Lucifer Rising the true story behind the ill fated film

 Rise and Shine: The Wild, Witchy World of Kenneth Anger’s Lucifer Rising

Buckle up, film fans and occult enthusiasts—today we’re diving into one of the most gloriously chaotic cinematic sagas ever: Kenneth Anger’s Lucifer Rising (finally completed in 1980, though it kicked off way back in the groovy ‘60s). This isn’t your standard blockbuster with explosions and superheroes. Oh no. This is a 29-minute psychedelic ritual invoking Egyptian gods, ancient magick, and the dawn of a new age, all wrapped in stunning visuals of volcanoes erupting, gods summoning, and a flying saucer buzzing the pyramids. Think of it as the ultimate mood board for the Age of Aquarius… with a side of rock ‘n’ roll drama!

Kenneth Anger, the underground filmmaking legend and self-proclaimed magus (he was a big Aleister Crowley fan—more on that later), envisioned Lucifer Rising as a celebration of Lucifer not as the devilish bad guy, but as the “bringer of light.” Egyptian deities like Isis and Osiris summon him to kick off a new occult era. Shot in epic locations: the Sphinx and Karnak in Egypt (Anger fibbed to officials, saying it was a harmless documentary), Stonehenge in England, and even volcanic sites in Germany.

 The cast? Rock royalty and eccentrics—Marianne Faithfull as the fierce Lilith, Donald Cammell (director of Performance) as Osiris, and a cameo from Jimmy Page himself.

But here’s where it gets fun—the behind-the-scenes soap opera is better than any reality TV!

•  Lucifer #1: The Jailbird Edition
Anger’s first pick for Lucifer? A young musician named Bobby Beausoleil, spotted at a wild San Francisco event (legend has it he was playing guitar and… well, getting very up close and personal with a performer). They filmed some footage, but things soured. Anger accused Beausoleil of stealing film reels (Beausoleil said nah, it was just test shots). Drama ensued—Anger even publicly “died” in a Village Voice ad! Fast-forward: Beausoleil joined the Manson Family, got convicted of murder, and ended up composing the final soundtrack… from prison! With his inmate band, the Freedom Orchestra. Talk about redemption arcs.

Soundtrack Shenanigans: Rock Gods Edition
After the Beausoleil fallout, Anger turned to Jimmy Page of Led Zeppelin (a fellow Crowley obsessive who bought Crowley’s old house!). You can check out article on Boleskin House in another article.

 Page recorded a moody, atmospheric score… but delays and arguments led to a spectacular breakup—Anger cursed Page in the press, calling him a washed-up has-been. Page’s version leaked later (it’s eerie and guitar-drenched), but the official one is Bonus Chaos: A real UFO photobombed filming (they recreated it), Marianne Faithfull smuggled herbs into Egypt (yikes, death penalty territory back then), and Anger burned his old scripts in a ritual fire for the finale.

In the end, Lucifer Rising is a hypnotic fever dream: swirling colors, symbolic rituals, erupting lava symbolizing rebirth, and that iconic ending with a UFO over the pyramids. No dialogue, just pure visual magick set to Beausoleil’s haunting score. It’s influenced everyone from music videos to experimental art, and it’s a testament to Anger’s wild vision—he made actual ceremonies on screen to “make Lucifer rise.”

The Beast and the Filmmaker: Aleister Crowley’s Profound Influence on Kenneth Anger

Aleister Crowley, the infamous English occultist known as “The Great Beast 666,” cast a long shadow over 20th-century counterculture. Few felt his pull more deeply than underground filmmaker Kenneth Anger, who not only embraced Crowley’s philosophy but wove it into the fabric of his cinematic visions. Crowley’s religion, Thelema—centered on the maxim “Do what thou wilt shall be the whole of the Law”—became a guiding force in Anger’s life and art, transforming his films into ritualistic invocations rather than mere movies.

Anger’s fascination began in his teens. Introduced to Crowley’s works through friends like filmmaker Curtis Harrington and actress Marjorie Cameron (a key Thelemite and star in Anger’s films), he devoured texts like The Book of the Law. By the 1950s, Anger had fully converted to Thelema, viewing filmmaking as a form of magick (Crowley’s preferred spelling, with a “k” to distinguish it from stage illusions). He even named his seminal series the Magick Lantern Cycle, a nod to early film projectors and Crowley’s esoteric teachings.

