Brett's Notes on The Visitor

The Visitor (1979)

Garish, Italian 70s aesthetic. “Spaghetti sci-fi.” Co-writer/Co-producer Ovidio Assonitis known as a rip-off artist, and this film clearly owes something to Carrie, The Omen, Close Encounters of the Third Kind, and more.

Assonitis claimed he was able to cast Huston because he had a “moral agreement” with him that he was available to be cast in any film at any time, Huston having previously starred in a film Assonitis directed called Tentacles (1977), which sounds like a Jaws rip-off. Shelley Winters also appeared in this, as well as Henry Fonda. Weird how he’s able to get these big-name actors to do B-stuff. He also produced the Monarch film No Place to Hide.

Mélange of sci-fi, Eastern religion, and futurism with all the hallmarks of the human potential movement a la Esalen, very similar to the complex of influences on Star Wars, which was certainly cut from the Esalen cloth via Joseph Campbell. Note the Buddha statue in the house. These themes, in turn, are interwoven with deep politics and mind control.

Battle-of-the-programmers theme.

John Huston (Jerzy) appropriately cast as programmer/handler, since he is one of the exemplars of the imposer-aggrandizer type in Hollywood, so much so that he plays the role often in films, including Chinatownand Winter Kills.

Gnostic myth

The fake Jesus cult leader expounds a Xenu-like, OTIII Scientology myth which is deeply indebted to Gnosticism and the story of Satan’s fall. Zatteen (Satan), “an evil inter-spatial force” (Wikipedia), escaped from “Commander Yahweh,” his “benevolent arch-rival,” to Earth and mated with a number of women, producing demigod children with psychic superpowers. It is said that Yahweh eventually killed him but that his “spirit lives on in the lives of mankind” (Wikipedia).

Note Huston’s line to Jane at the end: “No one may enter there except the children.” Arthur C. Clarke’s Childhood’s End (Thomas).

Deep (Gnostic-Satanic) Politics

A Spectre-like Nocturnal Council that controls even billionaires like Raymond, who underhandedly refers to them as “God” when asked by the sports reporter where his money comes from. The Council is hip to the occult and hence knows the Zatteen initiation story, but they are on the side of Zatteen, working to manipulate these exotheological events (i.e., they are motivated above all by religion). Even billionaires like Raymond are not fully initiated: they tell him that he’s only hearing their “real motive” now. Which is to resurrect/reembody Zatteen/Satan through a superhuman breeding program.

Jane warns of the influence of Saturn, which many Luciferians associate with Satan.

REVELATION OF THE METHOD scene in which a phony UFO-style abduction/impregnation is used…revealing that “real” UFO abductions are staged psyops in which the target is drugged (they seem to spray some kind of chemical gas to incapacitate Barbara).

Monarch

The programmer-slave relationship is represented as that of falcon-falconer. Birds, being a symbol of the soul like butterflies, are a frequent symbol of the mind control slave. Project Bluebird was a precursor program to MKUltra.

The bird cage with the multiple compartments is an obvious symbol for the DID/MPD of the Monarch slave, with the alters each separated and controlled.

Bird sounds associated with Katy (e.g., when she makes her entrance in the basketball stadium), and Katy becomes/commands her bird to attack Barbara. The falcon gets agitated when Jane slaps Katy, with the editing implying an identification between Katy and the bird.

Katy’s aunt sent her a bird figurine, the one the detective finds in Barbara’s house which repeats (a la twilight language), “I’m a pretty bird.”

Her command over the bird evokes this notion that the Monarch slave is promised to become a programmer someday.

In the Gnostic myth, “Commander Yahweh” uses his army of birds to hunt down Zatteen, as his analogue, Jerzy, does to Raymond and Katy in the denouement.

The Satanic Council also controls birds: they send one to kill the police detective. Note that the bird pecks out one eye of the detective, and the eye on the cover poster confirms the one-eye motif.

In the final scenes, Huston performs a Steven Greer-style CE5 summoning of UFOs/entities, a cloud out of which an endless number of birds emerge, his mind-control army, which kill Raymond and knock out Katy.

Note that programmer’s “magical” ability to spontaneously materialize to his slave (cf. Bad Dreams).

Huston openly hypnotizes her: “Close your eyes. Now try to remember another time, another world.” REVELATION OF THE METHOD: alien fantasies (of the sort peddled by the movies) as aids to dissociation (on the micro and macro scales), totally confirmed later by phony alien abduction/impregnation episode.

Note the use of colored lights as in some MK-programming. Pong is a recurrent motif which, in this era, has an association with mind/psi research and mind control (consider the scientist in Parallax View who is using Pong in his research on monkeys and psychopaths). Pong may also be alluding to Ping Pong, which is a sometime p-e-d-o trope.

Huston also hypnotizes the mom, who knows the myth…suggesting she’s also a victim and pointing to the role of designed intergenerational trauma in Monarch-style mind control. After the encounter, when he tells her that she’s pregnant with the Antichrist, she starts spinning around the room in her wheelchair, spinning being a dissociative Monarch technique that features in movies like Hide and Seek (which opens on a vacant-looking Dakota Fanning spinning).

When Katy is committed to the mental institution, more on-the-surface mind control scenes: medical tyranny, forced dissociation, bright lights. She requires extensive psychiatric treatment, they say. (Cf. Britney Spears’s claim that she was forced to spend many, many hours a week with the “treatment people.”) Note that she breaks out of the facility using her powers, a common Monarch motif encountered in films like The New Mutants. Underlying the theme is red pill programming: they want her to develop her powers through the application of psychic pressure…which fetishizes the trauma that is supposedly being overcome.

