Great Expectations

So the movie Great Expectations came out in 1998. It is based on the novel by Charles Dickens. I have not read it, but I tried to, because this movie is fucking bonkers. First of all, it's Freemason, sex slave shit. The whole movie is green, and if you've read any of my blog, you know that green is a Freemason color because it's the opposite of red (red and black are the devil's colors and Freemasons, as we all know, are satan worshipers) and these fuckers make it a habit of hiding in their opposites. So technically it's green and white that are the Freemason colors but sometimes it's shortened to just green, as in Great Expectations.

As you can imagine, the first shot of a movie is supposed to be like a summation of the whole thing. Great Expectations starts with "implied" water, fishing hooks and the color green. First, let's review what each of these things symbolize individually, then we'll put them together to form a symbolic "story". So, water: emotion, life force, the subconscious. The thing we're all made of. The very essence of life. The water in the first shot is only implied by the wavy way the text moves, indicating the idea of "fake water", or false emotion. Next, fishing hooks. So, this basically symbolizes searching, trying your luck, looking for what you want. Obviously. A tangential symbol to this would be the fish itself, a reoccurring motif in the film. So, what does a fish symbolize? First, I believe it is meant to recall the Christ, you know, the whole Jesus fish thing. This misuse of the Christ archetype is common in Freemason media and mixing it into their stories lends them "credibility". But what it really does is confuse us with symbols of Jesus alongside symbols of, say, satan. A fish is also a symbol of the Divine Feminine, since it lives in water, the place we all came from (the womb). Water is also typically considered a feminine element. As such, it is also associated with fertility. And then the color green, which we just reviewed.

So what "story" does this opening shot tell us? Water (emotion), fishing hooks (searching, Christ, the Divine Feminine), and green (Freemason color). If I had to form a thesis statement, I'd say this story is about a Freemason's approach to dating, women, and emotion. Sounds about right. Considering that the next shot is of a black hand with a white circle cut by many "phalluses", I'd say I'm right on the money. A black hand is a symbol of shadow action, or what is done that is unseen. A white circle is a symbol of "light" femininity, or who and what women are "in the light", or where they can be seen. Cutting both of these by many "phalluses" implies that the whole gang of Freemasons has an impact on both of these.

Next, we see birds, a symbol of "lovers", or, more specifically, thoughts about love (since birds fly in the air, the element of thought). We also see the sea, a primordial symbol of fertility and femininity, since it is from whence we all came. Next, we see a boat enter from the left: a boat is a symbol of relationship (part of why the word "ship" is in it) and the left is the feminine side. So essentially, we have a relationship that is "ruled" by women. Then we see a book pulled from a bag, both of which are symbols of vaginas: this idea of a vagina within a vagina is standard for the rest of the movie. Within this book are many "symbols" but the one that stood out to me was an upside-down heart. As any fortune teller will tell you, anything "upside-down" means the opposite of whatever meaning that object has. So an upside-down heart obviously means sad love, or fucked up relationship or the like. Next we see a "box" full of "pens and pencils", aka a vagina full of phalluses, a typical reference to a sex slave in general. So, to sum up the "story" of this sequence it goes something like this: This story is about how we think about love, femininity, and sex as it pertains to relationships, specifically feminine relationships where one woman is "in charge" of another woman. These relationships are fucked up and sad and it's because of some sex slave shit.

Sometime later we get our first words in the movie, spoken out loud by the "protagonist" Finn: "There either is or is not a way things are". This is interesting as the first spoken line because IS there a way things are or are not? I don't know. A definite reality? It's hard to say, since symbols have multiple meanings and things are not always as they seem. In this movie especially, things are not as they seem.

Finn's first real action in the movie is to draw a fish; a phallic fish, to be exact. There is a white star above the fish and a black star below the fish. First let's talk about the general symbolism of a star. We all know it's a symbol of magic, feminine magic, to be specific, but why? It has to do with the fact that Venus, the feminine planet, travels the path of a "star" above the earth every eight years, making the star a holy symbol of femininity. As you can probably guess, white is the color of the "light" and black is the color of the "shadow". Now, in terms of psychology (and magic) the "light" represents what is seen, or acknowledged; and the "dark" represents the "shadow", or the liminal, subconscious space in our psyches where we repress what we simply cannot look at, what we refuse to acknowledge. So. We have a white star above and a black star below. Now what does "above" and "below" mean? I'll tell you: above means "mentality" and below means "sexuality", as you might expect. So, we have an acknowledged sense of feminine magic in the "mind" and an unacknowledged sense of feminine magic "below", or in the sexuality of the film.

