From the 2nd Qtr 1997 Issue of Reality Change:

For years, I was in the dark. And then I discovered Seth. But even after that, I continued to spend much of my time in the dark, pursuing one of my favorite activities—viewing films.

For as long as I can remember, I have been an avid fan of the movies, at times verging on being an out-and-out cinema junkie. And for nearly equally as long, I have enjoyed discussing this art form with family, friends, and fellow celluloid addicts. From meager childhood beginnings of "the part of the movie I liked best was when such-and-such happened" to my days as a film critic for my college newspaper, the Syracuse University Daily Orange, to the present, I have always welcomed the opportunity for thoughtful, lively, spirited discussion of the subject.

As with the changes that accompanied virtually every other area of my life after discovering the Seth books, I have begun viewing movies differently as well. I now find myself quite "unconsciously" (or perhaps I should say quite "naturally") watching films from a Sethian perspective. I automatically look for Seth-oriented notions or messages in movies, without even thinking about it. This has shed a whole new light on my viewing habits and film preferences. It even led to some personal "revisionist history" when it came to assessing movies that I had seen prior to discovering the Seth books, an interesting and enlightening process indeed.

What follows is one of the results of that process. Here I present, in no particular order, my top 10 films from a Sethian perspective. I have selected these movies, some of which may seem like unusual or unlikely choices to some of you, because I believe they portray or even embody Sethian principles in effective and profound ways. Please note that these films have been selected because they eloquently illustrate particular Seth-oriented concepts, not the entire body of Sethian philosophy. (I don't know if there's any one film that could do that, given the scope and breadth of Seth's works.)

For each film, I present a brief synopsis of the plot, followed by my reasoning in choosing the movie for this list and a discussion of its noteworthy qualities. Please note that this list of films would not necessarily match my top 10 list of all-time favorite movies, as some that might appear on that list would not necessarily be appropriate for this list (and vice versa). However, since Sethian principles are so important in my life now, the differences between the two lists are likely to be few and will probably decrease further over time as my knowledge of Sethian philosophy grows and develops.

Please bear in mind that the opinions expressed herein are those of one would-be movie reviewer (one of my probable selves) and not necessarily of RC or SNI. And while I admit it's been a few years since I've done anything like this in print, I hope my film critiquing skills have not abandoned me since my college newspaper days. I mean, I think I've still "got it" for this sort of thing. After all, I do know enough to realize that Twister is not a film about a contortionist party game. (That's right, isn't it?)
 
 

Phenomenon (1996). Of all the films on this list, Phenomenon probably best represents one of the most basic and most encompassing aspects of Sethian philosophy. The film tells the story of a lovable but somewhat "slow" everyman named George Malley (John Travolta). He leads a quiet life in a small northern California town, working as a mechanic, helping his friends, and trying to win the attention of a recently arrived single mother of two (Kyra Sedgwick). Then, quite unexpectedly, his life changes one night. Upon leaving a birthday party thrown in his honor, George experiences an unexplained phenomenon wherein he literally "sees the light." And quickly thereafter, he begins developing capabilities he never had before—clairvoyance, telekinesis, greatly enhanced cognition and recall, etc.

These newfound skills are initially somewhat disorienting to George. But after a period of adjustment, he takes to them just fine. To be sure, he continues to encounter some periodic challenges (mostly in terms of how others react to him), but he ultimately learns how to use his skills for the things that truly matter most in life—both for himself and for those around him.

I was particularly taken with this film because of its embodiment of the Sethian concept that we are all in a constant state of becoming. Through George's evolution, we see him grow and develop, both in terms of the skills he possesses and who he is as a person. With each change we witness in George, we see Seth's grand concept of becoming played out on the screen. And for the most part, George takes it all in stride, realizing it to be a quite natural process.

This concept is eventually addressed in a scene between George and a doctor (Richard Kiley) seeking permission to perform a radical surgical procedure to determine where George's newfound powers come from. George politely refuses and then speculates that his abilities (and indeed himself) represent "the potential" of what we all could become.

