An analysis of the film 'Signs' directed by M. Shyamalan

by J.M., QFS

This is a 'stream of consciousness' review of the movie 'Signs' which I saw earlier this evening. It certainly won't be an extensive rendering of the codes and symbols that I percived to be present, but I hope to include as best I can from my memory, my impressions of what Mr. Shyamalan was trying to convey. I also will include a few  observations that may not have been in the director's mind - conscious or otherwise - but which were stimulated in me by the film!

It seems that the film uses metaphor and metaphysical themes - whether intentionally or not - and can be viewed as either a rather hackneyed portrayal of extraterrestrial contact via the reality of crop circles, or as a multi-layered and richly textured film. In fact, without the assumption that the film is metaphorical, it is almost painfully cliché.

However, I am working with the assumption that Shyamalan is no fool and that there is certainly 'method' in his 'madness.' Having almost full control over the film, being the writer, producer and director, one gets the feeling that it can't be any other way. We are thus given an inner portrait of his spiritual focus suggesting a rare quality in Hollywood film making: depth and insight, sensitivity and vision, comparable only perhaps to his contemporary, the Australian director Peter Weir. Like the theme of the film itself, we have to learn to see, to discern the signs,  from the central motif, the crop circles themselves.

According to the Cassiopaeans, the "real" crop circles have been  impulsed from 6th density. Yet in the film they are used as a mapping system for negative STS aims. It is a conscious ambiguity. What we see happening is that as with all STO modes and methods, beings and material manifestations, they  have and will continue to be co-opted for STS use.

The main action takes place in and around the house. Houses in dreams, myth and folklore often refer to the soul, the subconscious, or mind. The narrative derives its impetus from here. It represents the mind of the leading character and his family (fragmented aspects of himself) as they slowly move towards integration or fusion. As the camera pans back in the opening sequence we are introduced to a 'rippling' effect as though we are in a dream, waking up to a world from the vantage point of the soul which includes a scanning of the backyard from the window, another symbol for the soul in its manifestation of the subconscious "back door." It is also our journey.  This is where the perceptions spring forth, this is the source of the film - understanding the journey of the soul. SEEING.

The voice of the children are the first sounds to emerge into our consciousness. Mel Gibson's character the disillusioned ex-priest Graham Hess, literally wakes up to a portent. He is agitated, fearful. Something has awoken IN him. The children are the ones who discover the crop circles and are indeed the 'yin and yang' of Graham's consciousness yet to be integrated. It is the child in us, the innocent, free of anticipation and expectation that can allow us to SEE the 'signs.' The little girl, "Bo." is the feminine, the visionary. The little boy is the intellect partnered with the intuition. They both constantly alert Graham to the signs and help him to resolve the confusion in his journey to understanding. Graham represents the potential, the spirit-reality forged through the power of the will. He is the head of the family the one whose task it is to find the grail, to build his awareness on the road to ascension.

We learn too that Graham's wife Colleen is a catalyst for this spiritual quest. She is killed by a driver (Shyamalan's character) who had fallen asleep at the wheel. She is almost cut in half. The car is the only thing that holds her together. This is a powerful collection of archetypes. His wife is The Wanderer, the sacrificial lamb, the initiate walking through the darkness, already treading the path. ('I know how you like to take walks'). She is also symbolic of the divine feminine, the integrated  heart energy, higher mind, split into two, where the head/intellect is separated and divorced from the warmth. Cold intellect with higher emotion.

Colleen prompts the dark night of the soul for Gibson's character. The car in dreams is often symbolic of destiny or movement toward destiny. In this case it seems to be humanity as personified by the character of Ray Reddy. Humanity has cut itself off from the feminine side in favour of the masculine or Cartesian/Newtonian perception, exclusively. We have fragmented the self through ignorance and through choice, echoing Shyamalan's future statement:' was like it was meant to happen...'  Humanity was asleep at the wheel of it's own destiny.

Colleen represents the feminine principle returning to wake us  up as a cyclic process. The only thing that 'holds her together' is the illusion  of 'wishful thinking' the impact of that decision of separation. She is pinned against the tree - the source of her creation: Nature.  So, we see that the start of the journey began at that moment that Hess  recognized that everything he valued, through the lens of his religion, was seemingly lost at that moment. It was his chance to SEE or to choose ignorance and fear, to wake up or to go back to the sleep state of the driver.

