Video Editing Techniques For Home Movies

The home movie. It doesn’t get any better than that. All of your friends want to spend two hours watching your vacation tapes, right? Most friends/relatives/neighbors would rather have nails driven into their eyes than endure that, but you can change all that by simply applying a few simple video editing techniques while editing your home movies.

Start by remembering that you are telling a story. Remember what you like when you hear a story. You want it to be short, entertaining and to the point. Apply that simple rule to your own video editing projects and you will be amazed at the difference in your videos.

Another video editing technique for home movies involves the second basic rule. Never fall in love with your shots, or to put it more concisely, less is more. Most people shoot the same things over and over again. Learn to pick the best shot and go with it. The also ran takes should be left on the cutting room floor. Your audience will thank you for your decision to leave duplicate shots out of your video. Don’t let shots roll on forever. Once you have established that you are near the lake, move on to the next shot. No one cares to see endless bushes and trees unless something is happening in them. Keep the pace up and the action going. This is a basic technique for editing home movies that drives the story along and keeps your audience involved in the story.

A professional video editing technique used in editing home movies is to try to change angles dramatically when making straight cuts. If you cut within the same shot and the angle hasn’t changed, it is called a jump cut and it can be very distracting for the audience. When angles change, let’s say from a wide shot of the pasture and the horse, to a tight shot of the horse, it is natural and not jarring. Anything that you can do to limit the jarring cuts in your home movies will greatly improve them.

Yet Another video editing technique that you should use in home movies involves music. Scenes that do not have much dialogue can always be improved with the right music. Experiment with different pieces of music under scenes and you will soon learn the impact that music can have on a scene.

These are just a few of the video editing techniques for home movies that will take your home movie from boring to brilliant with just a little effort.

The Best 10 Movies About Magic of All Time

So here we go, the best 10 movies about ‘magic’ of ‘all time’. That’s a tall order and will of course become a list that will be challenged by many.

What I have tried to do is collate a list of movies that feature films which have magical themes or very obvious magical references in them. Of course the rash of Harry Potter films, the excellent Lord of the Rings trilogy and even Star Wars could be included. However, from a desire to expand the list of magician inspired or magically themed movies I have left these out as being ‘too obvious’.

For reasons of brevity I have also not included fully animated movies in this list, so the likes of Fantasia, Sword in the Stone and even The Illusionist (Sylvian Chomet’s 2010 film) are not considered.

I’ve also ignored television series, such as The Magician (Bill Bixby trained by Mark Wilson), Jonathan Creek, the quirky 1970′s TV series Ace of Wands as well as specific Colombo, Midsummer Murders, One Foot in the Grave episodes that were based around magic and magicians.

So this brings us to a quick round-up of some of the best of the magician-in-the-movies films I am aware of. Starting with those just outside the Top Ten – not because of any lack of quality, just because they are a little peripheral to the main list.

Passport to Pimlico (1949) directed by Henry Cornelius and featuring great performances from Stanley Holloway and Margaret Rutherford. This great Ealing comedy contains a sequence on the tube train where magician of the day The Great Masoni, drops his case allowing his doves to escape adding to the surreal nature of the comic moment.

Dead of Night (1945) directed by Alberto Cavancanti is a superb Ealing portmanteau horror movie which contained a series of stories about a dream told by a guest arriving at remote farmhouse. The film is said to have influenced cosmologists Hoyle, Gold and Bondi to develop the ‘steady state theory’. They were inspired by the circular nature of the films narrative. However the movie contains a story about a ventriloquist and a less than charming dummy. Ventriloquism is related to the magical arts, hence its inclusion here. The story is the forerunner of one that is actually in the list, Magic, starring Anthony Hopkins.

Thirty Nine Steps (1939) directed by Alfred Hitchcock. The original and perhaps greatest version of this film the climax of which is takes place as in a theatre where a ‘memory man’ is performing. The Memory Act can be considered as a subset of the magical art of Mentalism. The great magician Harry Lorraine is world famous not only for his ‘magic’ act but also for his contribution to the training and development of the human memory.