Throughout his books, Seth speaks of what capabilities we can develop, of what we truly can become, if we only allow ourselves to believe so. As Seth says, "You, dear reader, are in the process of expanding your psychic structure, [of] becoming a conscious participator with the soul, in certain terms, [of] becoming what your soul is." ¹ He elaborates on this idea in The Magical Approach: "As I have often said, evidence of clairvoyance, telepathy, or whatever, are not eccentric, isolated instances occurring in man's experience, but are representative of natural patterns of everyday behavior that become invisible in your world because of the official picture of behavior and reality." ² George Malley, indeed, makes the invisible visible in this film.

Phenomenon features an excellent performance by Travolta, an understatedly effective screenplay by Gerald DiPego, beautiful cinematography by Phedon Papamichael and fine direction by Jon Turteltaub, as well as an interesting soundtrack showcasing the likes of Eric Clapton and Peter Gabriel. It is both a thoroughly entertaining and enlightening film that will leave you be-coming back for more.
 
 

Harold and Maude (1972). This cult film classic portrays several Sethian concepts well and does so with a quirky, sometimes macabre sense of humor. It tells the story of an eccentric young loner named Harold (Bud Cort). To say that Harold is a little unusual would indeed be an understatement. For instance, for fun, he attends funerals (of people whom he doesn't know!) and watches the demolition of old buildings. He also stages phony suicides to get the attention—and the goat—of his emotionally distant socialite mother (Vivian Pickles). All this begins to change, however, when he befriends a spirited 79-year-old non-conformist named Maude (Ruth Gordon), who teaches Harold how to enjoy life. As the film progresses, this unlikely pair grows ever closer, much to the dismay of those around them, culminating in a bond of friendship and intimacy with mixed consequences.

Like Phenomenon, this film also deals with the notion that we are ever-becoming. But there is an added twist here: that in the process of becoming, we must also learn when to let go; for change, growth and evolution—the elements of the process of becoming—are impossible without this. Seth says, "The soul is not a finished product. In fact, it is not a product in those terms at all, but a process of becoming." ³ These ideas are eloquently addressed by Maude during one sequence when she and Harold tour a greenhouse. Maude, while lovingly looking at the plants, says, ÓI like to watch things grow. They grow...and bloom... and fade...and die...and change into something else."

In helping Harold learn this lesson, Maude also teaches him about the wonder, beauty, and joy of life. In a humorously touching scene, Maude tells Harold to "reach out, take a chance, get hurt even—but play as well as you can...otherwise, you've got nothing to talk about in the locker room." Again, Seth echoes these sentiments, albeit in his own language: "Your spirit joined itself with flesh, and in flesh, to experience a world of incredible richness, to help create a dimension of reality of colors and of form. Your spirit was born in flesh to enrich a marvelous area of sense awareness, to feel energy made into corporeal form. You are here to use, enjoy, and express yourself through the body. You are here to aid in the great expansion of consciousness." ⁴ And so it is with Harold, thanks to Maude's help.

Harold and Maude indeed reflects the richness of life of which Seth speaks. This is made possible through the fine performances of Cort, Gordon, and Pickles, as well as the clever direction of Hal Ashby and the excellent writing of Colin Higgins. This film is many things rolled into one, just like life itself. And with a little help from Maude—and Seth—maybe we can all learn to appreciate that idea a little more each day as we go through this thing called living.
 
 

Being There (1979). In my estimation, there is no film that better portrays the Sethian idea that "the present is the point of power." Director Hal Ashby's second entry on this list tells the story of a simple-minded middle-aged gardener named Chance (Oscar nominee Peter Sellers) whose sheltered existence comes to an abrupt end when his caretaker dies without making provisions for his well-being. With nowhere to go, Chance, who can neither read nor write, having learned everything he knows about the world from watching television, is forced onto the streets of Washington, DC, to fend for himself. For the first time, Chance must face a world outside the home in which he had spent his entire life.

Through a twist of fate, however, an accident lands Chance in the company of a wealthy, influential Washington couple—Ben, an ailing industrialist and political kingmaker (Oscar winner Melvyn Douglas), and Eve, his socialite wife (Shirley MacLaine). They are quickly taken by Chance's plainspoken simplicity, coming to view his words as pearls of wisdom. In fact, they are so impressed that they begin introducing him to an assortment of high rollers in the worlds of business, media, and politics (including the President), all of whom are equally impressed—and all of whom never realize that this man, who is so effortless at being himself, really is as simple as he appears.

