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The Necessary Hero and Descent Into the Underground–When There’s “Nothing But Trouble,” You Know You’re in The Perinatal Below
A Different Kind of Hero’s Journey for Our Times Is Depicted in the Cult Classic, “Nothing But Trouble”: Atman Projects Vs. Surrender Solutions, Part One
A Perinatal Flick
A film of
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The Necessary Hero and Descent Into the Underground–When There’s “Nothing But Trouble,” You Know You’re in The Perinatal Below
A Different Kind of Hero’s Journey for Our Times Is Depicted in the Cult Classic, “Nothing But Trouble”: Atman Projects Vs. Surrender Solutions, Part One
A Perinatal Flick
A film of postmodern times that is bold with revelation for us is the cult classic, “Nothing but Trouble,” which was released in 1991.[strong] It is an especially potent example of the rising pre- and perinatal influence in the media we’ve been discussing as well as the different heroic response required in these strangest of days because of it. It is all this, plus a twist: As a comedy it represents an unlikely approach to such material and themes. More about that later. [/strong]
It was produced and written by Peter and Dan Aykroyd and stars Dan Aykroyd, Chevy Chase, Demi Moore, and John Candy.[strong]Its reception by modern audiences mirrors exactly the perception in general, to date, that has been had of the perinatal material it depicts so well. For despite the movie’s star power and the popularity of its co-creator, Dan Aykroyd, it was met with overwhelmingly negative reviews and received six Razzie nominations, garnering one. I fully expect that until we know better I can expect the same kind of reaction to this book of mine and the perinatal perspective it is revealing of the dark underside of everyday pleasantries and sugar-coated media realities. Yet there is hope for all that we will integrate this hard-to-face yet redemptive material in the fact that the movie does have a strong following among some in our population, just as at present there are some who are not in denial of the bittersweet perinatal vision being revealed.[/strong]
The Lure Into the Underworld and Call to Adventure
The perinatal adventure of “Nothing but Trouble” begins innocuously with the main characters “leaving the beaten path” on a rather ordinary trip out of the city. Interestingly, the Brazilian couple who have forced themselves on the main characters of Chevy Chase and Demi Moore in making the trip act as impish other-worldly instruments in the change of route.
Joseph Campbell pointed out that the “call to adventure,” which marks the beginning of the descent into the transformative nether regions, may be instigated by the merest chance or blunder. [Footnote 1]
Campbell also writes that the heralds of such a rite of spiritual passage are often loathly and underestimated characters. The Brazilian couple—as gaudy, overbearing, quirky, and from “down under”—perform just this function of luring into the underworld. Thus, they remind us that it is the quirky yet underestimated element in our familiar daily experience that opens us up to the process whose ramifications are huge by comparison.
The Merest Blunder, The Adventure Begins
Sure enough, this innocent-appearing outing is soon disturbed. The merest blunder of map reading results in an ominous tour of an eerie town and its somber and menacing-looking inhabitants. This is followed by a high-speed car chase as the police attempt to pull the innocents over for a bogus traffic violation.
In the tour of the town, it is as if the ego is shown getting a preview or having a precognition of what lies ahead and attempts to flee back into its safe familiar environs.[strong]But of course, this emerging piece of unconscious material will not be denied and is able to capture the fleeing ego that we see safely ensconced in its trappings of status and power—symbolized by the BMW with car phone. At this point the main characters, representing the ego, are led, under guard, into the bizarre town of Valkenvania—the encounter with unconscious perinatal begins.[/strong]
Perinatal Elements
The Junkyard of the Psyche
Campbell says that in the unconscious deep, to which one is beckoned, “are hoarded all the rejected, unadmitted, unrecognized, unknown, or undeveloped factors, laws, and elements of existence.” [Footnote 2]
Likewise, the set in “Nothing But Trouble” is replete with refuse. Bits of history—of rusted and broken refrigerators, automobiles, kitchen appliances, assorted junk, and pieces and parts of all the preceding…the wreckage of the past—are strewn about as well as heaped in clusters to construct the architecture and delineate the outlines of the drama. The correlation with subconscious remnants of forgotten memories and past emotional experiences is obvious.
Thus the drama evolves in the dumping ground and junkyard of the psyche—where all the rejected tidbits of experience have been relegated.