The Raven (1963) directed by Roger Corman sees the great Vincent Price, Peter Lorre and Boris Karloff as medieval magicians involved a magical duel. This fun, camp and colourful movie loosely based on the Edgar Allen Poe poem The Raven, is not the greatest example of the Corman-Price collection, but is great fun.

Night of the Demon (1957) Jaques Tourneur. This great movie is an adaptation of M R James’ story “Casting the Runes”. Starring Dana Andrews as a sceptical psychologist ‘cursed’ by the Faustian looking magician and ‘cult’ leader Julian Karswell (Nial MacGinnis). In one sequence Karswell dressed as Dr Bobo performs magic at a children’s party. The conversation which then ensues between the psychologist and the magician holds within it a host of performance frames and ideas for budding bizarrists out there!. Tourneur apparently never wanted the audience to ‘see’ the demon. I many ways I wish he had had his way. The film would be even creepier and scarier if the terror was left to the imagination – again bizarre magicians take note!

The Magician (1958) directed by Ingmar Bergman. The only reason that film is outside the top ten is because of the possibility of being considered as being ‘pretentious’ if it is placed where I think it belongs – in the top 5 at least! Max von Sydow plays a travelling magician and ‘magnetic-healer’ (harkening back to the days of Mesmer) caught up in a tale about prejudice, honesty, the class system and….. well the whole thing is multilayered. Sydow is brilliant, he rarely speaks, and Bergman’s visuals are great. The film has been called a ‘thinking mans horror movie/. It is creepy surreal and brilliantly acted and directed.

The Great Buck Howard (2008) directed by Sean McGinly is built around John Malkovich’s character who is in turn based upon the mentalist Kreskin.

Next (2007) directed by Lee Tamahori sees Nicholas Cage as a man who can see a few minutes into the future and disguises his gift by working as a lounge magician. Cage is seen as another kind of ‘magician’ in the fantasy movie The Sorcerers Apprentice (2010 directed by Jon Turtletaub) which makes direct references to the Disney Sorcerers Apprentice in Fantasia.

Magic Man (2010) directed by Roscoe Lever stars Billy Zane who plays Darius, the Magic Man of the title. Billed as a thriller, this movie hasn’t received the best of reviews. As I’ve not seen it yet I can’t comment – but maybe a future review of this list may see it included.

So onto the Top Ten

10. Excelsior Prince of Magicians 1901 directed by Georges Melies. This pioneer of film making was a magician before turning his hand to cine-magic. He produced many short films of which this is only one, but many of which featured movie versions of stage tricks that magicians would love to be able to actually do. He was one of the first film makers to feature stop frame, time lapse and multiple exposures. He also hand painted many of the black and white films he shot. A true innovator.

9. The Grim Game 1919 directed by Irvin Wilat. Not the greatest of movies to watch, but from a magician’s point of view a must. It featured Harry Houdini in the title role showcasing his feats of escapology. Houdini, not only a great magician but a great entrepreneur embraced early cinema but to be quite honest he made little lasting contribution to cinematic art. In some ways, perhaps, Melies earlier ‘trick photography’ lessened some of the dramatic impact Houdini’s live performances will have had.

8. Lord of Illusions (1995) directed by Clive Barker and based on his novel of the same name. This film is notable for its magical references. Not only does the ‘evil’ lead character Nix have supernatural powers, but his disciples have them. One of his disciples, Swann, after Nix’s early demise (prior to his later resurrection) uses his magical powers to become a popular illusionist. The staged magic sequences are well done, there is a cameo appearance by the great Billy McCombe and the Magic Castle is represented as a place of secrets. The basic concept that ‘magic is a dangerous reality’ is a great theme for the Bizarre Magicians out there.

7. Cast a Deadly Spell (1991) directed by Martin Cambell, sees Detective, Harry Philip Lovecraft (played by Fred Ward) living in a 1940′s Los Angeles where magic is common place. He is recruited by a rich man to find a lost book – yeap, you’ve got it… The Necronomicon! It’s really a Bogart-esque film-noire with a magical flavour, of course by definition then there are magicians. It’s witty, fun and full of Lovecraftian references. Unfortunately at the time of writing it, unlike its less sharp sequel (Witch Hunt) is not available for purchase on DVD.