Colleen states towards the end of the film as a flashback as she speaks her last words to Graham that the children must still 'play and be silly ' explaining that on the journey to truth we must also not allow our minds to become paralyzed by the truths revealed. Maintain balance. Do not become a victim of fear and linear thinking. This is our key to retaining our child-like quality combined with the strength of awareness forged through experience and understanding, maintained by the power of our will and intent.

It is no coincidence that Shyamalan plays himself in the role of humanity and the careless driver. He is showing his humility by doing so. He is the storyteller but also part of the story, as we all our. This is a collective burden and a clarion call to wake up thorough the 'Terror of the situation.' Later on in the film we see the character explaining to Graham that he was not able to call him for six months after the 'accident.' Gibson's character is the Will.  But Ray Reddy is not ready! He cannot make the leap to integrate and SEE the truth, see the signs. He is paralyzed by guilt, fear and sorrow for what he has done. When humanity wakes up many may fall into these emotions that are indicative of not SEEING, they are a denial, serving to drain rather than to promote a fuller awareness.  Reddy locks the alien in the pantry of his house his subconscious mind and asks Graham to deal with it for him abdicating responsibility, furthering the illusion of religion as the mediator between god and man when self-responsibility and  is part of the way to redemption and self-knowledge. Reddy/humanity drives off, escaping to a secluded lake, acting on disinformation (we will return to this symbol later) with his emotional baggage packed into the car. He chooses denial and ignorance.

Exorcism is left up to Hess.

The scene where the family attempt to communicate with the aliens is also interesting. The little boy has in his hand the walkie-talkie which is a baby monitor. This is intentional. This is symbolic of spiritual growth. Many of us who are attempting to ascend the staircase often recall dreams of babies, sometimes sickly as we try to build the magnetic centre. Communication may be 'one way' at first but with group endeavour, through a 'chain'  or a unit of networking, we can begin to exercise control over our destiny, individually and collectively as shown by the family, awkwardly straddling the bonnet and roof of the car. The supporting father while holding the hand of Bo is first, with Merrill second and the power of the mind last with the boy stretching his hand towards the sky.

They do not know whether the source is benevolent or malevolent, this comes later. But they are learning to dig deeper. To establish facts. Once these facts are evidenced a choice must be made.

Moving forward we see Graham and Merrill sitting in front of the t.v. watching the footage of alien craft hovering above the city. It is an extremely powerful moment where Shyamalan is speaking to us directly. There is an intensity to the direction with close head shots only and hushed voices. Graham Hess echoes the reality of the spiritual path and the well-worn cliché of 'we are not alone.'

Well, indeed we are not, but we are alone in our responsibility.

There are no coincidences. This is a recurrent theme suggesting that we must begin to use our own powers of reasoning or else we can, as Hess states, choose to believe in miracles or superstition. We can begin to understand that there is no luck. Things don't just  happen. There is always design.

Gibson's character is expressing his disillusion but this is also the stage where we can begin to SEE. To realize the illusion and wake up. We cannot do this by living in the fantasy that surrounds us i.e. the Matrix. Our darkest moments of despair can represent the opportunity to birth anew the spiritual baby. STO or STS. Our route to freedom.

Merrill seems to be the 'earthy' or instinctive aspect of the archetypal family unit. He responds with a typically materialistic but truthful account of girlfriends. He processes these truths through the portal of his own worldview. It is a view of most of humanity but nevertheless can be elevated IF combined with the awareness of group consciousness. Merrill is full of horror and is paralyzed in front of the t.v. soaking up the artificial, vicarious emotions. He also elects to wear the tin-foil hat as a barrier to alien thoughts. With great humour Shyamalan shows us that undirected' knee- jerk' instincts are corralled into a juvenile response where possible channelling of this power is rendered useless through unregulated, instinctual fear. And t.v./media  is the source of this paralysis.

The aliens are in the sky but able to disappear. They are still there. This is an important reference to 4th density. They are here and have always been, with the ability to remain undetected through the instinctual, fearful reactions of Merrill. But partnered with the slow integration of Graham the Will, his power and might become channelled into the application of knowledge.

The information concerning aliens has and will always be layered with disinformation and truth. As Graham and his children look through a book about this subject, we see how easily we can 'throw the baby (!) out with the bath water' by not reading between the lines. Truth is often mixed in with rubbish. Through the insistence of his son and his daughter he learns to see the signs. He turns the page to see an identical house to their own with a UFO sending its rays onto the roof. A war against the soul. It is enough for him. He is beginning to see. He takes the book for further reading. He is preparing for defense of his STO dynamic. He is building awareness.