Next, a man emerges from the sea. Or rather, he appears just below the surface of the waves and jumps out at Finn, who drops his notebook. Let's discuss. We already know that the ocean is a fertile, feminine, emotional, mysterious and vital place. What "we" don't know is that it is a huge purveyor of human trafficking. Girls are shipped across the ocean on boats as cargo, in shipping containers, and then put on trains and taken to their underground holes, where they live in squalor and rape the rest of their lives. :( Also, a book is a symbol of a vagina. So, when this random man jumps out of the ocean at Finn, and causes him to "drop his book", you can bet it has something to do with the sex slave trade.

So, who is this man? An escaped convict. He immediately grabs Finn, covers his mouth, and then demands his name while still nearly suffocating him. He threatens Finn, saying he knows who he is, where he lives, and if he talks, he'll gut him like a FISH and "pull out his insides and make him eat them". This is typical Freemason talk: dire threats that if you reveal the secrets of the order, you'll experience worse than just death. The convict demands that Finn meet him with bolt cutters and food at dawn down on the beach. Then he lets him go. As Finn gets away, his "boat" barely works, a symbol for the dysfunction of his relationships in general and this one (him and the convict) specifically.

Finn pulls up to the docks and immediately meets Joe, his sister's boyfriend and a fisherman, who asks where's the fire (sex) and says that she, Maggie, is on a rant. Let's discuss the name Maggie. It is short for Magdalene, or Mary Magdalene, the wife of Christ. She is ever maligned and demonized, even though she is a savior, too. Joe saying she's on a "rant" is meant to classify her as a bitch, a typical insult of the Magdalene. Joe then says he and Finn will go to Carvel's, or ice cream. Let's talk about ice cream. It's made of milk, which is technically feminine, right? Now what is milk, symbolically? Sustenance, nourishment, essentially "care". And it's cold, which is symbolically negative, as cold things literally "lack energy". So as a symbol, "ice cream" is like negative feminine care. Basically, it's bad mom juice. Think about that next time you crave that shit. So, this is just another characterization of the Magdalene: that she is a "bad mom". This is compounded when later we find out that Maggie is something of a prostitute: another typical slight on the Magdalene.

Finn brings the "criminal" alcohol, a sandwich, birth control pills, and pain pills at night, not dawn, under a full moon. As the moon is also a feminine planet, it being full is like saying this is a time of full femininity. Let's talk about the stuff Finn brings. First, alcohol: a liquid, so it represents emotion, but what kind? Let's just say negative emotion, because what is alcohol other than rotten wheat/potato juice? A sandwich, which is a classic symbol of a vagina as it's this interior-oriented, meat filled thing you eat directly with your mouth. Birth control pills: a classic symbol of sexuality, specifically repressed and fucked up sexuality. Did ya'll know that birth control pills are actually really bad and totally fuck up your hormones? Do not take them. Next, pain pills. Do I even need to say it? These are BAD.

Finn also brings the requested bolt cutters, and we see as the "criminal" cuts off his shackles that his ankles are super fucked up. Ankles are traditionally symbols of sexuality: they're close to the feet and floor, both symbols of sex, as they represent the foundation, the base, the most essential factor. It is worth noting that the prisoner has only one shoe, exemplifying the fact that his sexuality is defunct. After the prisoner devours the sandwich gracelessly and downs the foul alcohol, he essentially captures Finn and forces him to "take him to Mexico" in his shitty little boat. On the way, sea cops or whatever accost the pair. The prisoner jumps ship and Finn "protects" him by keeping quiet when the cops question him about the criminal. Finn also leaves a life jacket behind for the convict as he makes his getaway. The movie then cuts from a scene of the ocean to a shot of trees. This is like switching from femininity to masculinity, as the ocean is essentially feminine and trees are masculine, being the big, wooden phalluses that they are.