Witch Hunt (1994) directed Paul Schrader. A sequel to Cast a Deadly Spell in which detective, H. Phillip Lovecraft played by Dennis Hopper combats the evils and corruption of a magic wielding senator. As a sequel not shoddy, but perhaps not quite as fun as the first movie.

6. The Great Kandinski (1995) directed by Terry Windsor. This ‘made for TV’ movie must be included in this list, not only for its charm and humour, but for its sensitivities. Richard Harris (whose work is admirable) plays a retired escapologist living in a nursing home. The story revolves around Kandiski’s desire to ‘chase one more secret’ and do one ‘final show’. The escape featured is Houdini’s Water Torture cell, which is a testament to the iconic nature of that one illusion.

5. Nightmare Alley (1947) directed by Edmund Goulding. An impressive movie and perhaps one of the all time greatest examples of film noire. Tyrone Power plays a ‘psychic con man’ Stanton Carlyle whose trail of deceit and self deceit take from rags to riches to rags. Of course the magicians out there will immediately see a link to a performer who used to go out under the name Rinaldo, but was better known professionally and now to mentalists’ world wide as Stanton Carlisle. (1928 – 1990). Stanton insisted, despite many good natured challenges, that that was his real name and was not influenced by the Goulding film.

4. House of Games (1978) directed by David Mamet. OK not really a magic film, but features a performance of one of my all time magic heroes, Ricky Jay. Ricky is one of a group of con-men in this Hitchcockesque thriller. Mamet, as always does a great job in capturing mood and the movie explores human motivations and behaviours. Ricky Jay is of course no stranger to the big screen, with roles in the Bond Movie, Tomorrow Never Dies, Magnolia, Buck Howard, The Prestige and many more. This, I believe however was his first venture onto the ‘big screen’

3. Houdini (1953) directed by George Marshall with Tony Curtis in as Houdini. This movie does have a lot to answer for in that it creates some of the longer lasting myths about the life of the genuinely ‘mythic’ Houdini. His death on stage as a result of performing the ‘water torture cell’ is not fact, but the movie certainly hints at it. The ‘brush with death’ in a frozen river; the first performance of the ‘straight jacket’ at a Magicians Society dinner almost surely never happened – but the romance and innocence of the moment saves it. The magical advisor on this movie was Dunninger.

I suppose it is worth mentioning in passing that in 1998 there was a TV movie about Houdini (directed by Pen Denshem) and an earlier attempt at a biopic remake in 1976 with Paul Michael Glaser in the title role (directed for television by Melvile Shavelson). The movie Death Defying Acts (2007) directed by Gillian Armstrong focuses on Houdini’s documented interest in mediums and psychics and he is really the vehicle through which another story can be told.

2. Magic (1978) directed by Richard Attenborough and staring Anthony Hopkins. In the film Hopkins’ character starts out as a magician, but sees success as a ventriloquist. The movie charts the fall into insanity as the relationship Hopkins has with his dummy ‘Fats’. It’s a classic movie with some of the creepier overtones being softened by, what some claim to be, slower sequences of sentimentality.

1. The Illusionist (2006) directed by Neil Burger and staring Ed Norton. The pace and the feel of this film is wonderful. It is a love story with some great performances from a superb cast. The magical advice came from Ricky Jay and Michael Webber. Norton as Eisenhiem is the ideal stage magician. The cinematography is brilliant, the plot nicely involved and with, perhaps a few surprises.

1. The Prestige (2006) directed by Christopher Nolan. Whilst The Illusionist is sumptuous and engaging and at its core ‘hopeful’ and ‘romantic’, The Prestige is darker and deals with revenge, envy and competitiveness. Great performances from Hugh Jackman and Christian Bale as the feuding magicians each with a ‘secret’ and a narrative that is non-linear make the film engaging and well worth the little effort you need to keep up with the tangled web of intrigue. The ‘prestige’, the finale of the film, contains revelations that may surprise. Intelligent scripting brings the emotional tension to life and the rich magical references (Chung Ling Soo, The Bullet Catch, The Water Torture) make this film a must for magicians. Ricky Jay appears as an established stage performer and Michael Caine is great as the illusion builder – although I would never ask him to build me a vanishing bird cage!