Yet it is Chance's simplicity that is also his saving grace. He essentially turns his situation around simply by "being there"—at the right place and at the right time (or, in Sethian terms, at the right "point of power" or the right "present"). When faced with seemingly dire circumstances, Chance manages to put himself into a situation where things work to his advantage (and wherein he can return the favor to those who have helped him). And never once does he fall into the trap of blaming others or the past for his present circumstances; he is simply himself and acts accordingly and does so in such an effortless manner that he is able to bring to fruition that which he needs to sustain himself. Seth says this so well in The Nature of Personal Reality: "All of your physical, mental and spiritual abilities are focused together, then, in the brilliant concentration of 'present' experience. You are not at the mercy of the past, or of previous convictions, unless you believe that you are." ⁵

Being There is a charming, gentle comedy with infusions of both biting satire and bittersweet sentimentality. It features a magical Chaplinesque performance by Sellers, as well as, sadly, an all-too-real portrayal of a dying man by Douglas (his last film role). As with Harold and Maude, Ashby's direction is again right on the mark, as is the writing of Jerzy Kosinski, who adapted his own novel for the screen. This is a fine film for a lazy Sunday afternoon or a cold winter's night. But no matter when you watch it, be sure to keep a box of tissues handy—you'll need it to wipe away the tears, be they from laughter, or sadness, or awe.
 
 

Defending Your Life (1991). Albert Brooks wrote, directed, and stars in this hilarious, thought-provoking afterlife comedy. Brooks plays Daniel Miller, a middle-aged advertising executive who's killed in a head-on collision with a bus. He suddenly finds himself transported to Judgment City, an afterlife world based on modern urban life but without all of its earthly problems (e.g., the weather is perpetually beautiful, crime is non-existent, and everyone gets to eat all he or she wants without ever gaining an ounce). The purpose of Daniel's visit is to defend his life, a process somewhat similar to a trial, wherein a panel of judges determines whether he's ready to move on to the next phase of his evolution or whether he must return to earth to learn additional life lessons. Helping Daniel is a wily and gregarious defender (Rip Torn), and opposing him is a tough-as-nails prosecutor (Lee Grant). And in the midst of it all, Daniel meets Julia (Meryl Streep), the woman of his dreams and a fellow life-defendant. It's a lot to cram into five days, the designated length of stay for all those who visit this place.

From a Sethian perspective, I like this film for several reasons. For starters, I enjoyed Brooks' portrayal of the world of the afterlife as a modern urban setting. According to one of its employee residents, Judgment City was patterned in this way to provide a built-in familiarity to ease the post-earthly transition for the recently deceased. This notion is straight out of Seth: "Certain images have been used to symbolize such a transition from one existence to another, and many of these are extremely valuable in that they provide a framework with understandable references." ⁶ Just as the ancient Greeks had afterlife expectations built upon the existence of the River Styx, according to Seth (from the same session as above), the characters in this film have similar culturally-based expectations, and what better place would there be for recently deceased 20th Century Americans to go to than an afterlife patterned on just such an environment!

Another reason I like this film has to do with reincarnation, a subject Seth addresses frequently. The purpose of living multiple lifetimes, according to Brooks (or simultaneous lifetimes, as Seth would put it), is to learn a variety of life lessons. Since it would be impossible to learn everything about the human condition in one lifetime, we must return multiple times to cover it all. Of course, lessons aren't always learned the "first time around," so this may further increase the number of return trips we need to make. Determining whether those lessons have been adequately learned is what the Judgment City experience is all about. Or, as Seth so tactfully writes in relation to this basic idea of mastery, "Some personalities will have difficulties along certain lines, and develop with ease in others." ⁷

Reincarnationally speaking, how and when we come back to life's arena may have to do with fear, another subject addressed at length by Seth in his books and by Brooks in this film. According to Daniel's prosecutor, the purpose behind all life lessons is learning how to overcome our fears, for doing so is the only way that we can move on with our evolution as conscious beings. Those like Daniel who go through the process of defending their lives do so to determine how well they've conquered their fears in their most recent incarnations.

