“In all chaos there is a cosmos, in all disorder a secret order.”
1991’s Hudson Hawk is pretty much unbearable, but it also strangely shares certain resonances with 2006’s Da Vinci Code. I’m looking at notes I wrote about both in 2014 at around this time of the year.
For starters: the plot of Hudson Hawk turns on a machine supposedly created by Leonardo Da Vinci that turns lead into gold. Our perpetually-smirking protagonist Bruce Willis needs to find crystals hidden in Da Vinci’s masterworks that will operate the machine.
Willis’ character Hudson (Horus, the hawk-headed god) Hawk has a bizarre sort of “virginity” going on (it’s complicated), and so does his love interest played by Andie McDowell. McDowell plays a nun, but a sexy nun dressed in red (basically…the Scarlet Woman, Babalon). This character resonates the Divine Feminine in the same way Audrey Tatou (playing “Sophie”…Sophia, the Gnostic goddess of wisdom) does in Da Vinci Code.
Now, to operate Da Vinci’s machine, they need a “perfect fool” to operate it…which is where, of course, Willis comes in. He needs to complete the Alchemical Union with McDowell to make this all work.
The “key” to the Da Vinci machine is literally a merkabah—of course!
But that’s not even the most esoteric part of Hudson Hawk. No, the most esoteric part of Hudson Hawk is the David Caruso character, Kit Kat.
I don’t know how there isn’t web pages and web pages filled with esoteric theories about Kit Kat. Basically, he’s a mute hitman type guy who communicates in what looks like fortune cookie messages & is a master of disguise. But more than a master of disguise…he just sort of quietly dresses up and imitates other characters in the film, like right next to them before they even realize it.
Carrying the Da Vinci Code analogy along, we could equate Kit Kat with Silas the monk…but it’s deeper than that. When he first introduces himself he uses the message,
“My name is Kit Kat
This is not a dream.”
Which to me…that is one of those great esoteric lines! (I dunno, maybe I’m just weird)
He disguises himself as the Willis character, then disguises himself as…the McDowell character (complete with the Scarlet Woman dress…when we first meet him he’s also dressed all in red). And then disguises himself as a Hermes-type statue. So basically, he’s a literal shapeshifter, living out the Hermes-Aphrodite symbolism–and then he sacrifices himself at the end to save McDowell.
And so…it’s just a very strange esoteric character in a movie with a lot of esoteric references. (Made even more strange because…the whole film, at least outwardly, was just an ego wank for Bruce Willis)
In my journal notes I wrote:
“Ushering in the Age of Horus via the use of sacred geometry (merkaba)”:
All-in-all, I’m staying productive during this mini-Thanksgiving weekend vacation…finished reading Loren Coleman’s The Copycat Effect, which I had been meaning to get to for a while. Cleaned out my Amazon wish list (which is essentially a book list) of everything but what was really relevant to me now—which was a really excellent way of figuring out what is relevant to me now!
And just feeling driven to massively update old posts and just put up good content. I’m sure using the word “content” sounds kind of annoying. But whatever.
Another random quote from that November 2014 journal:
“The Chameleon Kid: the idea that it is all connected, that it is all subjectively dependent on everything else…also that there is no set linear narrative direction.”
(Now, the funny thing is…well first, I’ve never taken acid. Second: in July of 2014 I had a head injury and so the only way I remember things like this Hudson Hawk interlude is through these journals because it was so relatively recent after the accident. It really makes me appreciate the fact that I stuck to journaling through that period.)
Well, that’s it. Hope you have had a good Saturday.