I really can’t separate these two films in terms of quality of acting, direction and story so they share first place billing with the less serious….

Magicians (2007) actually deserves a Gold Star in this list. Directed by Andrew O Connor and with script written in collaboration with David Britland, Andy Nyman and Anthony Owen and others this is a magical tour de force. Opting for a comic look at the world of the conjuror, Magicians, sees Mitchell and Webb rattle through some great one-liners; pay homage to some key magicians and have a real knock at some of the oddness that is part and parcel of the magic scene. The great Pat Page makes an appearance, and most of the magic ‘stalls’ at the magic convention hosting the competition at the centre of the films plot were provided by well known magic dealers.

Why The Movie “After Earth” Is Important

I was born in 1976 and outside of “Blaxploitation” movies, there were no African American action or science fiction stars. My favorite movies included “Tron,” “Superman,” “The Last Star Fighter,” and “Dune.” The heroes in those movies had super powers, super intelligence, and had to dig deep to overcome extra-ordinarily difficult situations, often at great personal cost. It is worth noting here that the stars of these movies were all Caucasian males, and none of them looked like me. Hell, in most of the movies with a futuristic theme there was not even a Black person cast as an extra! As if, as Richard Pryor so eloquently put it, white people were not expecting us to be in the future.

It is no secret that many action, fantasy and science fiction movies contain ancient magical and mythological elements incorporated into the fabric of their stories; to see titans, gods, goddesses and fairies as characters in modern day cinema is a fairly commonplace occurrence – with one caveat, these characters almost never appear in movies written or directed by Blacks, or with an all Black cast.

When it comes to Black cinema we have few choices for our movie going pleasure. We have comedies, action comedies, the all important “Jesus Will Fix It” film and “Hot Ghetto Mess Drama,” (usually not the good kind), and last but not least is the “Catharsis Drama” – movies about profound suffering and abuse and how the characters where able to somehow carry on after being both victimized and traumatized. Few Black writers explore the realm of science fiction, fantasy, or create movies with a magical or mythological theme.

To add levels of depth and subtle complexity to their stories, adept writers and directors are able to use the archetypical and symbolic elements of the heroes and heroines of ancient mythological stories and folk and fairy tales. Many times these elements are used so skillfully as to be hardly recognized by the majority of the movie going public, but to the trained eye, these elements are obvious.

It takes study of classical literature, world mythology and symbology in order to use the above mentioned story elements with any level of effectiveness. Study that many burgeoning African American film makers seem all too willing to ignore in their movie making process, as these elements are often sorely lacking in the plots and storylines of the majority of Black cinema.

The “After Earth” screenplay was written by Gary Whitta and M. Night Shyamalan, with the story by Will Smith, tells the type of story that Black entertainment hasn’t seen the likes of in a very, very long time.

Some critics dislike this movie because they know what Mr. Smith is trying to accomplish with this type of movie, and they don’t like it. While Smith’s traditional audience may be slow to co-sign this movie for two reasons, one is they are not used to seeing African Americans play these types of roles, (although they will pay top dollar to watch Tom Cruise, Brad Pitt and Keanu Reaves play these roles over and over again,) and two, they don’t really understand the themes portrayed in this movie due to the fact that as a culture, we were stripped of our initiatory practices and our stories, and as a result we are used to seeing these types of roles played by White or Asian actors and actresses.

By and large, the legends, folklore and traditions of Africans and other indigenous cultures, have been demonized through religion and western culture, and so it seems we shun the magical and fantastical images of ourselves as sorcerers, demigods and heroes.

