A Rare Treasure

Now that I’ve finally written The Art of Revealing, I will try and use it as a “secret decoder ring” to evaluate Hollywood’s offerings. This week, I take a look at Jon Turteltaub’s National Treasure.

I’ll admit to never having any intention of seeing this movie. The advertised plot about a treasure map on the back of the Declaration of Independence, the presence of Nicholas Cage (seems like he’ll appear in anything), and the film being made by Disney, seemed to add up to “typical Hollywood schlock.” However, a friend’s advising me it had some esoteric content, combined with lack of anything else worthwhile to do that night, “conspired” to set me down for a viewing.

Within the first ten minutes, both the Masons and the Knights Templar are brought up. This movie may merit a closer look. There seems to be growing interest in these topics by the public at large, thanks to the best-selling propaganda piece The Da Vinci Code (and, the not-so-successful movie). Am I due for yet another round of disinformation about these “two” groups? {*1}

However, I soon realize that I may be watching something special. Nicholas Cage starts reading the part of the Declaration of Independence that states:

“when a long train of abuses and usurpations, pursuing invariably the same Object evinces a design to reduce them under absolute Despotism, it is their right, it is their duty, to throw off such Government, and to provide new Guards for their future security.”

Cage adds remorsefully, “People just don’t talk that way anymore.” The Justin Bartha character, who is young, technologically savvy, yet kind of dumb and not intuitive, (in other words, he’s the typical end-product of the present-day education/indoctrination system) replies, “No idea what you said.”

Whoa!Did this film just tell us that we are too stupid to know that we’re being oppressed? Cage then simplifies, but in a manner which could be interpreted as aimed towards those within the system, “It means if there’s something wrong, those who have the ability to take action, have the responsibility to take action.”

Then, there’s the Visa commercial. Cage’s wallet out. He’s got the Declaration in hand and needs to hurry. The clerk, thinking it’s a replica, tells him he’s gotta pay for it. Just like the present slate of Visa commercials, he has to fumble around to find and then count his money, and then the change, it clumsily spilling about. The clerk’s face expresses frustration. Time is ticking. His Visa card is prominently displayed sticking out of his wallet through the entire scene (i.e., product placement). He’s short by a dollar and some change. “We take Visa.”A Visa logo on the cash register and one the counter add to the overkill.

He gets out just in time and is able to pull the switch on the villains, because, thanks to his Visa [“being everywhere he wants to be”], he was able to buy a replica of the Declaration as well. Please excuse me while I go throw up now.

We’re then introduced to Harvey Keitel as the lead FBI Investigator. Didn’t Harvey also played murdered FBI agent John O’Neill in that ridiculous made-for-tv piece of fiction, Path to 9/11. {*2} The only correlation I could draw comes from when one of the FBI agents tells Keitel they had received intelligence the Declaration would be stolen, but failed to act on it. Pretty much the same thing that happened with the FBI in regards to 9/11 [particularly O’Neill’s resigning after being stopped from doing his job, see W199i]. I may be reaching, but on the surface, that seems like part of the continuous campaign to paint agencies like the FBI as utterly incompetent, otherwise logic would dictate they are “in on it.” More disinformation? {*3}

Next, we have to sit through the obligatory car chase scene. I guess you have to placate the popcorn-munching masses. Maybe this film is not going anywhere. Maybe I was hoping for too much? After all, it is a Disney movie.

Then, we get to the scene where Cage leaves his father’s house, hoping to stay ahead of the Feds chasing him. The film admits the Feds were able to track him because of the [fortunate] Visa transaction. But, this time, he has the foresight to bring along cash. And, for those of us who still don’t get it, the director is compelled to club us over the head with the message: Cage says “his father always kept a bundle of cash in his copy of Thomas Paine’s book, Common Sense!” The dialog of “how appropriate” finishes off the overhand truncheon blow.

The only conclusion I can derive from such a heavy handed scene is that the director was pissed off that Disney forced him to put that Visa commercial in his movie. Was he retaliating by now flipping them the [proverbial] bird?

The story line progresses further, more clues are found, and intermittently, the landscape is peppered with occult symbols of various origin: Masonic, Solar Cult, Sacred Geometry. There’s the Trinity Church (think the Holy Trinity, the name of the first nuclear bomb, and the river by where Kennedy was killed). We are shown the All Seeing Eye (be it of Horus, Ra, or Aton). And, we’re informed that some of the clues may not be what they first seem.

Before I proceed further, Id like to summarize the main characters [as we’ll be referring these summations/personalities later]:

[1] Nicholas Cage plays Ben Gates. On the surface, he’s a treasure hunter. Symbolically, he’s a truth-seeker. It’s the old alchemical story. To the common man (the profane), alchemy refers to the process of converting lead to gold. But, to the wise, to the initiates, to those “in-the-know,” alchemy is a much deeper process of spiritual transformation.

[2] Justin Bartha plays Riley Pool. As I implied above, he clearly represents the every-day common person, and from now on I’ll call him “EveryMan.”