Seth speaks about fear in a variety of contexts, including perceived fears and the fear of impulses,⁸ fear of emotions,⁹ and even, in Part III of Mass Events, "People Who Are Frightened of Themselves."¹⁰ Brooks's script, and Seth's books, are never at a loss for words on these subjects. Each, in its own context, rests on the premise that overcoming one's fears is an empowering act that is necessary for personal progress. This idea is summed up by Seth in Session 5 of The Magical Approach: "If you understand that, then in a large manner many of your fears will jointly vanish."

This film is a true gem, a marvelous concoction of fun and philosophy. It also has one of the funniest sight gags I've ever seen in a film (watch when Daniel and Julia pay a visit to Judgment City's Past Lives Pavilion). The performances by Brooks, Streep, Torn and Grant are all top-notch, as is Brooks's crafty direction and spot-on writing. In short, I give a high recommendation to Defending Your Life. I rest my case.
 
 

Grand Canyon (1991). As in Defending Your Life, the theme of conquering fear—or, more precisely, overcoming the belief that one must necessarily live one's life in fear (or according to the dictates of any other socially prescribed doctrine for that matter)—is central to the urban drama Grand Canyon.

This film from writer/director Lawrence Kasdan focuses on six residents of modern-day Los Angeles (Kevin Kline, Mary McDonnell, Steve Martin, Danny Glover, Alfre Woodard, Mary Louise Parker) whose intertwined lives bring each of them in touch with each other's triumphs and tragedies and, ultimately, with themselves. But perhaps most importantly, they come to understand that they need not accept their lives as unchangeable existences characterized by randomly episodic (and mostly negative) experiences. Instead they come to realize, each in his or her own way, that they can make a difference in their own and others' lives, that fears can be overcome, that miracles can occur, and that supportive and protective forces are out there to provide guidance—even in Los Angeles.

All of these realizations are manifestations of what I believe is the central premise of Seth's teachings—that one's consciousness creates one's reality. While this concept may never be expressed outright in Grand Canyon, it's certainly demonstrated by the characters' actions as they refuse to accept and submit to the status quo, affirmatively taking steps to live their lives differently than they've been led to believe they must lead them, and summoning the help they need just when they are needing it most—even if they don't realize they're doing so at the time.

In essence, the characters in this film come to discover and ultimately believe in what Seth calls "each man's and each woman's basic good intent." And in poignant elaboration, given the film's setting, Seth notes that such good intent may be "confused, poorly executed, tangled amid conflicts of beliefs, strangled by the bloody hands of murders and wars—and yet no man or woman ever loses it. That represents the hope of the species, and it has ever remained lit, like a bright light within each member of the species." ¹¹ This underlying hope is important to these characters, given that they live their lives in an environment seemingly beset by crime, accidents, personal conflicts, and natural disasters. Yet somehow they refuse to bend to these pressures, moving forward positively and availing them-selves of whatever help they manage to conjure up through their innate "consciousness creation." (The omnipresent image of police helicopters hovering over the city like guardian angels is eerily appropriate in this regard.)

Grand Canyon features a superb ensemble cast, fine writing and direction by Kasdan, excellent cinematography and editing, and a hauntingly beautiful soundtrack by James Newton Howard. It offers a curious mixture of tense, edge-of-your-seat drama and heart-warming, uplifting inspiration, which combine to yield an often-breathless yet ultimately cathartic experience. Put quite simply, it's one hell of a roller coaster ride of a film. No matter what you might think of it, either from a Sethian perspective or just for its sheer entertainment value, you surely will not to be bored by it.
 
 

It's a Wonderful Life (1946). It's hard to imagine this Frank Capra holiday classic not making it onto any 10-best list (especially one of this nature). This time-honored tale, which celebrated its 50th anniversary this past Christmas, tells the life story of George Bailey (James Stewart), a man with big dreams who is "stuck" in a small town. Through seemingly random twists of fate (as if such things exist), George's plans for living large are always thwarted by "circumstances." While he dreams of New York City, his reality is Bedford Falls, the fictional upstate New York town where he resides with his loving wife Mary (Donna Reed), children, and extended family of relatives and friends.