Why “After Earth” is Worth Watching

Below I will outline various elements of the movie “After Earth” that make this movie worth seeing over and over again. Fathers, if you have been looking for a movie to take your sons to that will help you to begin a profound conversation about rites of passage and growing into a man, you’ll want to check this out.

!!!SPOILER ALERT!!! – We are going to be discussing the story and plotline from this movie and by doing so parts of the actual story are going to be revealed. If you don’t want to spoil the movie before you’ve seen it, STOP NOW, and then come back after you’ve seen it to participate in this analysis.

Initiation

Let’s begin by taking a look at the theme of initiation that runs throughout “After Earth”.

Initiation was important in indigenous tribes because it was a system by which the young boys and girls of a given culture or tribe were guided through in order to educate, prepare and move them through the phase of childhood into adulthood and all the attendant rites and responsibilities which adulthood entailed.

Training

Initiation always begins with education and training, and in the movie we begin with the main character training with his military academy class. Readers will take note that cadets in the military go through a process of initiation designed to strip them of their life as a civilian to remold them as a soldier, and make no mistake, this system of initiation was taken from the ancient indigenous cultures of Africa and passed down through other cultures and societies throughout the world.

Training involves physical and mental exercise and tests designed to give initiates/cadets control over their bodies, their emotions and their minds.

It is at this point in the movie that we find that young Kitai, while exhibiting impressive physical abilities is lacking in emotional and mental control, issues which he will be forced to deal with later on in the movie.

Below is an outline of initiatory steps as experienced by the ancients and portrayed in “After Earth”

Trek Through Nature in Solitude With a Mission to Complete

Initiate Versus Nature, Beasts, and Self (FEAR)

Initiate must face and overcome several trials in order to reach their goal (manhood)

Endurance (Breathing linked to inhalers)

Initiate must protect and ration limited amount of supplies, ie; food, water, medical

Handling confrontation with potential danger.

It is worth noting here that Kitai failed his first encounter with danger (the monkeys) spectacularly! His Father told him to take control of his Power and watch what he creates. Kitai could not control his fear and anxiety and thus created a scenario where his life was in danger and forcing him to flee from the confrontation he created out of fear. In initiation, this is to be expected. The initiate must fail in order to understand what can result from recklessness and unchecked fear.

This same scenario played itself out in the movie Star Wars: The Empire Strikes Back, when Luke was sent into the “Cave of Darkness” by Yoda. Luke took FEAR into the cave with him and was confronted by it in the form of his Father, Darth Vader – though this Vader was purely a creation of Luke’s fearful thoughts.

More Steps on the Path

Facing medical emergency – poisoning by river leach and self administration of anti-venom.

Surviving the elements – finding thermal heat vents and shelter to keep warm during cold spells.

Defying Authority or “The System” in order to do what is right.

Leap of Faith – Jumping off a cliff in the hopes that his brash act will carry him to his goal.

Surviving a predator – The Raptor or Hawk representing Heru*

Assisting Mother Nature to defend her children – fighting for the lives of the baby hawks against the attacks of the feline predators.

Divine Aid – Initiate is pushed to his physical limits and thus transcends and is able to make contact with the spirit world where he is able to make peace with his dead sister and is given the aid and the protection of his spirit totem, the hawk.

Initiate reaches physical goal but must still go higher in order to reconnect spiritually with his Father – Kitai finds the beacon however it does not send the signal. Out of anger and frustration he hears the spiritual voice of his Father telling him to take a knee, (lower his physical nature so that he may listen to his higher “spirit” nature) – his father then tells him that he must go higher, to the top of a nearby mountain so that he can send their beacon signal (plea for assistance) into the heavens.

Initiate must face and overcome his fear here symbolized by the “Ursa” monster. Note here that “Ursa” is another name for a Bear which in some native tribes had to be faced and overcome by the young teens of the tribe in order for them to become men.

Initiate has to enter the Cave of Darkness/Fear. It is here that the monster reveals itself to the initiate and must be fought to the death.

Initiate is hurled into the abyss and must experience death. This death is not a physical one usually, but represents the death of the childish nature of the boy and the birth of the man. Fear, doubt and disbelief dies here, and the man, the warrior is able to be born. Initiate is put in mortal danger in order to force a change of mind and heart.

