The New Demonology, Catholic Theology, and Western Movies

devil, demon, satan, evil

devil, demon, satan, evilWhile many viewers were confused by the movie’s odd mix of pseudo-science and action scenes, the core of the movie lies in a whole other realm: It is about the Luciferian philosophy of the occult elite and its futuristic pendant, transhumanism. (“Lucy”: A Movie About Luciferian Philosophy. The Vigilant Citizen. February 2015)

Movies About the Occult

Two modern movies have a cult following and are the subject of this theological exercise. Celebrated, analysed, and emulated in numerous articles, books, movies, they share the same audacious device- they both have some common, profound, fundamental theological truths which are aesthetically presented or openly hinted, to be then contested, violently disapproved and replaced  with “new ways of life”, fantastic and humanly horrible but artistically developed and impressively created.

Modern cinema, from its porn to its futuristic movies, is aggressively reforming and adulterating – much more speedily and fundamentally than other forms of art. They are attacking our Christian understanding of reality and moral meaning of both human life and the destiny of humanity. Some past and modern cinema creators are also known as aggressive and sophisticated sexual and financial predators, destroying human lives by their perverted passions. But today we will limit ourselves to the “spiritual” cinematographic inventions.

Critical philosophical attitudes toward cinema productions are not absent, as shown, for example, by an interesting article cited in our epigraph – “Lucy: a movie about Luciferian philosophy”. But it manifests itself relatively rarely and is also more or less infected by modern idolatries, without speaking about numerous “philosophical” essays and literary opuses developing and proclaiming cinematic fetishizations [4].

We are becoming used to this new “cinematic culture”, sometimes very original, beautiful, and technically breathtaking. Quite recently, an American Catholic e-magazine has appreciated the movie “Wonder Woman” as very Christian in its central idea. Still, it is true that our Christian roots with the tremendous historic accomplishments of our Christian civilization have stimulated a noble, victorious vision of powerful goodness in the cinema as a crucially important, creative and attractive aspect and force in modern life.

Nevertheless, the most audacious artistic preachers of the “new” cinematic reality are systematically illustrating-by-disapproving, each in his own way, the fundamental truths of our faith – by acts of profanation of their cinematic heroes fighting for their lives in most dynamic, tragic, fantastic collisions.

Such authors and cinema creators understand that the lives of the majority of eventual cinematic spectators are still resting on basic Christian moral grounds. Which means that a “progressive” movie needs, first, to cinematically deform, attack, blow up these beliefs, and simultaneously, to cinematically replace them by an imaginary“faith”, apparently not less impressive and fundamental, even if horrifying and irredeemable [5].

We have chosen here to analyse two such cult movies: “Blade Runner” (1982) and “Lucy” (2014) of two famous creators, the British Ridley Scott and the French Luc Besson, both active on the American cinema scene.

The movie of Luc Besson had commercial success [6]. Its initial psychological claim, that humans normally use only a ten percent of their brain and resulting abilities, is contested as a myth [1]. Besson’s heroine, a banal and vulgar American woman in her thirties, is forced to consume a drug which opens forcefully up to 20% of her brain cells. And in her newly acquired intelligence, she continues to violently consume it until she becomes sort of a “superintelligent goddess”. The professional female violence of the film is extraordinary, somehow explaining its commercial success.

But what does it mean “intelligence” cannot be explained by Lucy – Besson engages for this purpose a respected academician, “scientific theologist” who eventually accompanies her. But before get acquainted with Lucy, he proclaims to a grand, overcrowded, fully engaged auditorium that an intelligent brain can choose either immortality or reproduction. Lucy will finally choose “immortality”… And we, Christians and Jews, find ourselves in the modern science-fiction reproduction of the lost Judeo-Christian Paradise. According to the Bible, the first man and woman were immortal, innocent and absolutely happy with their – our – God, who generously shared with them all treasures of His Creation, excluding those to what they were still unprepared by their age and experience.