After being separated from the automobile—i.e., the ego stripped of defensive trappings of status and worldly position—the characters are rather quickly shuttled into encounters with a myriad of perinatal elements. A few of the obvious ones are as follows:
Mr. Bonestripper, which is a roller-coaster type ride whose entrance is a large vagina dentate mouth that swallows, chews up, and kills. Notice the roller-coaster ride aspect of Mr. Bonestripper, which reflects the emotional extremes and changingness of perinatal, specifically Basic Perinatal Matrix III (BPM III), events. [Footnote 3] youtube.com/embed/enUo-1TjdEs?…
The chutes inside the house and of Mr. Bonestripper indicate birth canal symbolism.
[strong]Sexual elements, indicating BPM III influence, are manifest in the scantily clad heroine and the penis-nose of the judge.[/strong]
The dark foundry symbolizes the foundation work of the psyche as well as the ominous and eerie aspects of perinatal experience.
The slave labor surroundings represent similar feelings in the enforced and helpless character of doings just prior to and at the time of birth. youtube.com/embed/OhjKNmgsQmM?…
Notice that the body—the car, the “Beamer”—gets trimmed down, the excess removed, symbolic of the cutting away of past attachments and concerns of a worldly nature, one’s “status” reduced.
Chevy Chase as the main character is at one point forced into a marriage with a huge woman, who is tellingly androgynous in that she is played by John Candy. In her threatening and suffocating embraces we see symbolism of the crushing womb.
Police and guns point to the authoritative character of perinatal doings—i.e., do, or else!
Death/rebirth symbolism of the perinatal exists in the form of skeletons and huge piles of skulls and bones.
Scatological, that is to say, fecal symbolism is seen in the “bat-room,” which contains an enormous pile of wet bat-shit…excuse the wording, but it really is shit and not feces.
The arbitrary nature of justice in the courtroom speaks to that perinatal feeling that one tiny thing, event, or action, has huge and horrifying ramifications.
The most obviously perinatal element, however, is the gargantuan and grotesquely flabby infant twins in diapers. Perinatal feelings are indicated in their extreme crying neediness. Their freshly newborn quality is evident in their fleshiness, which reminds one of the overweight appearance of some newborns, which is usually lost a little later on in infancy. The glossy, waxy sheen on their bodies is reminiscent of the skin of a newborn, which, fresh out of the womb, is wet and slippery, covered in amniotic fluid and cervical mucosa.
A Transpersonal Interface
An interesting aspect that indicates the transpersonal interface with the perinatal is an attic room—a higher mind of memory, kind of like an Akashic record—where all past IDs—identifications—and reports of them—newspaper clippings—are displayed.
Though, interestingly enough, in true perinatal fashion, a macabre lens is used to view these lives—only the reports of their tragic disappearances are seen. I believe that this is a wonderful depiction of how transpersonal information is distorted by perinatal material—the implications of which are far reaching for the pronouncements of so-called spiritual, or psychological, authorities who have not dealt with their perinatal undersides.
1. Joseph Campbell, The Hero With a Thousand Faces. Princeton, NJ: Princeton University Press, 1968, p. 51.
2. Ibid., p. 52.
3. As a reminder, BPM III events (Basic Perinatal Matrix III events), using the typology set forth by Stanislav Grof in his many works, are the events surrounding the actual birth struggle of the infant during delivery. These parts on the perinatal in film make mention also of BPM II, which is related to the time of severe compression and constriction of the fetus in the latter stages of pregnancy and prior to the actual onset of delivery—which are characterized by feelings of “no-exit”; of BPM IV, which is concerned with the feelings of release, triumph, being saved, and whatever else occurs immediately after delivery; and of BPM I, which is related to the state of the fetus earlier in pregnancy—prior to compression—which is often conceived to have “oceanic” and “blissful” qualities, though not always.