Through thick and thin and recurring instances of his own dashed dreams, George plows forward, ever loyal to those close to him. Not even Old Man Potter (Lionel Barrymore), the miserly, crotchety nemesis of two generations of Baileys, can get George down. But such resolve is put to the test one fateful Christmas Eve, when George's faith in himself and his very existence is put on the line. When faced with a sudden and seemingly overwhelming financial burden, George has a crisis of conscience. Believing that he's failed those for whom he cares most, he contemplates suicide so that his family can collect the proceeds on a life insurance policy. But even these plans are thwarted by the intervention of another twist of fate, which comes in the form of a kindly if oft-befuddled soul named Clarence (Henry Travers), George's guardian angel.

While grousing over yet another set of failed plans, George sputters that maybe everyone he thinks he's let down would be better off if he'd never been born—an idea that Clarence then proceeds to show him in graphic detail. When George sees this alternate reality play out before him, he comes to realize, as Clarence says to him, "You've truly had a wonderful life."

The idea of exploring an alternate reality (or a probable present) is quite Sethian indeed. Although Seth notes that the dream state is where one most intensely explores probable existences, Capra addresses this notion by allowing his character to experience an alternate probability while in waking consciousness. George's time in "Pottersville" (the name Bedford Falls goes by in the alternate reality) aptly reflects a concept raised by Seth: "In waking life you have the family that you recognize, or group of friends, or profession, or what have you. In dreams you may find yourself married to someone else, or living an entirely different kind of life. In a way dreams are like the variations of the theme of your life, though in reality your life is the theme you have chosen from those possible versions."¹² And when George sees the theme he's all too familiar with turned on its ear, he comes to see the truth of Clarence's comment on the quality of his life: it becomes wonderful in his own eyes.

Some have called this film classic overly sentimental (including the director himself, who at one point late in his life described this and his other films as prime examples of "Capra-corn"). Nevertheless, its many qualities, not to mention its Sethian overtones, make It's a Wonderful Life fine viewing fare not only during the holidays but at any time during the year.
 
 

Groundhog Day (1993). Talk about probable presents! This hilarious yet thoughtful film from director Harold Ramis takes the notion of exploring alternate realities to its comedic extreme.

The film follows the exploits of Phil (Bill Murray), a cynical Pittsburgh weatherman who's assigned to do a remote broadcast of his weather forecast from the small town of Punxsutawney, PA, unofficial home of the nation's Groundhog Day celebration. While away on this field assignment, which involves an overnight stay, Phil experiences something curious: Somehow, time has overlapped itself, and he keeps experiencing the same day—Groundhog Day—over and over again (and he's the only one who realizes it). Phil finds the experience unnerving at first, but then he begins to recognize this as an opportunity to explore different possibilities—a scenario rife with comedic potential but also an opportunity for his personal growth.

Groundhog Day illustrates what it might be like to actively explore probable realities on a first-hand basis. Phil gets to try out his ideas, and putting them into practice he quickly discovers what Seth also says: "...beliefs obviously have another reality beside the one with which you are familiar. They attract and bring into being certain events instead of others. Therefore, they determine the entry of experienced events from an endless variety of probable ones. You seem to be at the center of your world, because for you your world begins with that point of intersection where soul and physical consciousness meet." ¹³ I'm not sure Phil would look upon his lot in such philosophical terms. Nevertheless, the realities he experiences do stem from such metaphysical origins.

One of the most enjoyable aspects of watching Phil try out this process is the way in which he approaches it. He displays a sense of playfulness that is downright fun, and a manner somewhat similar to an exercise Seth describes: "All of this is done somewhat in the way that a child plays, through the formation of creative dream dramas in which the individual is free to play a million different roles and to examine the nature of probable events from the standpoint of a 'game.' "¹⁴

Groundhog Day is a thoroughly delightful film, thanks largely to Murray's wickedly funny performance, Ramis's skillful direction, and the clever film editing of Pembroke J. Herring. It's a fun film to watch during those six additional weeks of winter that invariably seem to come each year.
 
 

Enchanted April (1992). Throughout his books, Seth asserts that we get what we concentrate upon and that "consciousness creates reality." A film that explores this concept of changing realities is the gentle English comedy/drama Enchanted April from director Mike Newell.

A period piece set in post-World War I England, this film tells the story of four women (Josie Lawrence, Miranda Richardson, Polly Walker, Oscar nominee Joan Plowright) who seek to escape the drudgery of a dismal London winter by taking a month's lease on an Italian villa. They hear magical stories about the place and hope that their visit will result in some magic—and enchantment—of their own. They endure much to reach this goal, but the results are more than worth it: a changed and improved reality for each of them.