Let's discuss Finn's loyalty to this man he's never met, who threatens his life and demands things of him. It is highly unlikely that the convict would risk being seen to come kill Finn if he did not bring him food and bolt cutters. He would know if Finn had talked about him. And then Finn leaves the life jacket. This is the kind of insane loyalty the young Freemasons show their older brothers. On the threat of death, they keep their mouths shut about all the crimes and creepy shit they witness in the "temple".

Next, we are introduced to Paradiso Perduto, which means "Lost Paradise" in Italian, a crumbling estate owned by one Nora Driggers Dinsmoor. She is a rich, "eccentric" old lady who was left at the alter thirty years ago and apparently gave up taking care of the place on that very day. Paradiso Perduto is a collapsed house with the remnants of a wrecked garden party: a classic symbol of the sex slave trade. Any collapsed house is a symbol of a "body" (house) in disrepair, or, essentially, a sex slave. A fucked up garden is a symbol of the same. Add to that the fact that it is called "Lost Paradise" in Italian, and we have a classic symbol of a "whorehouse". You see, Italy is in the shape of a dick, and is home to the Catholic church, who we know runs the sex slave trade, so basically this lost Italian paradise is technically an old whorehouse. We also know this from the symbols associated with it: a fish on the floor and a ladybug Finn finds in the fucked up garden. The floor fish is a forced and false juxtaposition of Jesus and the sexuality of a whorehouse. A ladybug is a classic symbol of a sex slave because of its colors, red and black, and the polka dot pattern on its wings. Red and black are the colors of satan, because they represent "shadow masculinity". "Shadow" because of the black and masculinity because of the red. Red is essentially a masculine color: Jesus always wears red (and white, not black) and it is the strongest, most sexually potent color. Combine red with black and you get some fucked up shit, as we all know the shadow of masculine sexuality can be very detrimental. Also, polka dots. This pattern is essentially dick holes, or just holes, like a vagina. Since they're black on a ladybug, this represents a "shadowed" vagina, or a vagina that is "not acknowledged". This "dark vagina" is surrounded by red, or masculinity and sex. Get it? Good. Finn also comes upon our female "protagonist" in the sex slave garden, Estella. The first thing she does is demands of him his name, just like the convict, linking them.

Dinsmore gives Joe $500 for "gas money". 500 is a terrible number since 5 is the number of chaos and crisis and the two 0's just push that chaos and crisis way out there where no one can touch it. After Joe and Finn visit Paradiso Perduto there's a scene in their kitchen where it's sort of implied that Joe gives Finn a beer: a symbol of Finn being shoved into adulthood way too early as well as being given "negative emotion". About the same time, Finn hears on the TV that the criminal he "rescued" is named Lustig and came from a prison that sounds like Rapier. This combination of a name with the word "lust" in it and a name with the word "rape" in it contributes to the "sex slave" tone of the movie. Lustig has been caught again and sentenced to death on March 16th. His original crime is killing some mob boss, Valiente. Let's unpack this. First, March 16th: 3/16. The numerology here means the community (3), individuality (1), and sex (6). At first, this would seem like an anomaly. What does the execution of Finn's criminal have to do with an individual's sexuality within the context of the community? Let's see. If Finn's criminal is associated with the sex slave trade, then it makes sense that his death would coincide with the individual's sexuality within the community, right? Also, the mob boss Valiente: apparently Valiente is a Spanish word, meaning "brave". This is interesting: who here is the "brave" one? The convict? For killing a mob boss? Or the mob boss?

Next, we find out that when Finn saw Estella in Paradiso Perduto's wrecked garden, she found him charming? and told her aunt? who then requested his presence? in exchange for money? I don't know. It's a weird story. But basically, Finn is "pimped out" to the Lady Dinsmoor by his "whore" sister. As he approaches the "house" his rings an elaborate doorbell with the letter N on it. So, a doorbell is a symbol of a clitoris (as a door is a symbol of a vagina) and the letter N is the most negative letter: when translated into the Norse runes from whence English came from it is the letter Nauthiz. Nauthiz represents desperate need; it is likened to a dark pit, a gaping absence of complete lack. Not a great letter for a clitoris, but an appropriate one here. The house smells like "dead flowers and cat piss", more symbols of sex slaves. Flowers are literally the sex organs of plants and so represent sexuality (not to mention that some say the vagina looks like/is a flower): dead flowers represent dead sexuality (dead pussy), an apt symbol of a whorehouse. Also cat piss: cats are essentially feminine and piss is a symbol of fear (that's why you piss your pants when you're afraid), so the house smells like dead sexuality and feminine fear. Duh. Also, the ceiling is gold: as we know "up" represents mentality and we all know gold is a symbol of wealth so the ceiling being gold is a symbol of the whore's mind: make that money. Alsoooooo, there is a green caged bird. Birds, as we know, symbolize lovers, a caged one is a trapped lover and we've already reviewed what green means: Freemason shit. 

