Star Wars and Other Films

- Martin Lass © 2003

(This article follows on from "The Space Race".)

It is worth taking a quick look at some other films that reflect issues of Chironic importance raised during this time.

The release of the film "Star Wars" on May 25, 1977, and its extended season throughout the northern summer was a fitting preamble to the actual discovery of Chiron. Again, the physical adventure into physical space mirrored our spiritual/Healing journey into the metaphysical cosmos. The themes of "The Force" and "The Dark Side" were very Chironic. Darth Vadar, hidden behind his mask, initially a representative of the Dark Side, ultimately turns out to be a part of us all. He ultimately triumphs in a return to light and an unveiling of Self from behind the mask. The Force itself was a kind of generic representation of the spirit/God/oneness that connects us all.[1] All we need to do is 'tune in' to it. It is a Guiding Hand.

This series of movies broached many other themes. We do not pretend that movies of this kind hold all the deepest secrets of philosophy and of the psyche . . . neither do they purport to do so. They are designed for the entertainment of the masses. Nonetheless, when such things have such an unparalleled effect on people, they do so because some of their underlying themes resonate deeply within us.

Another film worth looking at is "Close Encounters of the Third Kind," released in November 1977, only weeks after the actual discovery of Chiron. (See Chart 1--CLOSE ENCOUNTERS.) The conjunction of Pluto and the North Node in Libra is carried through from the actual discovery of Chiron, indicating the long-term destiny of Humanity to reach the outer boundaries of the solar system and beyond. Being in the 4^th house--the house of home, Nature and planet Earth--it poses the question, "where is home?" The cosmos comes right into our backyard in this film. We are united with other life in the cosmos, immediately feeling a sense of kinship. Chiron retrograde in Taurus in the 11^th house, parallel the Moon, sextile Jupiter in Cancer and trining Saturn in Virgo, asks us tentatively, "Is our home as safe, secure and permanent as we thought? Or do we need to expand our definition of "home" to include a larger picture?"

CHART 1 - CLOSE ENCOUNTERS

Classic science-fiction film.

Close Encounters - Natal Chart

Nov 16 1977, 8:00 pm, EDT +4:00

New York New York, 40°N42'51'', 074°W00'23''

Geocentric Tropical Zodiac

Koch Houses, True Node

Then there was "ET," released on the 13^th June 1982. (See Chart 2--ET.) The yodof Chiron, Pluto and Neptune again illuminates the question, "Where is home?" A new perspective was required, indicated by Chiron at the focal point of the yod. We saw ourselves in the mirror of the displaced ET, cut off from home, a stranger in a strange land, but finding contact with, connection to and empathy for the Child within. We were witness to the power of the spiritual heart and of love to breathe life into the cosmos and to connect us all, beyond all illusions of distance or superficial differences. The parallel of Chiron and Mercury brought our Wounds/issues into our immediate consciousness and we were, for a moment, able to communicate, express and share our aloneness with others.

CHART 2 - ET

Another classic science-fiction film. Note the yod planetary pattern of Chiron in Taurus with Jupiter and Neptune.

ET - Natal Chart

Jun 13 1982, 8:00 pm, EDT +4:00

New York New York, 40°N42'51'', 074°W00'23''

Geocentric Tropical Zodiac

Koch Houses, True Node

Another film to consider briefly is "Ghostbusters," released on the June 8, 1984. (See Chart 3--GHOSTBUSTERS.) This seemingly innocuous and outwardly absurd film reflected a serious movement of consciousness that was going on at the time: the trend of trying to contact life after death, consciousness beyond the realms of the physical world and alien beings. This was most prominently seen in the advent and practise of channeling.

CHART 3 - GHOSTBUSTERS

A seemingly innocuous and flippant film with deeper ramifications and underlying themes.

Ghostbusters - Natal Chart

Jun 8 1984, 8:00 pm, EDT +4:00

New York New York, 40°N42'51'', 074°W00'23''

Geocentric Tropical Zodiac

Koch Houses, True Node

Channeling was directly related to the conjunction of Chiron and the North Node in Gemini in 1984. We will be discussing the recurring conjunction of Chiron and the North Node in different signs a little later. Suffice to say, the phenomenon of channeling--contact with discarnate/alien consciousness--is more often than not associated with the sign of Gemini and with the planets Uranus, Mercury and Chiron. The involvement of the North Node confers upon a given phenomenon a wider destiny and a more global influence. All of these elements are certainly present in the "Ghostbusters" chart.

Moreover, the chart sports an extraordinary five-planet enhancement comprised of parallels and contra-parallels (Sun, Venus, Jupiter, Uranus and Neptune), indicating the far-reaching power (Sun), financial success (Venus and Jupiter), spectacle (Uranus) and charisma (Neptune) of the underlying themes of the film. The flippant treatment of the subject matter in this film is indicative of the Gemini sense of humor, but does not diminish its relevance. Charged subjects such as these, that raise as many fears as interested eyebrows, are often better treated lightly at first. This film certainly put our fears as well as our fascination into a humorous form.

A final film to look at, which does not fall into the category of science fiction, is "Dead Poets Society," released on the 2^nd of June 1989. (See Chart 4--DEAD POETS SOCIETY.) Having already discussed the place of 1989 in the tapestry of Chiron's discovery, the relevance of the timing of this film should be apparent. At the time of the film's release, Chiron was in the midst of its last passing oppositions to Uranus, Saturn and Neptune. It also sat just inside the 8^th house of death, challenging the illusion of death with its newfound strength. Mercury retrograde, T-squaring the Nodes, is unable to speak of the spiritual heart's deepest Wish--unable to voice what it knows to be its destiny. We are thus faced with a choice: acknowledge our inner truth or die. Interestingly, this chart has an unprecedented 15 major parallels and contra-parallels, including an occultation of Saturn and Neptune, all indicative of the film's power and influence and of the timely relevance of its messages.

CHART 4 - DEAD POETS SOCIETY

A classic film with obvious Chironic themes.

Dead Poets Society - Natal Chart

Jun 2 1989, 8:00 pm, EDT +4:00

New York New York, 40°N42'51'', 074°W00'23''

Geocentric Tropical Zodiac

Koch Houses, True Node

The main character in the film--a student studying English literature--personified all this. His dilemma was whether to honor the passion in his heart--a career in acting--or whether to succumb to his parents' designs for his life (Saturn). In the end, stuck in an impasse of consciousness and unable to face either option, he chooses to die. Chiron teaches us that, when we are confronted by an irreconcilable, untenable and insurmountably painful situation, it is sometimes necessary for us to take a step backward before we can resume moving forward. Sometimes the death of the stagnant and entrenched forms is necessary inasmuch as it makes way for new, more relevant and timelier forms to be born.

In the end, though, Cancerian Chiron speculates: did he truly die? Where was the simultaneous birth? Where did consciousness rise (Heal/evolve) from the ashes of seeming death? In the film, the triumph of spirit was exemplified in the final scene. Here, the remaining students stand upon their desktops, rejecting of the Saturnian status quo, and chant, "Captain, my Captain." to their teacher and spiritual mentor. These remaining students heard and acknowledged the spiritual heart's Wish and, spurred on by their friend's death, were now willing to "seize the day"--to shine in the face of the stagnant status quo of the establishment.

(This article is followed by "The Cold War".)

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[1] For a full appreciation of the Chironic implications of this film, one must necessarily set aside the polarized Christian ethic that comes through that equates the dark side of the Force with evil and the light side with good.