Upon reaching the mountaintop, the initiate is able to completely conquer himself and as a result his own fear and is thus able to destroy the monster and send a beacon into the heavens to receive a rescue and a return to his heavenly home.

By completing his task, the initiate is able to return home and redeem (save) his Father who was symbolically dead and in the underworld or in a deep soul sleep from which only the sons sacrifice could save him. **

Archetypes

The makers of “After Earth” also make use of archetypes to help them tell their story. According to the Concise Encyclopedia an “archetype” is “Primordial image, character, or pattern of circumstances that recurs throughout literature and thought consistently enough to be considered universal.” Literary critics adopted the term from Carl Gustav Jung’s theory of the collective unconscious. Because archetypes originate in pre-logical thought, they are held to evoke startlingly similar feelings in reader and author. Examples of archetypal symbols include the snake, whale, eagle, and vulture. An archetypal theme is the passage from innocence to experience; archetypal characters include the blood brother, rebel, wise grandparent, and prostitute with a heart of gold.”

Some of the archetypes that “After Earth” makes use of include, the “Father,” wise and valiant, yet fundamentally separated from his son, due to some perceived weakness or character flaw within the Son. The Son has let his Father down in a profound way, which has caused emotional and physical detachment.

The archetype of the “Son/Sun” in movies has the son following in his Father’s footsteps, while at the same time trying to make his own mark. He loves his Father but is resentful of him because he knows that he has fallen short of his Father’s expectations and/or achievements and he yearns to be like his Father and even to surpass him, in order to gain his love and respect. It is the Son’s job ultimately to redeem or save his Father, which makes him a suitable replacement for his Father, and which earns him the right to become a Father in his own right.

The steps that the Father and Son archetype takes in the movie “After Earth” are listed below.

Son in search of Father

Son fails to achieve an expected goal, and is judged by Father to be a failure. In After Earth this is unspoken, though in some stories the Father tells the Son outright that he is a failure.

Father and Son embark on journey to attempt to mend the rift between them. (This is a mask for the beginning of the initiatory journey.)

Father and Son encounter disaster, which only the two of them survive, leaving the Father severely wounded and having to rely on the Son for salvation.

Father demands absolute obedience and adherence to his rules and commands as he does not fully trust the mental and physical abilities of the Son.

Son is sent out to face the elements and enemies alone, but with the “spiritual guidance” of the Father. In After Earth, the spiritual guidance of the Father is represented by the com-link that keeps them in voice communication, and the “All Seeing Eyes” or cameras that the Father deploys in order to observe his Son’s progress and to watch out for danger.

Son VS Father – The Son begins to question his Father’s authority when his Father exhibits a lack of faith that the Son can accomplish his goals. This is perhaps the MOST important part of the movie when Kitai chooses to outright disobey the direct order of his Father. The lesson is this: when authority is wrong or becomes oppressive, it must be disobeyed by the hero in order for justice to be done.

Son Disobeys Father and is Cutoff, Cast Out or Cast Down. Being cut off from communication with the Father is symbolic of being cast down from heaven, which was shown literally as Kitai took a leap off the top of a waterfall in disobedience to his Father’s order that he return home. This event caused his communication link to his Father to be broken, leaving the Son alone and without guidance at a critical stage of the mission/initiation.

Son Forced to Face Enemy (FEAR) Alone – In the movie fear is represented by the Ursa, which is a monster that tracks its enemies through pheromones released when its prey is afraid. This creature can literally smell your fear. It is only when the Son has mastered himself that he can overcome the fear inside him, which the Ursa beast in the movie symbolizes.

Son Redeems (SAVES) Father, Returns Home a Man, Understands and Becomes Father.

The Heru Mythos

Every hero story you have ever read or saw played out on the silver screen is based on the mythos of Heru. Heru was an ancient African deity or Neter (force or aspect of nature) and the template for all good kings. You can read about his exploits in “The Passion of Osiris (Ausar)” and “A Tale of Two Brothers”. These tales come down to us from the land of ancient Kemet, now called Egypt.