Dinsmore is paying the song "Besame Mucho", Spanish for kiss me a lot, when Finn first sees her. Everything in the house is green. Dinsmore does this lascivious, inappropriate dance for Finn and then presses his hand to her boob (!) and says her heart is broken. She is the quintessential Madame, an idea  reinforced by the fact that she says she feeds her enormous cat other cats (vagina within a vagina). Apparently, she has brought Finn to her "house" to entertain her, and she asks him to dance for her. Now, dancing is basically sex, so Dinsmore essentially asks Finn to have sex for her amusement, a typical Madame thing to do. Finn says he can't dance, but upon her disapproval her mentions that he can draw. Dinsmore proceeds to rip wallpaper down and gives it to him to draw on, saying he can use her makeup to draw with. As a house is a symbol of a body, wallpaper is like skin. Giving it to Finn and saying he can draw on it with makeup is like saying he can make "her" (Estelle, Dinsmore, any woman, all women, especially sex slaves) into whatever he wants. The tension between this act of sheer power and his position as "entertainer" is apparent when Estelle continually calls him the gardener. Now, we know a garden is a symbol of sexuality and so a gardener is like a lover (a la Lady Chatterly's Lover). The surreal nature of the movie and its content is reflected in the askew camera angles: we hardly ever see anything in Dinsmore's house "correctly", it is always at an angle.

Finn draws Estelle with makeup on wallpaper at the request of Lady Dinsmore, who asks him what he thinks of Estelle. He whispers to her that he thinks she is a snob, that she is pretty, and that she doesn't like him very much. Dinsmore goes on to say that Estelle will only break his heart and that even though Dinsmore warns him, he'll still pursue her. She finishes with a sigh of "Ain't love grand". Estelle throws his portrait of her away as Finn tells "us" that this was the beginning of his desire to paint for the rich, "to have their freedom, to love Estellae. She leads him by a fountain on his way out, another symbol of a vagina, emphasized by the view of a woman's lower half. Estella drinks from the fountain. She claims it is clean, although given the state of disrepair of the house, this seems impossibly improbable. Finn, in a blatant symbol of engaging with "whores", drinks from the fountain, too. Somehow, the two children end up kissing, like, IN the fountain. There are quick shots of their hands and feet as they do so, implying that this is "what they do" (hands) as well as their sexuality (feet).

Next Finn is back at home with his sister Maggie and Joe, and there is a pentacle on the window of the kitchen. Windows represent eyes, or worldviews, and the pentacle is a symbol of magic, implying that Finn's view has been altered by magic. This is compounded by the fact that Finn draws Estella under that very pentacle. Interestingly, as Finn "gains" Estelle he "loses" Maggie, his sister. This is because the sex slave and the Magdalene are foils of one another. It should also be noted that Finn visits Estella and Lady Dinsmoor for "dance lessons" on Saturdays, the day of Saturn: the stern and strict "father" planet that goes out of its way to thwart human endeavors.

After what we presume is years of "dance lessons" Finn and Estelle grow up and go on a "date", the address of which is 1115 North Ocean. Let's unpack this: 1115 is fucked, one is the number of the individual and five is the number of chaos and crisis so what we have here is a whole lot of alone time followed by some fuck shit. Which is pretty much what happens. Next, North Ocean. North is the direction of the Earth, a symbol of materiality, physicality, and prosperity. We've already discussed the ocean being both feminine and fertile, so in this address we have Finn experiencing some fucked up numerology that has to do with women, money, and sex. Which, we find out later, is all true. Finn doesn't have a dinner jacket to go on his fancy date with Estelle and ends up wearing his sister's blazer, feminizing him.

