Archive for Hammer films

LILITH, ANNO DOMINI

Posted in Art, Chaos Magic, Comics, Film, Goetia Girls, Love Magic, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Tarot, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , on June 1, 2016 by FAUSTUS CROW

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Sometime ago in my misbegotten youth, as a child, I remember being left alone in my parents car one fateful night after a day out visiting the British Natural History museum. My parents had dashed off to acquire a meal of soggy fish and chips from the local chippie, before returning home.

While waiting for my parents return with the aforementioned meal, I looked out of the passenger window and noticed a billboard featuring a huge Lamb’s Navy poster of the most beautiful woman I had ever seen.

Even though I was but a kid, with no bristles to yet erupt forth upon my physiognomy, requiring copious amounts of Noxzema shaving cream, she stirred something deep within me.

I felt that my head was going to explode, it was like a mystical revelation. The experience was of similarity to what I had far earlier experienced when seeing a poster for Barbarella, but that’s another story.

The sensation was not necessarily sexual, more like that of recognition, as if she had triggered a memory I could not as yet remember in its entirety; the only way I can describe it as being like déjà-vu.

But then I was nightly experiencing the Old Hag Syndrome with its ensuing sleep paralysis, prior to attaining conscious ingress into the dream, which in retrospect, probably made me more sensitive to something quite other.

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The woman I later to find out was Caroline Munro who I started to notice was being featured in an advert for Manikin Cigars on my parent’s flickering black and white TV set, which I made a point of seeing, to the point of becoming nigh obsessed; I’m surprised I didn’t end up becoming a chain smoker, let alone an alcoholic.

I was not the only one who had been hypnotised by Munro’s High Priestess looks, Hammer Films CEO, Sir James Carreras, also spotted Munro on a Lamb’s Navy Rum poster of a Tarot card. He asked his right-hand man, James Liggett, to find and screen test her.

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She was quickly signed to a one-year contract. Her first film for Hammer had proven to be something of a turning point in Munro’s career, who as a Muse, stirred my unusual dreams.

It was during the making of the 1972 film, Dracula A.D., Munro decided from this film onward that she was a fully-fledged actress.

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Munro acted in Captain Kronos – Vampire Hunter, in 1974, which is one of my childhood favourites.

The film was directed by Brian Clemens, in which Munro plays the part of a barefoot gypsy girl named, Carla.

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In Paramount Pictures DVD commentary, Clemens explains, he had initially envisioned the role as being played by a fiery, Raquel Welch type, red-head; but Munro was far more archetypal of Witch looks for the part.

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Munro has the distinction of being the only actress to have ever been signed to a long-term contract to Hammer Films. She later turned down the lead female roles in Hammer’s Dr. Jekyll and Sister Hyde, Frankenstein and the Monster from Hell, and the unmade Vampirella film, since they required nudity.

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It was not a case that Munro was a prude, she had a raw sensuality anyway, oozing eroticism upon a look, which did not require her to be nude. Although I could not help wondering what was hidden behind her Genie veil.

Whereupon when my stirred sexual impulse was introverted, the nightly Old Hag Syndrome was transmuted into another experience by prior mediating upon her two-dimensional picture.

Wherein of the dream, I encountered a Succubus looking just like a Caroline Munro of a three-dimensional interactive reality, to otherwise know as… Lilith.

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TO THE SORCERER CROW A SUCCUBUS TULPA OF A DAUGHTER

Posted in Art, Chaos Magic, Comics, Demonology, Film, Goetia Girls, Goth Girls, Love Magic, Lucid Dreaming, Occultism, Sex Magic, Shamanism, Sorcery, Succubus, Tulpa Creation, Witchcraft with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on May 30, 2016 by FAUSTUS CROW

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I really enjoy watching a good horror flick, preferably fantasy horror rather than slashers. However the same old focus upon an all male Biblical paradigm of a deified ‘Animus’ just creases me up.