As in the film Grand Canyon, these winter-weary Londonites are not content, as are the masses around them, to dutifully suffer their circumstances. They want change. And in longing for such change, they seem to have embraced an idea Seth states in The Nature of Personal Reality: "You are not here to cry about the miseries of the human condition, but to change them when you find them not to your liking through the joy, strength and vitality that is within you; to create the spirit as faithfully and beautifully as you can in flesh." ¹⁵ Indeed, a month in a sunny Italian villa seems far more palatable than the same time spent in a cold, rainy, crowded, and dreary city (no offense, London!).

In seeking fulfillment of their aspirations, the four protagonists seem to be well in touch with Seth's Framework 2 concept, each setting out with some desired objectives for her month in Italy, and each seemingly well-attuned to the Framework 2 principles that make such goals attainable. As Seth tells us, "It is as if Framework 2 contains an infinite information service, that instantly puts you in contact with whatever knowledge you require, that sets up circuits between you and others, that computes probabilities with blinding speed." ¹⁶ As a result of drawing upon this marvelous resource, the characters in Enchanted April create an enchanted April—and are able to step into a reality in which "the answers become experienced." ¹⁷

Enchanted April is wonderful viewing for a rainy afternoon. Its pervasive sense of wonder and magic are complemented by fine performances, beautiful sets and costumes, and superb cinematography. One can only hope that you'll feel the enchantment, too.
 
 

Sophie's Choice (1982). Some may think this one an odd selection for this list of films, but allow me to explain. This profoundly moving film from director Alan J. Pakula chronicles the lives of a most unusual trio in post-World War II Brooklyn. Sophie (Oscar winner Meryl Streep), a Polish emigre and concentration camp survivor, Nathan (Kevin Kline), her eccentric, manic beau, and Stingo (Peter MacNicol), a recently transplanted Southerner who aspires to be a writer, live in the same boarding house and quickly become the best of friends. As the story unfolds, however, we learn more about these characters—particularly Sophie and Nathan—peering into their gut-wrenching pasts and witnessing their sometimes even more gripping presents. But through it all, one thing remains clear: no one, no matter what he or she may do, acts out of any other motivation than that of choice. And this notion of "choice," an idea so central to this story that it's part of the title, is why I chose this film for this list.

Of course, acknowledgement of the existence of choice necessitates acknowledgement of the existence of free will, and the characters in this film—especially Sophie—uninhibitedly exercise their free will, even if they do not do so "consciously" and even if their choices are not ones that we would necessarily agree with. Seth addresses this idea succinctly: "Because you have free will you have the responsibility and the gift, the joy and the necessity, of working with your beliefs and of choosing your personal reality as you desire." ¹⁸

This, of course, would include creating experiences that most of us might label as negative. Seth maintains that "While this may seem like the sheerest Pollyanna, nevertheless there is no evil in basic terms. This does not mean that you do not meet with effects that appear evil, but as you each move individually through the dimensions of your own consciousness, you will understand that all seeming opposites are other faces of the one supreme drive toward creativity."¹⁹ He continues, "Many disavow the experience of feelings they consider negative. They try to 'affirm' what they think of as positive emotions. They do not permit themselves the dimensions of their creaturehood and by pretending not to feel what they feel, they deny the integrity of their own experience." ²⁰ The characters in this story do not back away from these so-called negative experiences, despite the outcomes, for on some basic level they all realize these events are no less valid, no less worthy of expression, than those seen as having intrinsically "positive" attributes.

Sophie's Choice is an emotionally powerful film, at times lighthearted and warm but often woefully sad. Streep's performance is perhaps one of the best ever by an actress captured on film, and it is rendered all the more captivating by Nestor Almendros's luminescent cinematography. Kline and MacNicol are not to be slighted for their performances either, but this is principally Streep's show, and she plays it for all it's worth. Set aside some quality time for this one. Be sure to turn off the phone and keep plenty of tissues handy.
 
 

The Lathe of Heaven (1980). Even though Seth devotes a considerable number of pages to the subject of dreams in his books, the subject has hardly been discussed in this article thus far—however, dreams are indeed what this final entry is all about.

