From another e-group, James Gillen posted the following on March 4, 2010 #3453: "The rejection by the assembled apostles of the witness of Mary Magdalene was a karmic event for the evolution of Christianity and the integration of the inner v outer church."
It was two days after reading the above quote when I saw the movie The Da Vinci Code in full. For a long time I avoided watching this movie until about six weeks prior. That was the first time I had seen it but only a part of it. After my first viewing of it I didn't give it much thought . . . at first. Over the weeks I was drawn to see it again but I only caught the final scenes of the movie the second time around. Then at the 3rd chance to see it I decided to watch the entire film from beginning to end.
Prior to my 3rd viewing there was something about the finale of the movie that was drawing me to it. IMO this movie is comprised of two different films: 1) The Hollywood version up until approximately the final four minutes of the film and 2) the finale. They are two separate films.
Throughout the movie there are references to the other half of Christianity; the "inner church" as James Gillen described it. For nearly 2000 years the inner church had been suppressed and persecuted by the outer church. The disconsolate and heartbroken Sophia had been driven underground and entombed. The stream of Lazarus and Mary Magdalene had been denied. And as you have described it in your article, The Re-emergence of Mary Magdalene, "MM and Lazarus/John are like the systole/diastole and hence both are reflected in Leonardo's depiction of the Beloved Disciple." http://f1.grp.yahoofs.com/v1/sJqWS8_TIzOVzI0BqUCMdb18Oc7LicuuQ8lLxvMpymUeFVGHhUnB0tkhBJaosY-fDy46HISshaMJmdugjF7lFrCnKR_qAxO9/The%20Re-emgergence%20of%20Mary%20Magdalene.pdf
If we disregard the movie and all of its Hollywood trappings up until the final last moments we come to see another film. This other film is what I would dub The Blade and Chalice. It should be noted that this treatise does not suggest that Mary Magdalene is buried within the precinct of the Louvre. Rather, the proposed theme in this treatise is that in the final four minutes the movie transcends to a more allegorical and esoteric conveyance of motif. It begins at the moment when the character played by Tom Hanks is in his hotel bathroom and he cuts himself shaving. This is where the second film begins. It is at this moment that something more providential seemingly begins to displace and supplant the personal objectives of the directors, writers, producers etc. It would appear that they unwittingly became pawns for the machinations of higher Beings though they may not had been aware of it. Again, I suggest that at this point one completely disregard the theme of the movie in terms of the supposed blood-line of Jesus and Mary Magdalene. In the finale of the movie the higher spiritual begins to maneuver our attention to the new dawning of the Sophian Wisdom as well as a Resurrection of the Grail stream. It is a Wisdom that is no longer to be buried and entombed. It is a Wisdom that had been etched into the entire structure of the Chartres Cathedral.
The finale of the movie is replete with symbols, imagery and music that are Sophian and Michaelic in nature. In the film's finale Tom Hanks/Prof. Robert Langdon cuts himself while shaving and then looks downward into the sink bowl. The blood in the bowl/chalice/cup takes on the shape of a Fleur de Lis. Moreover, it also appears as a Sword. He stands there in front of the mirror frozen within a deeply contemplative look as a higher reality begins to intercede within his consciousness. Tom Hanks/Dr. Langdon, now symbolizing the true seeker in the finale of the movie, is experiencing a personal and spiritual Arago point of light within his Being. The Fleur de Lis has long been the symbol for the Virgin Mary/Sophia. As it also takes on a sword shape it becomes a symbol for the Michaelic Grail Stream and all of the implications of the Christic etherization of the blood. In the movie the apex of the sword of blood drains into the running water of the sink and there it dissolves. The blood is allegorically etherized since water is the physical earthly counterpart to the etheric.
The flow of blood in the human body from heart to head and back to the heart again is imbued by the Christ Impulse in its etherization process. THIS is the Roseline. The etheric heart of the human Being is the Mystic Rose into which the Sophian Impulse of revelation flows. In between the heart and the head sits the larynx. From the Luke Gospel we read of the Virgin Mary whom Gabriel visited pronouncing his Annunciation. And from the Voice of Mary emanated the "pure and virginal" etheric forces that facilitated the fashioning of the physical/mineral body of Jesus of Nazareth throughout the entire gestation period. A capacity that humanity will acquire in the distant future. The Creative Fiat of Mary, "be it done to me," inversely echoes the Creative Fiat of the Elohim in Genesis, "Let there be Light," etc.
The Mystic Rose has been a long standing symbol of the Virgin Mary/Sophia who stood within the center of the circle of 12 during Pentecost. While in the Upper Room the Holy Spirit and Divine Sophia streamed down through her (the inner church-esoteric wisdom) and then outwardly to the 12 Apostles and then further outward to the rest of those who were gathered (the outer church-exoteric doctrine).
Leaving the Ritz Hotel of Paris Dr. Langdon races towards the I.M. Pei Louvre Pyramid. As he does so, we are briefly shown a painting of the Madonna bearing a beautiful angelic face with two small infant boys at her side. The painting also depicts in its background the 'dawn' (a new enlightenment) which is just beginning to break over the horizon and dispersing the darkness of night. The age of the Kali Yuga of the past 5000 years is now ending. It is during the dawn and twilight times of the day that the forces of the Elohim are most prominent. Throughout this entire process in the last four minutes of the film we are moved by the stirring music of Hans Zimmer's film score. Its sweeping and undulating melody fully rivals the 2nd movement of Beethoven's 7th symphony with its brooding and somber tone. The film's musical score holds within it both Power and Beauty. It reaches its crescendo in the final scene of the allegorically resurrected Sophia who had been buried and entombed throughout the ages, but no longer.
When Dr. Langdon reaches the Pei/Louvre Pyramid precinct we are then shown the suspended and inverted pyramid structure in the Carrousel du Louvre which is massive in scope and is mostly comprised of laminated glass. It is an imposing and impressive skylight structure which allows light to stream into it from above. It sits aloft to a significantly smaller but upwardly reaching opaque stone pyramid that is stationed on the floor. At this point Tom Hanks' voice-over delivers the narrative epiphany, "the Blade and Chalice guarding o'er her gates." This fleeting picture is presented to us as if to depict the much larger light-filled spiritual realm which hovers over the ground/mineral-based physical realm. Their apexes almost meet one another, but not quite. The space between the two could be understood to be the etheric realm. It is in this realm that we meet the Etheric Risen Christ as Paul did on his way to Damascus. It is the earth that is THE Holy Grail, the Holy Chalice into which Christ became One with it. It is His Holy Body. At His death on the cross Christ had pierced the earth with His Being and united Himself with it as it is now His body and blood. Thereby, the following words of Christ are to be taken literally: "I AM with you always, even to the end of the age." (New Living Translation; copyright 2007).
For nearly 2000 years those who are of the "inner" Sophian church of Christian esotericism have been enduringly waiting for this time which has now come. It took an Initiate of the Highest Order in the 20th century with the courage, strength and wisdom to Resurrect the disconsolate and heartbroken Anthropo-Sophia. From the time of the Event of Golgotha after 2000 years her wings of cosmic starry Wisdom are no longer locked in stone. No longer will she be buried and no longer will she be entombed.