Yes, Tina Turner, We Do Need Another Hero … a Different Kind. Dreaming Out Loud, Part 2: The Path to Heaven Leads Through Hell
Religions Are About Control; Spirituality, Surrender. Let Go, Let God to Correct an Arrogant Modern Ego
The Path to Heaven Leads Through Hell
Those in the know about the pervasive pre- and perinatal influence on personality and behavior, and especially those of us actively engaged in working through the effects of such early traumas, are fully aware, like Dante, that the path to heaven leads through hell. We have found that the path to the transpersonal light leads through the psychodynamic and perinatal darkness, that the path up and the path down are parts of the same path outward. [Footnote 2]
A Dark and Hideous Shadow World
Our experience has been that the information avalanche and multicultural onslaught have eroded our personal boundaries to an influx, not only of transpersonal bliss-love-compassion, but equally—and very often, initially—to a dark and hideous shadow world, a backwards bizarro world, of pernicious and insidious disorganized feelings comprised of elements ancient, infantile, pathological, biological, scatological, and perinatal. These are some of the forms spiritual emergence can take, especially initially. And they are the ones most likely to be seen as spiritual emergencies.
Pre- and Perinatal Themes in Cinema
Therefore, it is interesting to see these views confirmed by the bubbling up of psychodynamic and perinatal themes in our collective consciousness as evidenced by current films, books, and music. I have mentioned the pre- and perinatal themes and symbolism in films and explained why, along with other elements of postmodern times, they are evidence of something significant occurring in the consciousness of our age—an emerging perinatal unconscious.
But there is another element evolving in current films which has to do with a changing or evolving collective attitude toward these perinatal elements. And along with a changing attitude, there is evidence pointing to an evolving collective response to it.
Control vs. Surrender, Death vs. Life
“Control Spiritualities” and Patriarchal Cultures
Specifically, a different kind of heroic response, which characterizes the perinatal arena, can be said to characterize the postmodern movies replete with perinatal symbolism. Most striking of all, this different kind of heroic response corresponds to a different kind of spirituality than what is commonly portrayed in this society, or at least has been the norm up until now.
For basically there are “control” spiritualities and “surrender” spiritualities, with rarely the twain meeting. “Control spiritualities” are adapted to patriarchal cultures and involve the use of the ego to “control” and be in charge of even the realms of the supernatural. This is so because an ultimate evil—a devil or Satan—is postulated, which is given equal weight along with God in determining one’s ultimate fate. This type of spirituality is normally what is called religion.
“Surrender Spiritualities” and God As Being Good
But there is another brand of spirituality that is based on a belief in the ultimate goodness and rightness of All That Is. God’s goodness being essentially the dominant force in the Universe, herein it is considered safe to “surrender” in one’s relation to Reality, to expect that one will be guided correctly, in fact perfectly, in the act of letting go. Thus letting go is not to be feared—as in the control spirituality—but is to be practiced and fostered. In this perspective, which we might call surrender spirituality, control is seen as the problem, not the solution.
“Control” and “Surrender” Psychotherapies
Of course these two approaches to spirituality represent two approaches to psychotherapy as well. The control attitude is the dominant mode of psychoanalytically-based approaches—those in which the “demon” of the id is postulated.
The attitude of “letting go” and “surrender,” on the other hand, is the dominant mode of the experiential psychotherapies, which are themselves rooted in the tradition of humanistic psychology with its belief in the ultimate goodness of the human organism and which thus allows a faith in the ultimate rightness of human processes.
“Hero’s Journey” As “Control” Psychotherapy
Since the control attitude, in any of its manifestations, requires the postulation of an ultimate evil against which one must remain vigilant and must fight, the common “hero’s journey” myth—with its typical fighting and slaying of supposedly evil parts of the personality and reality symbolized as dragons and other monsters—is a prevalent focal myth to this attitude. Corresponding to this myth are the emphasis on disciplines and practices seeking to develop the ego and the will…over against the dangers that are postulated to exist in the Universe requiring these disciplines and, so-called, ego developments.
A Different Heroic Response in “Surrender” Paths
Since the “feeling” therapies and the other spiritual and experiential psychotherapeutic modalities with which they are allied are so different in attitude to the traditional “control” attitude, should there not be corresponding differences in myths to exemplify them? Indeed, there are.
In history, the surrender spiritualities have had correspondences in myth in which the dragon is not fought, conquered, and slain, but rather is either tamed and becomes one’s ally or pet—Saint Margaret is the prime example in the West, but this is a depiction prevalent in the East—or else one is swallowed by the “dragon” or monster and, after a while, is reborn.
Jonah is the prime example in the West for this latter depiction. But again this reaction to the fearful dissociated aspects of the personality, or the Shadow, is not a common one in the Western patriarchy, and it is much more common in traditional cultures and in the East.