On their "date" Finn and Estelle basically skip the date (because Finn can't get past the gate in his beat-up truck) and go straight to Finn's house where Finn pleasures Estella while she stands up, obviously making her "above" him. She wears green and white and the camera is askew the whole time. She, of course, does nothing to Finn. As soon as this is over, Estella leaves. When Finn questions her she asks what time it is. It is 10:30. So this number is sort of a deconstructed 13, the number of the prostitute and a favored number of the Freemasons. Also, Estella says she has a million things she needs to do that night, making her sound a bit like she has a million MEN to do that night. As she leaves, she speaks French, something she has done in the movie before. The significance of French and France is mainly that if Italy is the phallus of Europe, France is the vagina: it is this centralized "lowland" with many rivers (also a symbol of vaginas) that produces a lot of wine (sex) and cheese (a product of milk- feminine). It is also known as being a somewhat promiscuous place. So, by speaking in French at this moment, Estelle is aligning herself with all of this: femininity and promiscuous sex. Also, the whole scene is saturated in green, so duh, Freemasonry.

After Estelle leaves, Finn visits Paradiso Perduto the next day looking for her and finds only Lady Dinsmoor. This is typical Freemason shit: you're introduced to the hot young women only to be essentially left with decaying old women in the end: kinda like in the Shinning. Dinsmoor goes on about how 26 years ago she was a "trusted virgin" who was left at the altar. So 26 is about the sexiest number you could hope to find besides 69. 2 is the number of the couple and 6 is the number of sex. This numerology implies that the SHE is the real sex Finn is left with. Dinsmore goes on to say that "men must pay", ostensibly for the "sins" of the man who jilted her. 

So Estella is gone, the "heavenly girl who did not want [Finn]". It's interesting that Finn calls her heavenly, because sleeping with a sex slave, and that is essentially what Estella is, could be called heavenly, at first, but soon degrades into hell. You see, with all the magic that the Freemasons and the Catholic church put around fucking a sex slave, it's almost impossible not to become addicted to this "forbidden fruit". It's a bit like porn: it just ruins sex in general. And so, Finn paints his boat green: a symbol of "Freemasonizing" his relationships. Chump.

At some point a man named Jerry Ragno (from Florida, America's impotent dick, and New York, the modern Sodom) makes his entrance, claiming he can make Finn's dreams come true. Now, this Jerry Ragno guy is fairly corpulent and unctuous and, we find out, his name Ragno means spider in Italian. A spider is a typical symbol for someone who spins webs of deception, like the Catholic church, Freemasons, Dinsmore, Estelle and many Italians. Ragno's claim of making all Finn's dreams come true is also a typical Freemason thing: they offer you your dreams by showing you the secrets of magic, but at what price? Ragno offers Finn $1000, in hundreds, a ticket to New York, and a gallery show. So 1000 and 100 are both very lonely numbers. Finn takes the offer and goes to New York and one of the first things we see is him riding a green G train. Obviously green is a Freemason color, but did you know G is a Freemason letter? It's long and complicated and something I've explained in my blog before, so just suffice to say that G is a Freemason letter. It's in their fucking symbol, for crying out loud. Just go with it.

When Finn first sees the gallery, it is full of somewhat phallic, white box things all in a circle with these boob-like things on them, all facing in. This circle of boob/phalluses is a symbol of Freemasonry itself. It's a symbol of the Freemasons because these boxy dicks are all masculine given their shape and form, are in the "light" (white), but are all still feminized (the boob and the circle, both feminine). You see, within the hyper masculinity of the Freemason temple, the members are actually feminized: they suck each other off, bottom for each other, and the neophytes are "feminized" (or debased) by not being given all the information that the old fuckers know.  They also all "have each others back" (ostensibly), symbolized by the boob (a symbol of caring) on the phallic white "boxes" (dicks).