In the myth Heru’s Father Ausar (Osiris) is betrayed and murdered by his jealous brother Set. Ausar is resurrected as the spiritual ruler of the underworld or afterlife. As a ruler, he is perpetually made to sit on a throne and cast his judgment on those who have recently passed on. [This is shown symbolically as Kitai's Father Cipher was stuck in the chair inside the ship and using the ships camera's (spiritual eyes) and the comm. Link (spiritual communication) to watch over and provide guidance to Kitai]

The throne motif is important as it was foreshadowed in After Earth by the soldier in the wheelchair, who approached the General and his Son. Upon approaching the General, the soldier declared that the General had saved his life and asked to be “stood up,” or in Biblical terms, “made upright”, by his companions so that he could make a proper salute to his hero (savior). This theme would play itself out again as the General would make the request “stand me up”, so that he could salute his son -this particular movie sequence represents the son “redeeming” or “saving” his Father.

Getting back to the mythos of Heru… after his father Ausar (Osiris) is murdered and his brother takes over the kingdom of Kemet, it becomes the mission of Heru and is Mother Auset (Isis) to get Heru on the throne as the rightful ruler of the land. Heru has to go through years of training under the auspices of his Mother Auset, His Aunt Nebhet (Nephtys) and the diminutive Bes who is the Neter of child birth, happiness and war. It is Bes who trains Heru to be a warrior. In the movie Star Wars Yoda played the part of the trainer (Bes) to Luke Skywalker (Heru).

The symbol of Heru was the Hawk. He was often depicted with wings and having the head or mask of a hawk. In the movie After Earth we see the relationship of the Hero to the Hawk in the “Leap of Faith” sequence where the hawk chases Kitai down and then carries him off to her nest to be food for her baby chicks. Kitai awakes while being nibbled on by the newborn chicks, but finds that the hawk nest is under attack by feline predators intent on eating the chicks.

Kitai helps the hawk to defend the nest but fails to keep the predators from killing all of the baby birds.

The hawk mourns the loss of her baby chicks with a screech of rage and begins to follow Kitai in the air, which seems menacing in the beginning, but we find out later that the Hawk has bonded with Kitai and she later drags him to safety and protects him from the cold by using her own body heat to keep him from freezing. This is an obvious symbol of Kitai’s mythic relationship to Heru the Neter*** of the Sun and the Sky… the original sky – walker.

After many contentious battles and adventures, Heru, with the help of his Mother would go on to gain rulership of the land of Kemet (Egypt) and thereby redeem his Father Ausar (Osirus).

It is important that you know that the story of Ausar (Osiris) and Heru (Horus) has been told and retold across the world and can be found in many variations, the names and characters and even some of the circumstances may change, but the root of the story remains the same. It is the duty of the Son to succeed his Father as ruler of the land or EARTH, but only AFTER he has proven himself worthy to do so. So you can see that the movie After Earth has a lot more depth to it than meets the casual eye.

There are many other examples of the mythological and archetypal symbolism that are incorporated into the movie After Earth that I was not able to touch on like the Mother as the “Queen of Heaven,” or the Sister as the “Spiritual Guardian” of her Brother. This movie is chock full of all the elements that make a great story and I for one feel that the story of After Earth was masterfully told. I’m looking forward to more of this type of movie from not only Will Smith and crew, but from other Black film-makers as well.

GLOSSARY OF TERMS

*Also known as Horus, Heru was an ancient Kemetic (Egyptian) Neter (Deity) of the Sun and Sky, his symbol was the hawk. Heru was often depicted with the head of a hawk and the body of a man.

**Kitai’s Father Cipher being trapped in the innards of a spaceship evokes the symbolism of Jonah in the belly of the fish as well as the Ausarian (Osiris) mythos of Ausar sitting on a throne and providing spiritual guidance to Heru from the spirit world.

*** Neter means aspect of nature or divine nature. Neter has been translated as God and Goddess.

By Keith D. Young