Part 42 - Rango - Hail Mary!

In this post, I finally get to set up for some major stuff I've been looking forward to addressing for a long time! When Rango and his terrarium world are catapulted out into the desert it is, of course, the major transition in the movie plot. In that slow motion scene, some major signaling is going on! In posts 33-35 I focused on several elements of the opening scene where Rango was on his terrarium stage. I left that scene behind for several posts to track some really exciting Bride Theft related elements from later in the movie but I'm returning now to feature some technical symbols. Like I've mentioned before, Rango is something of an operations manual, concealing and revealing some whats, whens, and hows of our adversary's activity. The technical whats and hows are featured in the transitional scene where the chameleon is transported from one time and world on a journey into what seems like quite another altogether.

You can watch what I'm going to feature in this video clip, focusing on the slow motion part beginning just before 5 minutes in. [video] First 14 Minutes Of Rango

Just before the chameleon is ejected from his familiar world, he provides the following narrative.

“People, I've had an epiphany. The hero can not exist in a vacuum. What our story needs is an ironic unexpected event that will propel the hero into conflict. ”

And, just such an event happens immediately. We learn that he's been riding in the back of a station wagon with its back window open and the vehicle he's in is threatened with a potential accident. They run over something in the road with a big bump, and the hero is propelled out of the car and the safety of his terrarium life as a pampered family pet. He's suddenly wholly reliant upon and subject to providential care, a point made by a subtle reference to Hail Mary.

As the scene goes into slow motion, the music we hear accompanying the drama is a Franz Shubert piece that today is most familiar as set to the words of Ave Maria. The Latin “Ave Maria” translates to, “Hail Mary.” What this audio track imports is a match to the video track, which serves to complement the collection of symbolic images we see during the sequence and validate the interpretations I've been assigning. If you've followed this series you should recall a Romish liturgical theme, of Lent, Ash Wednesday and Easter. Rango primes us for this with some religious lingo NLP: epiphany. Epiphany is a feast on the Romish liturgical calendar (January 6) celebrating a revelation of divine nature.

Setting the scene to Ave Maria alludes to modern sports culture. A Hail Mary in sports refers to a last second long shot attempt at scoring, a desperate effort made in the remote hope of scoring the game winning shot. It's the kind of shot that might need a prayer answered to actually succeed. That prayer assist is the Hail Mary prayer, perhaps the most famous so-called "christian" prayer by name to many. This is fitting for the Rango scene as the hero was literally propelled into conflict almost like a football with what appeared as a low-odds chance of success, of surviving the ordeal. It's funny, but there's more to it than comedy.

Here's the words of Ave Maria, the Hail Mary prayer, in Latin and English.

“Áve María, grátia pléna, Dóminus técum. Benedícta tu in muliéribus, et benedíctus frúctus véntris túi, Iésus.
Sáncta María, Máter Déi, óra pro nóbis peccatóribus, nunc et in hóra mórtis nóstrae. Ámen.”

“Hail Mary, full of grace, the Lord is with thee; blessed art thou amongst women, and blessed is the fruit of thy womb, Jesus.
Holy Mary, Mother of God, pray for us sinners, now and at the hour of our death. Amen”

What we can infer from the soundtrack is that Rango is praying to Mary as at "the hour of our death." When you experience something in slow motion, it's in the midst of a life threatening situation. Some say they see their life pass before their eyes. I've had slow motion experiences before. I can testify that, in them, I was entirely subject to the care of my God; my life literally depended on divine intervention. In Rango's situation, his Hail Mary prayer appears to have been answered, with divine intervention evidenced in the chameleon's survival and subsequent meeting with an agent of his providential ejection, the "Roadkill" armadillo, the armored “knight” on a quest for enlightenment. During the slo-mo scene we see the intervening divine agents and agencies illustrated in symbol.

To identify those symbols, it should be acknowledged that, although the Romish sun cult pretends this Mary who prays to her son Jesus for us sinners is the same one who bore the Lord I serve, that's a lie. This Mystery Religion impostor is the oft rebranded mother goddess Isis. During the slo-mo sequence, while Ave Maria plays softly in the background, both Mary (bare breasted Madonna) and Jesus pass before our eyes, the agents of the chameleon's salvation as named in the Ave Maria prayer. Between we see the bright glow of the sun, because it is the cult of the sun god, and it is the power of that false light that exalts them.

This is a segue into the meaning of the some of the other elements we see during the slo-mo. Lord willing!