Later, Finn is in the park, at a fountain, and he (surprise!) meet Estella there. We already know a fountain is a symbol of a vagina, and this one being in the park, where anyone can drink from it, puts it firmly in the sphere of the sex slave. Finn and Estella make plans to hang out at the Burrow club at 6, or, symbolically, at the underground bunker where they keep sex slaves at the sexiest time there is. So, in the next scene, Finn is, once again, not properly dressed enough for Estelle's world: the club where he's meeting Estelle lends him a blazer. Estella introduces Finn to her "friends" and her boyfriend as her first love. Very quietly, one of her friends, a red headed man, says "I thought I was her first love". The red headed man is a traditional symbol of the Freemason, I assume because red hair simply means that you're thinking about sex all the time, as red is the color of passion and masculinity, and hair is on the head, the site of "thinking". So, we have a red headed man saying he thought he was Estelle's first love, meaning that Estelle and this man have presumably slept together and that he was duped in the process into thinking he was "her first love". This is typical Freemason shit: they fuck the sex slaves (who are sometimes virgins), plain and simple, and this little line, barely heard by the viewer, is meant to imply that.

And so, Estella inevitably asks Finn for a cigarette (a phallus) and he gives her his last one, which she insists they share. Now, what is this? This is them both sucking the same dick, presumably a Freemason dick, that, in the end, literally kills them. This is compounded by the line someone says to someone else in the group about "sleeping with de Kooning". De Kooning is a terrible Dutch artist, very famous and "important". Someone also mentions Florida having too much sun: this is notable because Florida is America's droopy dick, located in the bottom right of the country (the masculine sex corner), and the sun is the masculine planet. It all adds to the sexually charged, albeit impotent, nature of the "conversation". Eventually they talk about Finn's art and Estelle's boyfriend asks if he charges "by the inch or by the hour", an obvious reference to sex and prostitution. 

So apparently during this "conversation" they had agreed that Estelle would pose for Finn. She ostensibly knows where he lives (and has a key?) because she enters his room while he is sleeping, and the camera captures this sideways, implying the improper nature of what is about to happen. Basically, Estelle strips down and "poses" for Finn. In the background is a red skull, interesting for several reasons. First, the color red, we know, is both masculine and sexual. Second, a skull is an inherent symbol of death. So, we have the combination of sex, masculinity, and death: a potent cocktail that is reminiscent of the sex slave trade, as sex with a prostitute will literally kill you. Not just STDs but the energy of it: it goes against nature and life to fuck a prostitute and so nature shortens your life. Interestingly, in the background, is a mother and daughter duo out the window (a symbol of Estella and Dinsmoor).

Playing in the background of this charming scene is Pulp's "Like a Friend". Here are the lyrics:

Don't bother saying you're sorry
Why don't you come in?
Smoke all my cigarettes again
Every time I get no further
How long has it been?
Come on in now
Wipe your feet on my dreams

You take up my time
Like some cheap magazine
When I could have been learning something
Oh well, you know what I mean
Ohhh

I've done this before
And I will do it again
Come on and kill me, baby
While you smile like a friend
And I'll come running
Just to do it again

You are the last drink I never should drunk
You are the body hidden in the trunk
You are the habit I can't seem to kick
You are my secrets on the front page every week
You are the car I never should have bought
You are the train I never should have caught
You are the cut that makes me hide my face
You are the party that makes me feel my age

Like a car crash I can see but I just can't avoid
Like a plane I've been told I never should board
Like a film that's so bad but I've gotta stay til the end
Let me tell you now
It's lucky for you that we're friends

Like a car crash I can see but I just can't avoid
Like a plane I've been told I never should board
Like a film that's so bad but I've gotta stay til the end
Let me tell you now
It's lucky for you that we're friends

So this whole song is just sex slave shit: "kill me, baby"; body hidden in the trunk; habit I can't seem to kick; car (symbol of a body) I never should have bought; train (trains are inherent sex slave symbols as they are literally speeding phallus's; but besides that, trains are how they transport the girls once they're off the boats and in the country). It's all here. Even this push-pull dynamic between friends and lovers that Estelle and Finn embody in the film.

So, as expected, Estella leaves this modeling session abruptly. Finn flees after her barefoot, a symbol of not only his vulnerable state but of the sexuality of it all since feet are sexual. He also leaves his door, a symbol of a vagina (as it is a portal), open. He chases Estella into her cab and verbally accosts her, asking her "what it is like not to feel". She regals him with a story of a girl who was taught to fear daylight, told it was an enemy who would hurt her. This is an obvious reference to Dinsmore's attitude that she instilled in Estelle that men can't be trusted and will hurt you, as the sun is masculine. During this little speech we only see the left, or feminine, side of her face.