A discussion ensues as to whether they stay or flee. We are reminded that Ray Reddy has fled to the lake. Hess asks about the lake that aliens don't like water. The boy is dismissive regarding the idea as disinformation. A battle takes place where Hess is outvoted. The family wish to stay. The defense of the soul is concerned with standing your ground and facing your fears. This is 3-D thinking.

But still Graham Hess is in denial. He knows the signs are telling him that he must confront the aliens, the demons. He must protect his family (the various aspects of himself) he must start to tread the path to fusion. Networking and group endeavour build resistance and consolidate knowledge.

However, the Predator's Mind begins to raise its head. While indulging his fears he loses his faith and leaps back into materialistic escapism. The family have their 'last' meal (echoing 'The Last Supper' before Jesus, the ultimate Grail exponent, embarked on his final initiation) and they all have their favourite meal. They are all frightened and ill at ease. Mel Gibson's character is under 'attack.' He begins to eat everyone's meal. He doesn't want to believe. He misses Colleen and wishes she were with him. It is at that moment the son says: 'I hate you!' meaning he hates the temporary lack of Will, the expression weakness. The Mother's strength is implied here. The boy (intellect and intuition as part of Grahams psyche is telling him to grow up! You are meant to be leading us! So LEAD! The soul unit is doomed if the choice is made to for self-pity and escape into The Matrix comfort-zone.

They board up the windows and begin to hear the sounds of the aliens outside. They do not see them, yet through building their knowledge they know they are there.

This is exactly how 4th density operates, like 'thieves in the night' and as the spaceships hovering over the city. They are still there preying on the inhabitants yet they cannot be seen from a three dimensional perspective. We have to develop our ability to see the signs. Once we do, they will attack as a preventative measure but for us, it is a recognition of the progress made.

They all end up in the cellar of the house where the deepest darkest of the psyche reside. Again we can see parallel allegories. Hess is confronting his fears, gradually aligning his personality to the soul, finding the higher centres, reaching for the goal of fusion. The group consciousness and networking dynamic is also at play here. We cannot do this alone.

Merrill, in his instinctual haste, smashes the light with the pick-axe. They are plunged into further darkness true to the nature of the path and the reaction of the Matrix Control System. It will get worse before it gets better.  The pick-axe is both symbolic of 'tunnelling' into the darkness in order to find the coal to fuel the fire, while also keeping the attacks at bay, keeping the door firmly closed. Yet this is a ploy. While being to focused on the more obvious dramatic signs of attack we can be distracted to covert operations into the back door of our consciousness. Knowledge protects only if you know the methods of attacks and te deceptions therein.

Hess: 'They are just knocking on the door....why would would they do that?'          ''s a distraction!'

He is now beginning to utilize and apply the knowledge gained by looking into the Predators Mind, by anticipating in the correct sense, how STS will corral its prey. They begin to look for a weakness in their defenses. We will all have them. Via programs our buttons can be pushed causing us to be manipulated and thus to fail. If we know our weaknesses and we become aware as to how they may be utilized by STS 'we can head them off at the pass.' Ignorance of this fact can, of course, 'endanger.' Then a major attack comes through the coal chute. The fuel and pathway for Ascension. It is through the earth, the process of tunnelling and experience of the 3D world that STS will attack and distort the path. And always through the 'back door', behind our vision. We must grow eyes in the backs of our heads!

In the darkness we see the feminine energy of the character Bo shining the torch light on the masculine energy of the boy. Heart and head working together. And just as this happens the claws of the alien reach around and grab the boy. This is also intentionally cliché and comic-book in style. He is then literally 'gripped' by fear causing an asthma attack and a potential cessation of breathing. Graham then echoes his son's exclamation:'I hate you - I hate you!  (I banish the fear ) 'Breathe Breathe!'

It is the same weakness expressed through a different aspect of group consciousness or via a different part of the psyche of Graham Hess. This time it is an attack through reasoning, left brain and extreme rationalization. It is doubt. It is intellectual crystallization from fear. He urges the breath of pure reason and SEEING to dominate. In the Shamanic tradition the element of air in its highest expression is symbolic of communication, the reception of higher metaphysical truths, the medium of spiritual truth.

The radio gives one of the few implicit clues to the aliens aims. A voice of the survivors states:'They were not here for the planet - they were here to harvest humans.' (paraphrased)

As awareness grows, the question is asked:'How long have we been asleep?''12 hours.'This is not unintentional. This seems to be a specific reference to the number 12. It alludes perhaps to 12 precessional cycles as well as the 12 strands of DNA. Intimately linked to humanity's 'sleep' is the 'burning off' of DNA strands which precipitated our further fall from our link to 4th density STO and our descent into matter. Further knowledge is being accessed. The realization of cellular memory and through our dreams.