Lucy’s computer-scientific paradise is violent, and what she knows is absorbed from some or all modern world computers. And this “knowledge” is proposed to us as the adequate means for acquiring the divine Mystery of perfect knowledge, paradisiacal happiness, and Immortality!

Ridley Scott’s movie “Blade Runner”, 1982 [2], is a more blatant, “Protestant” attack on our Judeo-Christian heritage than that of Besson, and his artistic, even if fantastic argumentation is more solid and impressive. The recently presented continuation of his movie, “Blade Runner 2049” [3], directed by Denis Villeneuve, ignores Scott’s original message, but assays to consistently reinforce its pure human repercussions.

Scott belongs to the circle of Western thinkers who believe that humanity, as we all know it today – with its ignorance of its future and with its fantastic religions – is a temporal, intermediate biological reality. The reality which will be surpassed sooner or later by new, partially artificial, partially natural beings with higher, unknown today bits of intelligence and sophisticated, also unknown to us capabilities. Several of his old and new films present their cases, sometimes as brutal as the “Alien”.

The “Blade Runner” 1982, however, is an important cinematic theological study of the ultimate reality of the relationship between the mortal humanity and its (immortal ? – doubts Ridley Scott) Creator. There are six heroes in the film, attractive, very intelligent, and absolutely different: five “replicants”, bioengineered beings, created by a genial biologist Tyrell as exact replicas of particular human beings, and one human, Blade Runner, whose general mission is to “retire”, i.e. to kill revolted replicants, but who also lives under suspicion to be a replicant.

Four of these replicants have revolted after hard work in space expeditions and have come to earth to find the secret of their mortality: they are constructed to live just 4 years. Efficient and clever, they find people related to the production of replicants, interrogate them and kill.

The fifth replicant is a beautiful young woman, who is formed to think she is human. However, thanks to Blade Runner, she is discovering the truth and is joining him to secretly escape the city after all four revolted replicants were retired.

However, before this Blade runner’s accomplishment, the leader of the replicant band, Roy, discovers and visits his creator Tyrell, apparently well protected by the replicant corporation. Their meeting is a remarkable, impressive key to Ridley Scott personal philosophy, if not “personal faith”.

This visit is a tragic parody of the evangelical episode of Jesus on the mountain with his disciples – facing God, His Father, and His beloved servants, Moses and Elijah. Jesus took the road toward the mountain with his disciples. • Roy is accompanied by Tyrell’s young servant and cooperator, sort of Roy’s temporal student, whom Roy forced to bring him to Tyrell. This young man will be killed by Roy at the end of the visit, after being forced to observe its brutalities– just like everybody whom Roy meets looking for an answer or help.

Coming to the mountain, Jesus went up alone and prayed. • Roy was entering Tyrell’s house – as splendid and rich as heaven! – hiding behind his “student”. Praying, Jesus was transformed and found himself in the celestial company of Moses and Elijah. • Being accepted and welcomed by Tyrell, Roy called him “Father” – with a terrible mixture of fear and irony. Then, scientifically discovering there was no way to extend his lifespan, Roy embraced and killed him.

Jesus left the mountain with his disciples, asking them to keep this visit as a secret – until His death and Resurrection. • Roy left alone – towards his demeaning death. Here it became clear to him, that his mortal enemy, Blade Runner, might be a rightful witness of his tragedy – the first and only time Roy has spared human life.

We know that Jesus, too, went from the mountain toward his glorious death and divine Resurrection. He loved us, all of us.

[1] Ralph Blackburn. Lucy, Limitless, Transcendence – Why the ‘underused
brain’ is a film-makers’ myth. Belfast Telegraph (20 July
[2] Blade runner. Wikipedia: Runner
[3] Blade runner 2049. Wikipedia: Runner 2049
[4] Paul Coates. Cinema, Religion, and the Romantic Legacy. Ashgate, 2003
[5] Geoff King. New Hollywood Cinema: An Introduction. New York, Columbia
University Press, 2002
[6] Lucy (2014 film). Wikipedia: (2014 film)
[7] “Lucy”: A Movie About Luciferian Philosophy. The Vigilant Citizen. February
13, 2015:

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