At some point after all this, Estella's boyfriend Walter visits Finn. Walter sees all the art Finn did of Estella while Finn is looking in the mirror. While this is an obvious symbol of their being reflections of one another and their inherent tie through Estella, it goes deeper than that. Finn is viewing himself at the same time that Walter is viewing Finn's "view" of Estelle, essentially aligning Walter and Finn as Johns both consuming Estella. Walter picks up a bag (vagina) like the one Finn has in the beginning of the film off a chair. Walter asks Finn what he should do with Estella; and Finn, on the left and with blue near him, tells Walter, on the right and with red near him, that they are perfect together. Now, this is weird, because we assume Finn is hopelessly in love with Estella and would NOT tell her boyfriend this. The scene is obviously contrived for the plot, and Finn being near blue on the left is a reference to his being the "femininized" man to Walter's "masculinized" man (right, red).

Dinsmoor sends Finn a postcard with the beach on it. So, the beach is inherently sexual, as we know, for multiple reasons. Obviously, the lack of "proper" clothing contributes to this, but the sea is also primordial: we all come from it, as we all come from sex. Also, the girls in the sex slave trade come from overseas and are transported on the ocean. 

There is another scene where Estella and Finn meet in another park and Finn tells Estella not to jump off a bridge, and she asks would you save me. So, a bridge is a symbol of a relationship, since it literally links two pieces of earth (bodies) over a body of water (emotion). Here, Estelle is asking Finn if he'd save her from her relationship. And then they are under a bridge, or symbolically in the bowels of a relationship; here they are both in shadow and he is on the left and she is on the right, placing her in the masculine position of "power" and him in the feminine position of "servitude". Here, under a bridge and in the shadow, Estella tells Finn that Walter asked her to marry him.

At some point, there is a "benefit" for Finn's show. There is a fish lamp at the benefit. So, a lamp is a symbol of the mental atmosphere as it "gives light" and is run by electricity, a symbol of thought. The implication here is that this benefit, and Finn, is infused with "Christ consciousness". Since we know Finn's consciousness is being manipulated by the sex slave trade, the Freemasons, and Estella, a sex slave, we know this to be a false symbol. It may appear that Finn has "Christ consciousness" because he is imminently preoccupied with Estella (a characteristic of the real Christ is that he lives for women), and he appears somewhat magical and able to pull off "miracles". But we know that this is not true.

Next, is a scenario nearly every Freemason can relate to: getting everything you "want", but having no one you really care about to share it with. You see, the Freemason's use black magic to "get what they want" but at the expense of their relationships, so that when they do "get what they want", they're alone (except for their "brothers"). It's sad but common. Finn leaves his benefit to find Estella (who just happens to be right down the street) where he takes her right out from under her boyfriend's nose and dances with her in the restaurant where she is eating, while her boyfriend watches (and presumably does nothing). Then they make out in the rain. Then they fuck (while it's raining, a symbol of a "negative atmosphere"). She tells him that she loves the way he dances (fucks), which is weird because in the beginning Dinsmore wants him to dance for her, and he says he can't. Idk. It's a weird movie.

Eventually, Finn has his art show. Of course, Freemason green is everywhere. His uncle Joe makes a fool of himself dressing weird, cursing, and breaking glasses as a projection/symbol of Finn's uncouth/past self, causing Finn to yell at him. Now in uptight, decorous society this is the original sin: losing your cool and "yelling". Just ask Gatsby. Anywho, despite this, Finn's show is a "success": he sells every piece. Then he, duh, searches for Estella. He goes to Dinsmoor's place in New York and ascends a staircase (a Freemason symbol of enlightenment) with two columns at the top. So, dual columns are an ancient Freemason symbol of this world, Boaz, the left column, and the next, Jachin, the right column. It should not go unnoticed that the Freemason's consider this world feminine (left) and the next world masculine (right). Chumps. 

