-Caveat Lector- "ELIZABETH" IS COMPLICATED ========================== (CNNS, 01/13/99) -- Viewed in a complicated town, at a simple theater, the movie "Elizabeth" is complex and simple -- both -- at the same time. The complicated town where this editor saw the film is Champaign, Illinois. The simple theater which presented the film is The Art Theater, a refreshingly non-corporate venue. Like the town and the venue, the film "Elizabeth" operates at more than one level. On one level it is meat-and-potatoes feminist propaganda. On another level, it is heart-wrenching art, a powerful story of how one woman sacrifices herself for her country. The Art Theater did not show Macaroni & Cheese advertisements just before showing the film itself. They did show a preview of a coming attraction. The venue thereby enforced the theme: both simplicity and complexity. On the simple level, the film indoctrinates its viewers with feminist propaganda, by means of SUBTEXT. We see young Elizabeth, newly crowned queen of a tottering empire, additionally handicapped by the (yawn) "evil males" and "evil patriarchy" which surround her. (As Glaucon stated in a recent CNNS press release, "Look to where no eyes look." All eyes look for SUBLIMINALS but no eyes look for SUBTEXT.) The laconic form of this editor could be seen stretched out in the theater, absorbing the subtextual onslaught of feminist propaganda. But after the first hour the film moved into much deeper territory and achieved greatness in mythology, if not greatness in fact. The character of Queen Elizabeth I becomes powerfully heroic in the final hour of the film, "Elizabeth." The only question is one of historical accuracy; the myth created by the film is potent, but is it factual? Young Elizabeth begins as a merry maid, expressing the best instincts of the human heart. She is Heart, elevated to queenship, and refusing to surrender at first to the dirty realities of politics. But ongoing conspiracies against her slowly loom in the film, and become the catharsis which propels her, in the end, to sacrifice her personal humanity to "national security." She surrenders and subsumes her humanity into an identification with the State. Elizabeth, in the end, is the State; and the State, in the end, is Elizabeth. Elizabeth symbolically gives her life for the good of the People whom she loves. The film reverts back to the simple when it contrasts the lovable, innocent, young Elizabeth with her arch-enemy, the Pope. Elizabeth is young (subtext: good); the Pope is old (subtext: bad.) But in the exact same frames a complexity exists: we see how the Pope implements the Catholic machinery of assassination; the Holy Father does not exactly order that Elizabeth be assassinated, rather, he lets it be known that any Catholic who happens to murder her will be rewarded in Heaven. "Oh, by the way, the Pope has determined that any Catholic who murders Elizabeth will be sanctified in Heaven." This Papal assassination machinery occurs later in history, when Pope Pius IX tacitly approved any assassination of Abraham Lincoln. (See hard-to-find books: "Fifty Years In The Church Of Rome," by Rev. Charles Chiniquy; "Suppressed Truth About The Assassination Of Abraham Lincoln," by Burke McCarty.) P.D. Ouspensky, the great Russian philosopher, said that "art is the language of the 4th-dimension." The nature of true art does not allow 3-dimensional analysis. Art speaks to something higher than intellectual pigeon-holes, which is why academics never succeed when they try to systematize it. (But they keep trying.) The Beatniks had an apt term -- "Squares" -- which suggests the vain attempts of 3-dimensional thought to comprehend something beyond its domain. "Yes. But is it Art?" The movie "Elizabeth," despite its propagandizing and its doubted historical authenticity, manages to connect with the higher realms. It is powerful, ultimately beyond analysis, and so yes, it is Art. And of course, that's obvious: it was shown at The Art Theater. + + + + + + + + + + + + + + + + + + + + + + INFORMATION PLEASE: Conspiracy Nation News Service (CNNS) is a co-operative effort. Without the hints/rumors provided by many excellent sources, we could not exist. Have YOU heard anything lately that might be important? Pass it along to us at [EMAIL PROTECTED] Anonymity is guaranteed. If you prefer, send your news tip or clues on same to: Brian Redman, 310 S. Prairie (#202), Champaign, IL 61820. Or you can go to a pay phone and call in your news tip: 217-356-4418. THEY will never tell us the whole truth about what is going on. But we, the People, working together, can find out what is REALLY happening. 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