The Lathe of Heaven, from directors David Loxton and Fred Barzyk, is based on a science fiction novel of the same name by Ursula K. LeGuin. It tells the story of George Orr (Bruce Davison), a man who literally makes his dreams come true. The only problem is that each time he has a dream, it changes his reality, but he's the only one who knows how that reality has been changed (a process he calls "effective" dreaming). Distraught, he enters therapy with psychiatrist Dr. Haber (Kevin Conway), who unfortunately has ulterior motives. The doctor tries to use his patient's gift as a means to suit his own agenda for changing the world (literally), a scenario that begins innocently enough but quickly yields wildly unanticipated results.

Seth places much importance on the dream state for its value as a sort of test kitchen for the soul. As he says in The Nature of Personal Reality, "The dream state provides you with a preliminary stage in which working hypotheses can be creatively formed and tried out in a context of playfulness."²¹ And the dream state, he later elaborated, operates as a "rich web of communication between probable selves and probable existences. All probabilities spring from inner reality, from the psyche's own inner activity and structure." ²²

In a sense, we all practice the effective dreaming George speaks of, whether we fail to recognize it as such or whether we do so with the same dramatic flair as exhibited in this film. According to Seth, "In waking life you meet the completed event, so to speak. You encounter events in the arena of waking consciousness. In the dream state, and at other levels of consciousness, you deal more directly with the formation of events. You are usually as unaware of this process as you are in normal practice of the ways in which you form your sentences, which seem to flow from you so automatically." ²³

George faces an interesting dilemma in this film. He knows of his ability, but he fears it. Not knowing how to control it, he views it to be dangerous, a view also addressed by Seth in The Nature of Personal Reality: "Your belief that dreams are unpleasant can make them so, or at least you will only remember frightening dream events." ²⁴ When this character's belief that his dreams are awful is combined with Dr. Haber's "coercive" therapeutic techniques, it makes for a volatile mixture. By trying to impose his will upon the dream state of his patient, Haber sets himself up for trouble and transgresses a notion stated by Seth: "You can bring into your experience any number of probable events, but you cannot deny the probable experience of another portion of your reality." ²⁵

To be sure, dramatic license is employed in expressing these ideas in this film, but given the free reign that the dream state allows, who's to say that the exploration of such probabilities is outside the realm of possibility for any of us? It leaves one with much to think about.

The Lathe of Heaven is a thought-provoking film that makes for lively post-viewing discussion. It was originally made for broadcast on PBS, and its relative obscurity makes finding copies of it on video a little difficult. Some of its scientific aspects, special effects and cinematography may seem a bit dated—perhaps even a bit cheesy—by today's standards. However, the subject matter is what this film is all about, and there is considerable substance to digest here. Watch it with a group of friends early in the evening, and put a pot of coffee on for your post-movie discussion—it's likely to go on well into the night. And when all is said and done, you'll have plenty to sleep on.
 
 

So there you have it. Whether or not you agree with these choices, you can certainly find Seth-oriented messages in many of the films that grace the silver screen. Watch for them; they may pop up in the most unlikely places. And, like me, you may end up seeing movies in a whole new light. Happy viewing!
 
 

Brent's Honorable Mentions A collection of miscellaneous (sometimes dubious)
honors for films not making the 10-best list
 
 

Character Most In Need of Finding Seth: Woody Allen in Hannah and Her Sisters. Those who've seen this movie will understand why. In this film, Woody Allen plays a hypochondriac television producer who, after a brush with yet another imagined terminal illness, decides to find meaning in his life by shopping for a religion or belief system. Having given up his Jewish religious upbringing, he first considers a conversion to Catholicism (which he abandons because he views it as a doctrine based on "Die now, pay later"), then to Krishna (which he dismisses because the thought of "putting on robes, shaving [his] head and dancing around airports" would make him "look like Jerry Lewis"). Ultimately, his lack of a belief system drives him to near suicide. (And this is a comedy!) Geez, Woody, wouldn't it have been a lot easier to pick up a Seth book?
 
 

Best Example of Simultaneous Time in Action: All Good Things (series finale of Star Trek: The Next Generation) (1994). Okay, Okay, I know this isn't a motion picture, but it does illustrate this Sethian concept very well (not to mention the fact that it's far better than either of the Next Generation cast stories to have made it to the big screen thus far). In yet another adventure where the fate of mankind hangs in the balance, the intrepid Captain Picard (Patrick Stewart) works miracles by effortlessly jumping backward and forward through time like it doesn't exist. (It doesn't, does it?)
 