The hall-of-mirrorsending is pure Monarch stuff, especially Huston hiding amongst her reflection (i.e., her alters), forcing her to destroy herself (shattering the mirror) in pursuit of him: she can’t kill him because he controls her mind.

In the final scene, Katy’s head is shaven and she’s joined the cult. Huston declares that you can’t “kill children. Only the evil part.” Clearly a cipher for trauma-based, soul-killing mind control.

P-e-d-o

Constant overtones of child sexual abuse. Katy calls the detective (Glenn Ford) a “child molester,” “a dirty pervert,” etc.

Exploitative/suggestive shots of Katy’s crotch in her gymnast outfit.

When Jerzy comes to babysit, he makes a suggestive look before they cut to Raymond, in the car with Barbara, openly speculating that he’s a child molester. The way Huston is touching her in the final shot is also highly suggestive, particularly since he goes on to allude to his traumatic brainwashing of her (how he only killed “the evil part” of her).

The doctor who is a member of the Council has a very suggestive exchange with Katy at the airport, when he’s trying to coax the mom to come along with him for the forced impregnation.

I’ll note too that the subtext of the “tour de force” skating rink scene, where the boys aggressively pursue her before getting trounced, is her sexual power and the thus the underlying identification of sexual energy and occult energy, an identification which is blatantly obvious in the X-Men universe.

Anti-Natalism

This film makes explicit the anti-natalist message that is often implicit in the “evil kid” genre that bloomed beginning in the 70s (think The Omen, The Bad Seed) but goes back further (e.g., Village of the Damned from 1960 and The Bad Seed from 1956). Village of the Damned was remade in the 90s, when The Good Son was made. The Shelly Winters character, Jane the maid, says to Barbara, Katy’s mom, “Maybe this just isn’t the right time to bring children into this bad, mixed up world.” Jane is frank with Barbara that the girl is evil.

After the forced impregnation, Barbara gets her ex-husband, a doctor played by Sam Peckinpah, to abort the baby. He seems to be portrayed as a humanitarian, which underscores the anti-birth message.

Conclusion

Few films more clearly make the association between the mind control, sci-fi, and superpower subgenres simultaneously.

The film also reveals (see above: REVELATION OF THE METHOD) the role that sci-fi and superpower fantasies play in micro and macro mind control. Dissociative fantasies of maximum empowerment go hand in hand, through the (Jungian) principle of psychic compensation, with profound trauma, in the individual and in society. In reality, trauma tends to disempower people through damage to the psyche, particularly in the case of the impressionable youth psyche. According to Springmeier and other sources on Monarch programming, fantasy stories like The Wizard of Oz and Alice in Wonderland (stories themselves composed by a pedo and a theosophist, respectively) are used in programming as aids to dissociation and as palimpsests on which the mind control victim projects his soul to then be manipulated and reprogrammed by the handler/programmer. These science fiction narratives appear to serve the same function at times, and the superpower wish fulfillment fantasy compensates for the abject powerlessness of the dissociated mind control victim. And in fact, they are trying to create super soldiers or superspies (to use a term coined by George Estabrooks), although, as revealed in Deadpool and Legend of Guardians, most of their victims are destined for less glamourous work, i.e., to be “superslaves” (to quote Deadpool) instead of supersoldiers.

Back at the macro level, these sorts of films, if they manage to harvest the attention and capture the psychic energy of the audience, can work on a few different levels. Many viewers are simply induced to vicariously live out a wish fulfillment fantasy, thereby channeling their ressentiment into a harmless channel. Others go deeper and more fully embrace this low-intensity trauma-based mind control programming with the false promise that this is their initiation into superclass godhood, so that they too can one day join the Illuminati or the Annunaki or whatever. The manipulations of their psychic projections performed by the cinematic magicians affects these people more deeply. As Thomas and I have pondered lately, it seems that material like this in popular media may be deliberately designed to draw in certain unstable fringe elements in the viewing public and “initiate” them through a kind of remote, mass-media based mind control that is somewhere between micro Monarch programming and macro cultural engineering.

(In any case, superclasses are always fascinated, to varying degrees, with what noble elements, what diamonds in the rough, maybe be lurking in the plebeian population—here the fascination is colored by esoteric evolutionary thought and an obsession with mind control and cultural engineering.)

Also, as long as we’re examining the interstices between micro and macro mind control, note that the music industry in particular allegedly uses traumatized Monarch child stars to spread this propaganda to kids and young trendies. Cf. recent Rachel Wilson interview, in which she talks about people like Ariana Grande and Miley Cyrus promoting Kabbala. And think about Demi Lovato and Keisha (who is has even accused her industry handler of horrible abuses) talking about their UFO experiences and trans stuff.

But yes, it’s actually a kind of pitch, a trap, to get you into the next phase of the elite’s programming operation…like recruiting propaganda gets people into various organizations that promise to make them wealthy and powerful but essentially want to use them. This recruiting propaganda goes something like this: Are you depressed, alienated, suicidal, socially stunted, morally weak? Well don’t fret, because you might be eligible to win the grand prize of personal godhood and join the ranks of the privileged, special people, the ones who will be allowed to survive the great culling. (Think of the Hunger Games movies and all the Battle Royale stuff, like Squid Game).

Just eat the fruit, take the red pill—do all the taboo things they told you not to do, because that’s the only thing standing between you and being all you can be. Which is just reverse psychology, conditioning you to do what they pretend is forbidden (red pill programming).

Odds and Ends

Significance of astrology? Katy is a Capricorn.