[3] The last of leads, is Diane Kruger as Abigail Chase. Now, other than the formulaic need for a romantic love interest, or some compulsion to have the “trinity” of hunters/leads completed, her role seem superfluous. Their names do seem rather cryptic, but rather than maybe for a correlation between “Gates” and alchemy, their meaning, or if there is even meant to be one, presently escapes me.

Next, the “treasure hunters” run into their first stumbling block: by the time they decode that the clock-face on the $100 bill is set to 2:22, it is too late for them to view the next hint. {*4} Suddenly, EveryMan comes through where the geniuses (Abigail and Ben) are stumped. He tells them because of Daylight Savings Time, it would actually be 3:22 now. 322? That’s the secret number associated with the Yale Skull & Bones secret society. That can’t be coincidental.

Within this scene and the movie’s context, I find a deeper meaning. Those of us who have “woken up” inevitably share the feeling of frustration which comes from constantly banging our head against the wall, trying enlighten those around us, who either don’t understand, or don’t care. Some eventually give in to the frustration, summarizing, “Why am I sticking my neck out trying to wake up these dolts?”

Alternately, it could be directed at the ruling elite, who think that we are now a different species than they and far beneath them. Regardless of who it’s directed at, the message in this contrived scene is clear; even dumbed-down EveryMan is not exempt from salvation and hope. The spirit of innovation, though suppressed, still lies within him and he still has something to offer mankind.

We’re then presented with a series of one-liners, that on the surface, seem like weak screen-writing, but upon reconsideration are huge flashing beacons screaming “pay attention!” So, let’s pay attention to them.

  • The kiss between the two leads, followed by a side character saying, “Why does that never happen to me?” I may be reaching here, but is that directed at the brainwashed zombies who live within the illusionary matrix projected by these movies and idolize its “stars?” Is it a snub? “Because, you fool, this is not real life. This only happens in the movies.”

  • The cast descending the spiral staircase in the cavernous pit leading to the “treasure room,” followed by a side character exclaiming, “How do a bunch of guys with hand tools build all this?” Then, the aware Nicholas Cage adds, “The same way they built the pyramids.” And alas, EveryMan quips, “Aliens helped them.” Disinformation wrapped in a riddle? {*5} Whatever the answer, and whatever the History Channel propaganda machine spews out about Egypt, there is no debating that we still have no idea how they pyramids were built. It is abundantly clear that whatever society constructed them, was far more technologically advanced than us.

  • The silly exchange between Ben and Abigail, arguing about whether they’d have dropped each other down the pit in order to save the Declaration. EveryMan chimes in, “I would have dropped you both.” Was that the writer/director saying he’d have dropped the contrived and completely unnecessary love story from the movie had Disney let him?

  • Eyeballing the scrolls in the Treasure Room, Diane Kruger says, “Scrolls from the Library at Alexandria. Could this be possible?” Um, how did she know that? Were there little card slips showing that Amenhotep IV was the last person to check them out? Were they stamped, “If found please return to Library of Alexandria?” Are we being told the story about the fire was just a cover story used to conceal more of our history from us? {*6}

  • Staring in awe at one of the Egyptian statues, EveryMan says, “It’s a big bluish-green man with a strange-looking goatee. I’m guessing that’s significant.” As we’ve learned by now, when the director speaks through EveryMan, we need to listen. Whether this is disinformation or a “significant” hint about our ancient history, the message is clear. {*7}

What’s also interesting about the treasure room scene is that the relics contained within are of Roman, Medieval, Greek, Egyptian and Sumerian origin. Yet, the movie won’t go as far as to reveal the common thread through them.

However, the manner with which Gates Senior removes the dirt off the medallion to reveal the Pyramid/Eye, is analogous of uncovering hidden truths (and possibly, an implication that these hidden masters may be ready to reveal themselves to us). Finally, Cage bearing the torch (symbolic of Prometheus/Lucifer), sets forth the chain sequence of “illumination,” which reveals the entirety of vast buried / darkened treasure (knowledge) to us (mankind).

Before the movie is over, we are presented with a commercial for the sequel, which has something to do with Atlantis and something to do with Lincoln (another slain “king,” who allegedly, was proposing funding a quest for the mythical city). Lo and behold, it is coming out on 12.21 … that, may be “significant.” {*8}

My mind churning, I flip through the channels to see what’s on the propaganda grouping (i.e., the group of channels between 100 to 108 on my local cable system), which consists of History Channel [aka Hearst, aka “Yellow Journalism”], History Channel Internationall [“Globalize Yourself,” need I say more?], Nat’l Geographic [aka the “CIA”], Military Channel [aka the DOD], Discovery and the like. It may not related, but the line-up seems beyond coincidence:

The Amelia Eerhart story (much debate over what happened to her). Howard Hughes (a silenced enemy of the New World Order). The Apollo 11 story (enough evidence to make any question the story). Return to the Moon (more space program disinfo?). Egypt: Engineering an Empire (if I see one more stupid program about how slave labor was used to build the great pyramids). Comets: Prophets of Doom (more scare tactics). Lastly, Ground Zero Forensics (the byline says, “NYC Detectives brand Ground-Zero as biggest Forensics scene ever” … I’m guessing that one probably won’t mention Giuliani clearing out all that damn forensics evidence faster than you could say “China”).

