The provided source material focuses on the work and philosophy of artist Alejandro Jodorowsky, specifically regarding his 1973 film The Holy Mountain and his interpretation of the Tarot. The sources discuss Jodorowsky's perspective that the Tarot is not a tool for predicting the future, but rather a language for understanding the present and a method for psychological search and creative inspiration. The film The Holy Mountain is described as a surreal, symbolic journey that parallels the Tarot's narrative of the Fool progressing through the arcana. The sources detail the film's production history, its controversial reception, and its connection to Jodorowsky's broader philosophy of "psychomagical realism."
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The Philosophy of the Tarot According to Jodorowsky
Alejandro Jodorowsky’s relationship with the Tarot is foundational to his artistic output, particularly his film The Holy Mountain. According to the sources, Jodorowsky has spent decades studying the cards, with a specific emphasis on the Tarot de Marseille. In a DVD extra for The Holy Mountain, he offered his interpretation of the deck.
Jodorowsky asserts that the Tarot is a narrative regarding the "mad fool" who goes on a journey through the arcana. This journey culminates in Le Monde (The World), where a higher understanding of the universe is achieved. This summation serves as a synopsis for the plot of The Holy Mountain.
Crucially, Jodorowsky rejects the notion of using Tarot for fortune-telling. He states, "The future is a con. The tarot is a language that talks about the present. If you use it to see the future, you become a conman." For Jodorowsky, the Tarot represents a "deep psychological search" rather than a supernatural practice. He believes the Tarot teaches one "how to create a soul." He views the 78 cards as a mandala—a single, unified image—rather than a collection of disparate symbols. This perspective aligns him with other artistic figures like William Butler Yeats and T.S. Eliot, who utilized the Tarot for inspiration rather than divination.
The Holy Mountain: A Cinematic Tarot Journey
Released in 1973, The Holy Mountain is described as a "surreal circus" and a "dazzling, rambling, often incoherent satire" that "unfurls like a hallucinogenic daydream." The film is the brainchild of Jodorowsky, a multidisciplined artist influenced by Antonin Artaud’s theatre of cruelty, which aimed to create a "primitive ceremonial experience intended to liberate the human subconscious."
The film’s narrative mirrors the Tarot journey. It begins with a character known as The Thief, played by Horacio Salinas. The Thief is described as a clear Christ figure who undergoes surreal encounters symbolically linked to capitalism, colonialism, and Christianity. He is crucified and later cradled by a faux Mary in a recreation of Michelangelo’s Pietà. Jodorowsky aligns The Thief with the Tarot card The Fool.
The Thief’s companion is a quadruple amputee portrayed by Basilio González, who is indicative of the Five of Swords and represents the human ego. The film features an alchemist who brings eight people together for a journey of enlightenment. The narrative is intertwined with layers of symbolism, including literal statements about turning "shit into gold" and symbolic explorations of history, such as a performance by the Great Toad and Chameleon Circus depicting the conquest of Mexico using cane toads as conquistadors assaulting Mexican plateau horned lizards.
Jodorowsky’s cinematic style is characterized by "psychomagical realism." He creates carefully composed scenes with meticulous attention to detail, similar to Wes Anderson, but with a distinct difference: Jodorowsky’s details are overtly symbolic rather than stylistic. He forges connections to arcane ideas to evoke meaning.
Production History and Cultural Impact
The production and release of The Holy Mountain were turbulent. The film caused a riot upon its release, forcing Jodorowsky to flee hiding on the floor of a limousine. Despite this, he went on to create El Topo (1971), an acid western that cemented his reputation as the father of midnight movies.
John Lennon’s love of El Topo inspired his manager, Allen Klein, to purchase the film and give it a U.S. release. Klein subsequently produced The Holy Mountain. However, when the relationship between Klein and Jodorowsky became strained, Klein blocked any wider release of the film. For decades, audiences could only view The Holy Mountain through poor-quality bootlegs. A restored release around 2007 finally allowed audiences to appreciate the visual contributions of cinematographer Rafael Corkidi, who had previously worked with Jodorowsky on El Topo.
The film’s soundtrack is also noted for being ahead of its time, featuring early electronic music in the track "F*ck Machine" and contributions from trumpeter Don Cherry, who helped create free jazz with Ornette Coleman.
Jodorowsky’s Broader Philosophy
Jodorowsky’s approach to art and life is described as "shamanic psychotherapy." He views film as a medium for creating a "pill" rather than simply documenting the visions of someone who has taken one. He asks of film what most people ask of psychedelic drugs: a transformative experience. His works are hallmarks of overt spiritual imagery, unabashed nudity, syncretistic religious elements, graphic violence, and absurdist imagery commenting on society.
He possesses a mystical worldview, famously stating, "If you set your spirit to something, that phenomenon will happen." This belief in the power of intention and the "creative act" drives his exploration of the Tarot and his filmmaking. The result of his "deep psychological search" is a unique body of work that speaks to the value of such an undertaking.
Conclusion
The provided sources illustrate a strong connection between Alejandro Jodorowsky’s Tarot philosophy and his film The Holy Mountain. The Tarot serves as a structural and thematic blueprint for the film, representing a journey of psychological and spiritual discovery rather than a tool for fortune-telling. Jodorowsky’s work challenges audiences through provocative, surreal content that utilizes irrationality to compose symbolic meaning. The film’s history reflects the struggles of an artist maintaining creative control, while its restoration has allowed for a fuller appreciation of its visual and sonic complexity. Ultimately, Jodorowsky presents the Tarot as a language for the present and a means to "create a soul," a philosophy deeply embedded in the imagery and narrative of The Holy Mountain.