Westworld (1973)

There are plenty of movies that include some form or another of artificial human companions and total environments (and if you don’t know what those things have to do with Satanism, you need to leave this website immediately and do some research). But Westworld, written and directed by Michael Crichton of “Jurassic Park” fame, is all about these ideas being applied to the fullest with the precise intention of maximizing human pleasure.

Everybody’s raving about Delos, a company that provides vacation packages in the form of total environments. For one thousand dollars a day, you can fly out to one of their three isolated microcosms: Roman World, Medieval World, and Westworld. As the names imply, one is set up as an ancient Greco-Roman city where lust and wine are in continuous supply, the second is a world of glorious knights and castles, and the other is set up like the American ol’ west. Behind the scenes is a large group of technicians who secretly monitor the towns, moving out at night to make any necessary repairs.

Each world includes fully interactive human androids, indistinguishable from humans except for the tubular finger joints. They are not only dressed appropriately, but programmed with the expected knowledge, mindset, and speech of somebody living in that environment’s reflected period. Guests are required to dress the part too. (On a side note, I think this is where Disney World fails in its TE presentation: the illusion is shattered when you look around and see the guests in their baseball caps and fanny packs.)

John (James Brolin) has been to Westworld before and convinces his shy friend Peter (Richard Benjamin) to join him on his next trip. During their stay, they enjoy shooting dirty varmint androids such as the one played by Yul Brynner (all guns are specially made to work on androids but not real humans), get arrested by a guest who’s happily playing the role of sheriff, have fun breaking out of the prison, and indulge in other cowboy fantasies. But the most Satanic dialogue in the film appears in a visit to Westworld’s local brothel. Peter comes back from having fooled around with one of the women, and John asks how it was. Peter admits that it was sensational, yet he honestly wasn’t sure whether the woman was an android or a human. John then asks, “Does it matter?”

Unfortunately, Westworld ends up following the man vs. machine theme, sadly common to virtually all AHC/TE stories. In other words, it’s takes on the same old story of something in the machinery going haywire, and as a result the humans ending up being victims of their own brutally indifferent creation. I suppose it’s a testament to the herd’s fear of being one of the many quite expendable humans that could be better replaced by an android. Perhaps it’s just the fear of seeing taboos debunked, even in a hypothetical example. However, the first hour of the movie is a good enough reason to put Westworld on the Satanic recommendation list, because of its pleasurably painted picture of Pentagonal Revisionism manifested.

[- Bill M.]

Movie on IMDB

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