages.

  • They mark their territory as dangerous. Motto here is “Don’t tread on me”.
  • Their females maimed; blinded and have all their limbs amputated,
    to serve as incubators only.
  • They use a secret, known only to themselves language to send signals

The twisted thing is to portray those ancient ones not as preserved, but also retarded.
Only a technocrat can treat those beings superficially, not able to see the reason they (although unnaturally) survived for a millennia without any outsourcing, keeping only to their dark selves as a source of enlightenment.

The hidden layer we fail to see is the causal factors- If those things lived nearby for thousands of years and have not “awoke” in the recent past, but operated since time immemorial, Then it means the society of dorky, stupid and truly blind followers of a cult were suffering them unknowingly.

For some reason, the one that is portrayed as a hero on posters is the sheriff.
While it is the lame believer in god that is able to come to the right conclusion and operate thoroughly to get rid of the demise. In a deleted scene, he is elected new sheriff.

Flute Symbolism

“Древние говорили, что всё упрямство у человека в позвоночнике. Вырвешь позвоночник — можно узлом завязывать.”
– “Юленька” (2009)

The proverbial masonic Jacob’s Ladder.
No surprise the masonic initiation process has 33 gradations-
This is in accordance with the 33 spinal vertebrae.
The spinal cord is the “elevator” of electric impulses in our bodies.
Signals like that are what generates our experience in the brain.

Гамлет:   Я что-то не понял. Ну да все равно. Вот флейта. Сыграйте что-нибудь.
Гильденстерн:   Принц, я не умею.
Гамлет:   Пожалуйста.
Гильденстерн:   Уверяю вас, я не умею.
Гамлет:   Но я прошу вас.
Гильденстерн:   Но я не знаю, как за это взяться.
Гамлет:   Это так же просто, как лгать. Перебирайте отверстия  пальцами, вдувайте ртом воздух, и из нее польется выразительнейшая музыка. Видите, вот клапаны.
Гильденстерн:   Но я не знаю,  как  ими пользоваться. У  меня  ничего  не выйдет.  Я не учился.
Гамлет:   Смотрите же, с какою  грязью  вы меня смешали! Вы собираетесь играть на мне.  Вы приписываете себе знание моих клапанов.  Вы уверены, что выжмите из меня голос моей  тайны. Вы воображаете, будто все мои ноты снизу доверху вам открыты. А эта маленькая вещица нарочно приспособлена для игры, у ней чудный тон, и тем не менее вы не можете заставить ее говорить.  Что ж вы думаете, я хуже флейты? Объявите меня каким угодно инструментом, вы  можете  расстроить меня, но играть на мне нельзя.

Психологическое айкидо – Михаил Литвак 

Гамлет, принц датский – Шекспир

Common to movies like “Prometheus”/”Covenant” or “Bone Tomahawk”, this ancient symbol regards the human spine (backbone). It’s usage is quite rare, and is mostly passes unchecked. Most probably, it has it’s origins in the Hindu traditions as “Sushumna”, a channeling chakra that allows energy to flow, as demonstrated by modern medical knowledge.

In early cultures the flute played an important role in the realm of magic and was very closely linked to the hereafter and the spirit world with its gods. The instrument is often shown as being played by gods or symbolizes a god’s voice: the Ancient Egyptians, for example, believed the voice of Isis, the gods’ mother, was audible in the long, drawn-out notes of the flute. Beside this it was the gods themselves who gave the flute to mankind as a gift; the Hindu deity Krishna – having taken on the form of a shepherd boy – brought the transverse flute to his people.

Probably the best known myth connected to the flute is the story of Pan in Greek mythology, who, under tragic circumstances, invented the instrument that bears his name – the Pan pipes.

The enchanting nymph Syrinx was fleeing the pursuit of the cloven-footed Pan, the god of shepherds and herds, and was saved by kindly gods who transformed her into reeds. Pan, pining for his lost love, tied several reeds together and blew through the stems like a breath of wind so that he might once more hear Syrinx’s sweet voice in their song. Later on he gave his hand-made instrument to the shepherds, and that is how it became known to mankind.

Artists of every epoch have drawn inspiration from the fascinating wealth of myths and legends woven around the flute, using it to finds means of musical expression. Claude Debussy, for instance, was inspired by the myth of the transformation of Syrinx in two works (Prelude to The Afternoon of a Faun, Syrinx, 1913). The ethereal, pure and poetic sound of the flute is inextricably linked with mythical or spiritual figures and with death.

A further aspect of the flute’s symbolism is its portrayal of nature and rural life. This symbolism arose due to the instrument’s sound characteristics and is of onomatopoeic nature. Examples of this are the birdsong in Olivier Messiaen’s Le Merle Noir or Ludwig van Beethoven’s Pastoral Symphony.

Until Renaissance times the flute was also very closely associated with warfare and battles, since it and drums were the instruments played by foot soldiers. By the Baroque age, however, the instrument’s ability to express gentle feelings had been recognized. This aspect of the flute gained enormous importance in the Romantic period when it became the instrument par excellence for lending expression to sentimental feelings.

The Spirit and the Flute

The origins of the Flute are lost in history, but the theory is that the discovery resulted from a voice in the wind blowing across a reed.  Whose voice was it? From earliest recorded times the flute was played both by the shepherd and as part of ritual. It appears in Sumerian, Iranian Orphic,

Hermetic Tibetan and many other traditions{.In Egypt the first flute is shown on early slate dated 4 B.C. and pictures of the flute were commonly found from 26 B.C. One of the names of the flute was KHERU or voice. The Egyptian Priests used them in their Liturgy and flutes have been found and tombs and burial sites, where they were probably were placed as symbols of life.

In Sumeria the ritual flute was called a Ti_Gi which is thought to mean the Reed of Life.  One of their Kings formed a cult for the flute, as it filled the temple with joy. In China, it was called the Ti, and later named Hsaio, in honor of a King, who in playing duets with his wife Lung-Ho was said to draw Phoenixes from the sky.  The Phoenix was often depicted as a flute, as we know meaning resurrection and life.  its presence often meant there was a great sage.  The flute is also the emblem of Han Hsaing-Tzu, one of the eight immortals of Taoism, meaning harmony. In Japan, it was called the Shakuhacki, it was used by the Zen Buddhists sects as a form of chanting.

It is still used in Turkey in the Mystical whirling ceremony of the Mevlevi Dervishes. In India krishna is seen playing the flute, and is called the divine player of the flute, whose song recalls home the souls wandering in disillusion. His flute is called the flute eternity crying to the dwellers in time. The Bouncers flute is still played in the Indian Tradition of spiritual Music.

The flute is unique in being the only instrument played by breath alone. Breath is commonly identified with life and with the soul. The spiritual power of the flute is given in the power of music, it is said that music gives the discipline that raises one to divine peacefulness and bliss, and through music you can reach the Gods.

Published by Shut-Eye Cinema

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