I just cannot take them at all seriously anymore, since their symbolic formulas follow the same indoctrinated hard-sell train track.

Anyway, I still like them, even though a God upending a Devil and vice versa, via their incubus angels and demons, followed up closely behind by their ‘Animus’ fixated minions, is absolutely hilarious.

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One film I have a fondness for from my childhood is the classic horror film, To the Devil a Daughter, directed by Peter Sykes, which was co-produced by Hammer Film Productions and Terra-Filmkunst back in 1976.

The film was adapted by Christopher Wicking and John Peacock from the 1953 novel of the same name, authored by Dennis Wheatley.

The film starred Richard Widmark, Christopher Lee, Honor Blackman, Denholm Elliott, and of course the delectable Nastassja Kinski who I had the hots for; she was older than me, maybe the same age thereabouts, at the time, of my fantasy fueled conjurations.

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It was the second of Wheatley’s black magic novels filmed by Hammer, following The Devil Rides Out, prior released in 1968, which is another film favourite of childhood memory. Like most horror films, let alone books, the film uses the same tried and tested generic formula of commonality.

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The plot in general has an American expatriate occult writer, named John Verney (Widmark) who is asked by Henry Beddows (Elliot) to pick up his daughter Catherine (Kinski) from London airport.

Catherine is a nun, belonging to a Christian cult of the deified ‘Animus,’ calling themselves the ‘Children of the Lord,’ a mysterious heretical order based in Illuminati Bavaria.

The real Illuminati being the three ‘Animus’ cults, of a monotheist triangle around the pyramidal ziggurat of oily UR, at whose patriarchal midst is the eye of their Abraham.

The ‘Children of the (Animus) Lord’ cult was created by a excommunicated Roman Catholic priest Michael Rayner (Lee), just like the Emperor Constantine had done, when he appropriated the ancestral-self-identity of the Hebrew’s in order to create Christianity.

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Beddows is only allowed to visit his daughter on her birthdays. Shortly after Catherine arrives, Beddows insists she stays with Verney. The cult members are outraged, who under Father Michael, use all their ‘Animus’ fixated efforts to get Catherine back into their flock, by using black magic to stop Verney protecting her.

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Verney learns that the cult are preparing Catherine to become an avatar of the twenty-ninth spirit of the Goetia called Astaroth.

Said spirit is described as being male in the classical Grimoires, even though Astaroth was originally based upon the Mesopotamian sex Goddess called, Astarte, the Sumerian’s and Babylonian’s knew as Ishtar, who the Saxon’s called Eostre, from whose name Easter is derived.

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In the film Astaroth is an anti-thesis Christ figure, who is depicted crucified, upside down upon a cross, which is otherwise up-righted on an altar. Catherine wears the Astaroth crucifix around her neck of an ‘Animus’ fixation.

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Catherine is to be wedded to her lord Astaroth on her eighteenth birthday just like many another nun being married off to their Christ; whereupon the priest systematically murders Verney’s friends in his attempts to retrieve Catherine from Verney.

But Verney battles the priest and his minions who eventually rescues Catherine from the clutches of the Astaroth cult, back into the folds of the ‘Animus’ Christ cult. What a laugh!

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Suffice to say Nastassja Kinski’s ‘Tarot card XV’ role in the movie was verily conjured into a Faustian film amidst my Triangle Of Art imagination, which goes far beyond Marlowe’s and Goethe’s, Faust.

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So, when Faustus Crow presently summons Mephistophina, he is conjuring up childhood memories of a Night-Mare time, when he was lucid dream formulating his Succubus Grimoire of the Fallen ‘Anima.’

Well, why not, the Witches have their Playgirl grimoires of their deified ‘Animus;’ wherefore, Faustus Crow rebelliously created a Playboy grimoire of the Fallen ‘Anima,’ in order to free his Anima, to mantra name, Mephistophina.

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