I flip back to the movie just in time for the closing scene (no, not the fairy tale closing “love conquers all” scene, courtesy of the Disney Corporation), {*9} but the conversation between Nicholas Cage and Harvey Keitel. Keitel is wearing a Mason ring, and Nicholas Cage asks him for $10 Billion as a “finder’s fee,” and that the treasure is turned over to the entire world.

The scene tells us that (1) the Masonic oath supersedes any other oath one makes (in this case, one’s commitment to the FBI), and (2) there’s obviously a very deep pool of money out there under Masonic control. Please ignore the feel-good element about sharing the treasure with the world, because the same people that buried our history from us, are very likely the same ones who infiltrated the Masons as well.

While it does seem that most of the elements covered in my prior blog (Art of Revealing) are included in this film, I’m left with the impression that National Treasure actually manages to disseminate some useful information. That point is driven home when Keitel counters Cage’s offer, by noting that since he has handed over the Declaration, he now has no bargaining chip left. Cage boldly declares, “The Declaration of Independence is not a bargaining chip.”

Did you hear that America? How many more Patriot Acts and Military Commissions Acts and flagrant Executive Orders are you going to tolerate? Are you going let these Neocons slowly take your Constitutional Protections away? Please wake up!

If you’re awake now, welcome to the harsh reality that you now have to think for yourself. Some of the movie’s “revelations” are disinformation designed to mislead you. There are factions that are trying to push Americans into “revolution” and social chaos, because they will be in charge of the [harsher] order that follows. It’s up to you analyze what being tossed your way is “treasure” or “shite.”

Yes, the American Revolution, the legalese behind the Constitution, and even the notion that America was ever truly “free” of the Queen’s control don’t stand up to scrutiny, but that is another story…

 
This article may not necessarily reflect the present views of The Celtic Rebel, and has been left in the archive to show stages in growth and development of The Rebel Path.
 

*1: As Graham Hancock points out, and builds a strong argument for, in Talisman, these “two” groups are very likely one and the same; the Templars going underground and reforming as Freemasonry. Is there direct “evidence?” No. But, if there was a papal bull instructing that all of your members be seized and burned at the stake, would you leave “evidence” behind? [LB]

*2: Look past the politicized Bush versus Clinton battle, and see the Path to 9/11 film for what it is: tripe selling us imaginary terrorist supermen. Do I fault Keitel for taking a role in it? No. I view most actors from the same perspective I view prostitutes. Work is work. [LB]

*3: The FBI, at many levels has been completely compromised. Look up Sibel Edmonds and her campaign to blow the whistle on her superiors. Read up on the FBI’s nefarious involvement managing the Oklahoma City bombing and orchestrating the 1993 WTC bombing. [LB]

*4: While time of year is not accounted for in this movie (the time is meaningless, unless it coincides with date in regards to solar position), the use of sunlight entering and reflected through ancient structures, is a fascinating topic. Look up New Grange or the Pyramids. [LB]

*5: It seems that the alien agenda, be it in this movie, or real life, is inevitably brought up. While the arguments in its favor do have merit, I personally feel that more often than not, it serves as a distraction from addressing the present problems. To paraphrase Alan Watt, “How many of us know an alien we can go to and say, ‘Hey. I’m really unhappy with the present state of affairs. What are you gonna do about it?'” [LB]

*6: The conquistadors were under strict orders from the Vatican to burn any sacred texts they came across. So much of what the Mayan, Aztec and Incan civilizations had to offer us was lost. Another good topic worth researching. [LB]

*7: I briefly covered this topic in my last blog. I’d recommend Michael Tsarion’s works to those further interested in the topic. What’s also very “significant” in the scene in question (as pointed out by one of my readers), is that EveryMan also hugs the statue, in a manner a child might his father/creator. Oh, and the skin color also resonates with Osiris.[LB]

*8: Lincoln, and his connection to Kennedy, the Tarot and Atlantis all bear further research. The date, and the manner it is displayed (i.e., why not 12/21/07 or 2007, or Dec 21, etc.) is of obvious numerological significance. Of further interest, I also noticed that in the trailers for I am Legend (out now), over-emphasized 12/14/07. When a projected number reduces to 33 (especially in a film which covers the topic of depopulation), we need to pay attention. [LB]

*9: The reference to the hokey ending refers to the controversy Terry Gilliam had while making Brazil. As for the tacked-on ending for this film, the girls get the classic Disney “princess-programming” ending of the big house and the husband/prince. The boys get the consumerist oriented car of their dreams. How obvious (again, judging the film in it’s entirety, I’m guessing it was meant to be “obvious”). [LB]

~ by celticrebel on December 19, 2007.

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