A Shift to “Surrender” As a Corrective to a Western Overweening Ego?
All of this may be changing in recent times in the West, as once again the humanistic attitude and the new spiritual perspectives, as well as the experiential psychotherapies such as primal therapy, make us increasingly aware of the ultimate beneficence of the body, and of the Universe beyond even that, and of the importance of surrender and letting go as a corrective to the overweening control and defensiveness of the diminutive Western ego.
Footnote
2. See, for example, Michael Adzema, “A Primal Perspective on Spirituality,” Journal of Humanistic Psychology, 25(3), 83-116. Reprinted online at the Primal Spirit site at “A Primal Perspective on Spirituality.”
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Mr. Bonestripper, which is a roller-coaster type ride whose entrance is a large vagina dentate mouth that swallows, chews up, and kills. Notice the roller-coaster ride aspect of Mr. Bonestripper, which reflects the emotional extremes and changingness of perinatal, specifically Basic Perinatal Matrix III (BPM III), events. [Footnote 3]
Sexual elements, indicating BPM III influence, are manifest in the scantily clad heroine and the penis-nose of the judge.[/strong]
[url=https://www.youtube.com/embed/9m4ZoQyp8sY?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent]youtube.com/embed/9m4ZoQyp8sY?…[/url][/strong]
Scatological, that is to say, fecal symbolism is seen in the “bat-room,” which contains an enormous pile of wet bat-shit…excuse the wording, but it really is shit and not feces.
Those in the know about the pervasive pre- and perinatal influence on personality and behavior, and especially those of us actively engaged in working through the effects of such early traumas, are fully aware, like Dante, that the path to heaven leads through hell. We have found that the path to the transpersonal light leads through the psychodynamic and perinatal darkness, that the path up and the path down are parts of the same path outward. [Footnote 2]
But there is another element evolving in current films which has to do with a changing or evolving collective attitude toward these perinatal elements. And along with a changing attitude, there is evidence pointing to an evolving collective response to it.
For basically there are “control” spiritualities and “surrender” spiritualities, with rarely the twain meeting. “Control spiritualities” are adapted to patriarchal cultures and involve the use of the ego to “control” and be in charge of even the realms of the supernatural. This is so because an ultimate evil—a devil or Satan—is postulated, which is given equal weight along with God in determining one’s ultimate fate. This type of spirituality is normally what is called religion.
But there is another brand of spirituality that is based on a belief in the ultimate goodness and rightness of All That Is. God’s goodness being essentially the dominant force in the Universe, herein it is considered safe to “surrender” in one’s relation to Reality, to expect that one will be guided correctly, in fact perfectly, in the act of letting go. Thus letting go is not to be feared—as in the control spirituality—but is to be practiced and fostered. In this perspective, which we might call surrender spirituality, control is seen as the problem, not the solution.
The control attitude is the dominant mode of psychoanalytically-based approaches—those in which the “demon” of the id is postulated.
Since the control attitude, in any of its manifestations, requires the postulation of an ultimate evil against which one must remain vigilant and must fight, the common “hero’s journey” myth—with its typical fighting and slaying of supposedly evil parts of the personality and reality symbolized as dragons and other monsters—is a prevalent focal myth to this attitude. Corresponding to this myth are the emphasis on disciplines and practices seeking to develop the ego and the will…over against the dangers that are postulated to exist in the Universe requiring these disciplines and, so-called, ego developments.
Since the “feeling” therapies and the other spiritual and experiential psychotherapeutic modalities with which they are allied are so different in attitude to the traditional “control” attitude, should there not be corresponding differences in myths to exemplify them? Indeed, there are.
fought, conquered, and slain, but rather is either tamed and becomes one’s ally or pet—Saint Margaret is the prime example in the West, but this is a depiction prevalent in the East—or else one is swallowed by the “dragon” or monster and, after a while, is reborn.
All of this may be changing in recent times in the West, as once again the humanistic attitude and the new spiritual perspectives, as well as the experiential psychotherapies such as primal therapy, make us increasingly aware of the ultimate beneficence of the body, and of the Universe beyond even that, and of the importance of surrender and letting go as a corrective to the overweening control and defensiveness of the diminutive Western ego.
