The Hollywood movie Troy offers us a great deal of insight into the workings of the human mind during the Kali Yuga.
The character development in this epic is of the very highest quality – you won’t find many stereotypical good guys and bad guys in this movie. Instead, we see a whole host of characters attempting to control their lust and emotion, albeit without a great deal of success.
If you’re accustomed to black and white thinking and tend to define people, places, circumstances and situations as being either good or bad, Troy will help you break the spell.
We’re not saying good and evil don’t exist; they do. But in order to see the world as it really is – a complex, multilayered tapestry of cause and effect – we must pay attention to the shades in between.
As soon as the movie starts, we’re treated to a scene rife with Kali Yuga energy. Two neighbouring Greek city-states are at war. The only motive for the conflict is King Agamemnon’s megalomania.
To put it bluntly, Agamemnon of Mycenae is a psychopath. He wants to unite all of Greece for his own personal glory. And if one man or 40,000 men have to die for him to realise his dream, so be it.
Agamemnon is heard imploring Zeus to help him conquer Troy on numerous occasions. Yet despite being well-schooled in the science of Astrology, this is a man operating in total opposition to the Gods.
The reason Agamemnon asks Zeus for help is because Zeus is the Greek name for the planet Jupiter. And Jupiter is set to the specific electromagnetic frequency that influences ‘expansion’. Agamemnon, of course, is seeking to ‘expand’ his empire, which is why he solicits Zeus for help rather than Mars, the God of physical action and war.
Brad Pitt plays Achilles, the greatest Greek warrior of his era.
Achilles despises Agamemnon, yet they fight together on the same side in a bid to conquer Troy.
Achilles doesn’t care who he’s fighting for, against or even why he’s fighting. In fact, he’s just as likely to start fighting the Greeks as he is the Trojans. All Achilles cares about is securing a glorious death. Like his mother, he anticipates this will grant him immortality.
After Greek special forces are succesful in taking the beaches, we see Achilles behead Troy’s cherished Sun God statue of Apollo. When Apollo’s head falls to the ground, Achilles sarcastically taunts the Gods to take their revenge and strike him down, which they don’t.
Later in the film, when Achilles meets Briseis, we hear him converse, for the first time, on the subject of the Gods, which he does, to her astonishment, with full knowledge and deliberation.
Yet despite his grasp on these topics, Achilles’ tone is entirely academic and his unwillingness to embrace the Gods is explained towards the end of the movie when he finally airs his true feelings about himself and humanity.
Achilles’ problem lies in his inability to accept the fact that the Gods care. After all, the world he sees around him is perpetually at war and saturated in blood.
Worshipping the Creators of a war zone seems like a contradiction to him. And so he rejects the notion that the Gods are ‘good’ rather than rejecting the principle that they actually ‘exist’.
Despite falling in love, Achilles cannot control his natural drives and his lust for vengeance ultimately leads to his death.
Sean Bean plays King Odysseus, the mental or emotional anti-thesis of Achilles in so many ways.
Odysseus never loses his cool and remains straight-talking even in the company of his superiors. Where Achilles charges at the enemy, Odysseus picks his battles wisely, including arriving late for the deadly beach landing that starts the war…
Ostensibly, Odysseus appears to be an honourable character. There’s no doubting his intelligence or the cleverness of his tongue. And he uses both ceaselessly to weigh up the dynamics of the moment and keep himself – and his beloved kingdom of Ithaca – out of harm’s way.
Menelaus is Agamemnon’s brother and King of Sparta. He’s a drinker and a womaniser, much to the despair of Helen, his beautiful wife.
When the Trojans visit Sparta on a diplomatic mission, Helen is seduced by Paris and decides to travel back with him to Troy. When he discovers his wife missing, Menelaus seeks revenge and the Trojan War begins.
Menelaus is one-dimensional in his thinking. Not once does he consider the existence of the Gods. And although Helen betrays him, the fact that his drinking and womanising led to her absconding with the Trojans never crosses his mind.
In the same way that his lust for drink and fornication fog his mornings, Menelaus’ insatiable lust for revenge clouds his judgement at every turn.
After Hector slays Menelaus, Agamemnon exploits the death of his ignorant brother to rally the Greek troops for another attack on Troy.
The Trojans are portrayed as a far milder bunch than the Greeks.
Paris, Prince of Troy, is young and handsome, and although he’s a professional womaniser like Menelaus, his intentions, in this instance, are directed towards the attainment of love rather than sheer indulgence.
Paris doesn’t have much insight into the true nature of the Gods, but he’s eager to learn.
In the previous video clip we hear him mention Poseidon, the Greek name for the planet Neptune, God of the Sea. Neptune is cited in relation to Paris at this juncture of the movie since Paris embodies many of the traits associated with this particular planet. Like Neptune, Paris is compassionate, but he can also play the trickster, a quality he uses to bed as many women as possible prior to his seducation of Helen.
Indeed, Paris is youthful and intuitive, yet perilously naive. So naive, in fact, that he considers his seduction of Helen correct behaviour since his actions are fuelled by love. The disastrous consequences of his actions, however, never fully register in his mind.
Paris’ devotion to his emotions stem from his father, King Priam.
Where Agamemnon is psychopathic, King Priam is empathic. Priam considers the idea of fighting for love entirely honourable, even romantic. And although his perspective is altogether admirable, Priam has clearly become unbalanced by the Kali Yuga and is not thinking clearly himself.
Nevertheless, Priam’s state of imbalance is much different to that of the Greeks. While Agamemnon and Menelaus are overcome by bloodlust, King Priam is overcome by sentiment.
As King of Troy, Priam is responsible for protecting his city-state from invaders. But protection demands, at least occasionally, a little hard-nosed pragmatism and practicality.
Instead, Priam’s reverence for the Gods leads him to shirk responsibility and place too much trust in his Mystics. Indeed, Priam is so smitten with the Gods that Earthy practicalities are often forgotten. Priam needs reminding that the Gods are merely guides to humans on Earth. They cannot and will not intervene to fight Troy’s battles for her.
Priam does his best to read the signs in the heavens. But in the end, Troy falls on account of his decision to welcome the Trojan Horse into Troy after listening to the advice of his Mystics, a decision Paris warns him against making.
Last but certainly not least, we arrive at Prince Hector of Troy, son of Priam.
Hector sees the balance in every situation, but his capacity for clear thinking during the Kali Yuga is also his curse.
When Paris steals Helen from Menelaus, Hector immediately sees the writing on the wall. But he cannot convince those around him to balance their emotions so they might help him avert the pending catastrophe he has foreseen.
When Achilles beheads the statue of Apollo early on in the movie without immediate punishment from above, Hector warns his father that the Gods won’t fight the war for them. Unfortunately, his call for practicality goes unheard.
The only mistake Hector makes is mistrusting a message sent by the Gods in the form of an animal totem. This shows his understanding of the world isn’t faultless.
When dissecting the story of the Trojan War, it’s hard not to feel sorry for everyone involved. Without a solid connection to the Gods, we catch a glimpse of what happens when humanity starts thinking for itself during the Kali Yuga. And the result, of course, is savagery, death and destruction on an epic scale.