In response to Merrill  Graham Hess sheepishly affirms that he didn't think they would get through the night. His brother reinforces his faith by cautioning against its lapse in the future:'I saw your eyes. I never want to see that look in your eyes again.'

Merrill as symbolic of the instinct or the moving centre. He must be 'guided by the will and wisdom of his older brother to remain truly effective. Otherwise he is lost.

With faith now building from this, they consciously begin the Ascent with Hess appropriately leading the way up the stairs and back into the centre of the house, the soul/psyche. Shyamalan makes this clear as we see some wooden holes in window shutters at the top of the staircase with light streaming through. From Heaven to Earth and from Earth to Heaven once more. The process of Ascension. The return from the Far Country.

But it is at this point where we have completed an initiation that the attacks may be increased.

In other words we may find that our worst nightmares spring forth from the very depths of our being. As we begin to hear of the aliens which came from:'...a primitive source somewhere in the Middle East...'Which is a curious but somehow fitting inclusion. It could simply mean the example of Jesus Christ as an embodiment of the Search for the Holy grail and Ascension - the lost Gnostic teachings which may have mirrored our contemporary take of 4th density. Or it may allude to the discovery of The Ark: Spiritual power, perhaps meaning one and the same. At the same time the reflection of the alien for us the viewer is seen in the television suggesting two things. One, that t.v. clearly works for the STS and is essentially a tool for the mind programming of society. Secondly, that to show that the 4th density STS are a very REAL presence in our lives. They are not simply a reflection of entertainment, although they would have you believe so. They are in fact intimately connected with us and our residing in our very consciousness, even in our very homes.

Abduction is implied here as we view the vulnerable little boy held by the demon in our midst. 'They walk among us'. Indeed, the alien interference in our American apple-pie illusion has taken place within the confines of our domestic, family life, even our very dreams which may mask etheric abductions on a mass scale.The alien is threatening to poison the mind of the boy still further. STS will prey on the weakest whenever it can. This is the time when we must be the strongest and act in favour of our destiny, in doing so we may effect a 'butterfly' change by applying our knowledge and living the ascension process, actualizing our intent and leading BY EXAMPLE. Thus we see Merrill guided by Hess though his will to: 'Take your swing' and defend the STO dynamic. The baseball bat is now made of the same energy as the house - wood. Reminding us of the swing in the garden, innocence - the route to BEing - coupled with strength of the Will the alien's domination is extinguished.

It is here that Shyamalan introduces us to the direct source of the devil and the vampire so much associated with 4th density STS. The water from the collected glasses that Bo pours onto the alien. It hisses and dissolves his skin being the holy water that it is. The Ether is known to the alchemists as 'Aqua Vitae' The Water of Life. They alluded to its meaning as the philosophical mercury. It is the power of the elevated emotions combined with the intellect and intuition.

Recall that the feminine energy cannot truly function and flow if the water is 'contaminated' as little Bo kept repeating. It doesn't matter what it is, a hair or dust. Contamination is contamination. Even if she didn't know what it meant as stated by the boy. She felt it. When the feelings and the intellect are combined and elevated, through understanding and awareness we can consciously build  the magnetic centre and KNOW that we have free-will to say NO and  thus act in our defence against the 'devil.'

Notice the last shot of the water pouring onto the alien is staged so that the viewer is being purified and cleansed by this 'holy water.' Our vision is being made clear, the scales can potentially fall from our eyes.

In order to reach this choice to SEE, we must embark on a journey of purification so that we can begin to discriminate between truth and lies, between subjective and objective. Being naturally STS in 3D we must make a decision to align ourselves with the STO thought centre or choose the opposite polarity. Without this awareness we are unconsciously collaborating with STS goals through our own ignorance.

As the little boy says when he awakes from near death the family is outside in the light of day:'Did someone save me?'But as we hopefully learning through all of our difficult and painful experiences in this 3D centered world, and as Shyamalan is at pains to point out, 'there are no coincidences.' We must die to the world and lose all of our cherished illusions. We will embark on a shamanic path of knowing of ourselves where the flesh of our renewal drops away in the self ignited fire. And in that transformation from ignorance and belief to applied knowledge and the infinite path of ascension, we must become the saviour and the saved.


Perseus Research Team

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