Anywho, these columns appear on either side of the High Priestess tarot card. (Tarot is an ancient Freemason divination tool) The High Priestess is the guardian of the unconscious, keeper of all knowledge, silent, still, chaste. Here, she is related to Lady Dinsmoor. The "knowledge" that Dinsmoor is guarding is revealed: Estella's wedding is imminent, and Finn was only ever "practice" for her.  Estella brings Finn around, we find out, to hasten her engagement to Walter, by making him jealous and making her look desirable. Really, that's his whole role to her: preparing her for courtship as well as hastening that courtship along. The sexually manipulative nature of this situation is manifest and reflected in the color of Dinsmoor's nails in this scene: bright red. Nails represent our activities. Obviously, Disnmoor's activities have been geared toward getting Estella married well at Finn's expense. She reveals to him it was all a game between herself, him, and Estella to position Estella into a desirable match: making Walter jealous of Finn and therefore pushing him in to proposing to Estella. Finn is heartbroken and returns to his 111 Greenwich Street apartment. The address is significant because 111 symbolizes someone perpetually alone and Greenwich might as well be Green Witch, or a Freemason.

Upon arriving home, Finn makes the acquaintance of an old man outside his place, asking him "Do I know you?" to which the man replies, "Yes and no." This is indicative of the entirety of the Freemason relationship. They are so secretive and contradictory, between each other, between "levels", between themselves and the community at large, that this answer is entirely appropriate. The man enters Finn's apartment under the pretense that he needs to use the phone. Multiple Freemason symbols follow: a green bird mobile, the all-seeing Illuminati eye, rudimentary phalluses. The scene is typical of the Freemason relationship: an effusive old man, and an uncomfortable young man, with the old man knows too much about the young man (where he lives, what he does, who his benefactor is, etc.). The old man paints a picture of Finn's life and success and says how proud he is of him and congratulates him to no end, because at the end, all the old Freemasons have is the young guys they simultaneously compete with and support.

Even though this old man has been proven to be a liar and a charlatan (he never actually calls the police) Finn assists him in "escaping". They go down the fire escape and run through an arch (a Freemason symbol of a vagina) together. The old man goes on about escaping to Paris, the "vagina" (centralized low land with lots of rivers) of Europe. They catch a green G train to escape some gangsters that apparently want to hurt/kill the old man. He mentions how it's "fun running from gangsters" and then they knife him in the back anyway? So, this is symbolic because a knife is a phallus, and the back is like the shadow: what we don't see/know/acknowledge. So not only does Lustig get stabbed in his blind spot, he is also symbolically "fucked in the ass" (knife in the backside), a notion amplified by the position Finn and the old man take on the train: Finn is behind the old man, holding him. Plus they're on a train, which we've already established is a symbol of a penis.

Then comes the deathbed confession: we find out that the old man is the prisoner that appears in the ocean in the beginning of the movie. He apparently "did a lot of bad things [but] the one good thing [he] did in [his] life was set [Finn] up". It appears that he hired Ragno, sent Finn to New York and got him an art show, as well as bought all of his art. Not only does all this seem impossible for a "convict" to pull off, this completely invalidates any agency Finn might have had in his own success, in typical Freemason style. In essence, because Finn did something shady and helped this convict, his "dreams came true" without any real effort on his part. This is Freemason "magic". Bullshit, huh? AND THEN the old man pulls out the impossible book, calling it "very special": Finn's sketchbook that he dropped in the ocean when he was startled by the old man, who we now know is a "Freemason". This is a symbol of his being in control of Finn's "vagina" (book) as well as his art career (since it was a sketch book) all his life; as all older Freemasons are in control of the younger Freemason's careers and "vaginas" (wives, daughters, sisters, and yes, the sex slaves they ritually fuck) by virtue of the magic they all do. 

This is further emphasized by the fact that the old man's blood falls onto Finn's foot. This is symbolic of many things: first it is blood that fills a penis during erection, it is also baby's blood that the Freemasons drink to stay young, they also do a lot of blood oaths in Freemasonry, many pertaining to their sex lives. So, in essence, this older Freemason's life force is contaminating Finn's sex life, since feet are symbols of one's sexuality. This is all wrapped up in the moment when the old man asks Finn what time it is, and he says almost 6. So 6 is the number of sex, implying that this old Freemason will never live to see true sex, dying somewhere in the 5:50's. 5 is the number of chaos and crisis and so it is appropriate that this "Freemason" dies sometime when 5 reigns, as, truly, all Freemasons do. Basically, Freemasonry is a sex, magic, and blood cult designed to keep all women (wives, daughters, sisters, sex slaves alike) enslaved in the shadow. In the end Finn "gets" Estella, even though they never have a real conversation and she fucked with him for their entire lives.