 

Best Example of the Power of Belief at Work in Another Dimension: Ghost (1990). A murdered man (Patrick Swayze) suddenly finds himself dead but can't proceed to the afterlife world until completing some unfinished business on the terrestrial plane. Yet because he no longer is physical, he's unable to accomplish his goals—that is, until he invokes the power of belief. (This belief stuff's pretty potent, Seth!)
 
 

Best Example of "Be Careful What You Wish For" in a Consciousness Creation Context: After Hours (1985). This dark comedy from Martin Scorsese (yes, a comedy from Martin Scorsese) follows the misadventures of a bored New York office worker (Griffin Dunne) who seeks a little excitement in his life by journeying to Soho to meet up with an intriguing young woman (Rosanna Arquette) whom he befriends in a coffee shop. He ends up getting a lot more excitement than he bargained for. An excellent ensemble cast, superb film editing, and an off-the-wall sense of humor make this a fiendishly delightful film.
 
 

Best Illustration of All That Is: The Star Wars trilogy, especially The Empire Strikes Back (1980). The film series that made the phrase "May the Force be with you" a cultural icon could just as easily have said "May All That Is be with you" (although it probably wouldn't have fit as well on t-shirts or bumper stickers). A concept explored through all three films in this series—and most effectively in The Empire Strikes Back—is the Force, an eloquent metaphor for All That Is. This film also introduces us to Yoda, the charming dwarf Jedi knight master who teaches one of the film's young heroes, Luke Skywalker (Mark Hamill), all about the Force.

I was particularly taken with a scene in which Skywalker tries to use the Force to lift his spacecraft out of a swamp. At first he succeeds, but then—amazed at what he's been able to do—he proclaims that he doesn't believe it, whereupon the ship drops immediately back into the swamp. And in response, Yoda observes with his usual aplomb, "Then that is why you fail."
 
 

Film Most Deserving to Make the "10 Best List" That I Haven't Seen: Field of Dreams (1989). Even though I said I've seen lots of films, I didn't say I've seen every film ever made. Why didn't I see this one? Well, I heard it was about baseball, and I'm not a baseball fan. (So sue me!) In any event, several friends and fellow Seth readers have told me I really need to see this one because they're sure I will add it to the top-10 list when I do. (Gives me something to look forward to!)
 
 

References

<>

1. The Nature of Personal Reality, Session 637

2. The Magical Approach, Session 10

3. Seth Speaks, Session 565

4. The Nature of Personal Reality, Session 615

5. The Nature of Personal Reality, Session 657

6. Seth Speaks, Session 536

7. Seth Speaks, Session 551

8. The Individual and the Nature of Mass Events, Sessions 804 and 860, respectively

9. The Nature of Personal Reality, Session 652

10. The Individual and Nature of Mass Events, Part III

11. The Nature of the Psyche, Session 799

12. The Nature of the Psyche, Session 788

13. The Nature of Personal Reality, Session 653

14. The Nature of The Psyche, Session 795

15. The Nature of Personal Reality, Session 615

16. The Individual and the Nature of Mass Events, Session 815

17. The Magical Approach, Session 1

18. & 19. The Nature of Personal Reality, Session 648

20. The Nature of Personal Reality, Session 672

21. The Nature of Personal Reality, Session 671

22. The "Unknown" Reality, Vol. I, Session 687

23. The Nature of the Psyche, Session 784

24. The Nature of Personal Reality, Session 671

25. The "Unknown" Reality, Vol. I, Session 695
 
 

About the Author: Brent Marchant is a freelance writer, editor, photographer and communications consultant from Chicago, IL. He was previously editor of Interior Landscape magazine, a leading industry trade journal, and is currently employed as a legal document reader for a major Chicago corporate law firm. He is a graduate of Syracuse University, where he earned a B.A. degree with dual majors in magazine journalism and American history.
 
 

Copyrighted 1997 by Seth Network International and Reality Change Magazine. All rights reserved. Copyright contents may not be reproduced in any manner without prior written permission of Seth Network International