Crowley’s impact is unmistakable in Anger’s oeuvre:

•  Inauguration of the Pleasure Dome (1954): A psychedelic ritual depicting gods and mythological figures in a dreamlike orgy of color and symbolism. Actors portray pagan deities, embodying Thelema’s Aeon of Horus—a new era of individual will and spiritual awakening prophesied by Crowley.

https://www.imdb.com/title/tt0047114/

Invocation of My Demon Brother (1969): Featuring rolling footage of Crowley himself, occult symbols, and a soundtrack by Mick Jagger, this short is a chaotic evocation of Thelemic opposites—passionate unions of light and dark.

https://archive.org/details/invocation-of-my-demon-brother-lucifer-rising-kenneth-anger

•  Lucifer Rising (1980): Anger’s crowning achievement, portraying Lucifer as a light-bringer ushering in a new age. Directly inspired by Thelema’s view of Lucifer (not as evil, but as a liberator) and the Aeon of Horus, it features ancient sites, erupting volcanoes symbolizing rebirth, and Egyptian gods summoning change.

Beyond films, Anger lived Thelema. In 1955, he visited Crowley’s derelict Abbey of Thelema in Sicily, restoring erotic murals and filming rituals there. He mentored figures like Jimmy Page in Crowleyana and saw cinema as ceremonial magick—spells cast through montage, color, and symbol to awaken viewers’ true will.

Crowley’s influence turned Anger’s work into more than avant-garde experiments; they became modern grimoire, blending homoeroticism, pop culture, and ancient mysticism. As Anger once said, movies could be “mantras.” Through him, The Great Beast’s light (or shadow) continues to flicker on screens worldwide, proving Crowley’s enduring, enchanting hold on the rebellious and the visionary.

The Great Beast and the Guitar God: Aleister Crowley’s Spell on Jimmy Page

Aleister Crowley, the self-proclaimed “wickedest man in the world” and founder of Thelema, left an indelible mark on rock ‘n’ roll through one of its greatest guitarists: Jimmy Page of Led Zeppelin. Page’s fascination with Crowley wasn’t just casual—it was deep, obsessive, and woven into his life, music, and mystique. From owning Crowley’s infamous estate to etching occult symbols into albums, Page channeled The Great Beast’s energy into the thunderous riffs that defined an era.

Page’s Crowley obsession kicked into high gear in the early 1970s. In 1970, he purchased Boleskine House on the shores of Loch Ness in Scotland—Crowley’s former home from 1899 to 1913, where The Beast performed intense rituals, including the Abramelin operation to summon his Holy Guardian Angel (and allegedly left some unruly spirits behind). Page rarely lived there due to touring but restored it and ran an occult bookstore called The Equinox in London, stocking Crowley rare editions.

Musically, the influence shines through Led Zeppelin’s catalog:

•  Symbols and Sigils: On the untitled fourth album (Led Zeppelin IV, 1971), each band member chose a symbol. Page’s mysterious “ZoSo” has been linked to Crowley’s writings, alchemical texts, and even a sigil from occult grimoires. It’s never been fully explained—Page loves the mystery!

Lyrics and Themes: Songs like “Stairway to Heaven” fueled backward-masking Satanism rumors (mostly debunked), but tracks reference Crowley directly. Robert Plant inscribed “Do what thou wilt” on the original vinyl of Led Zeppelin III. Page etched “Aleister Crowley” into the runoff groove of some pressings.

•  Kenneth Anger Connection: As a fellow Crowley devotee, filmmaker Kenneth Anger enlisted Page to score Lucifer Rising. Page delivered a moody, droning soundtrack, though their collaboration ended in a dramatic fallout (complete with public 

Page collected Crowley artifacts—manuscripts, paintings, robes—and even designed stage outfits with astrological symbols like Scorpio and Capricorn. He downplayed direct “magick” in music but admitted the occult fueled his creativity, saying Crowley represented freedom and rebellion against conformity.

Crowley’s shadow added to Zeppelin’s mythic, dangerous allure, inspiring generations of rock occultists. Through Page, Thelema’s “Do what thou wilt” became a riff-roaring mantra for rock excess and artistic liberation. The Beast would approve!

If you’re into the occult, ‘60s counterculture, or just love a good cursed production story, hunt down Lucifer Rising. It’s short, strange, and utterly spellbinding. Hail Lucifer… or at least, hail the light-bringer of weird cinema!

You can now get a special version of Jimmy Page’s Lucifer Rising Soundtrack as well as the  Bobby Beausoleil  Version there are some(expensive!) booklegs and versions out there of both the film and the soundtrack. We’ve linked a rare early version of the film as well as Pages original soundtrack for you to get an idea of what the film was like. 

https://youtu.be/0nT0oCY022M

https://youtu.be/2e1QjB6fmKs?si=OhuIerPhWvyiOGvG

As Above So Below: It’s Meaning and Interpretations

 As Above, So Below: Interpretations

The phrase “As above, so below” is one of the most profound and enduring maxims in philosophy, spirituality, and esoteric thought. 

It expresses the belief that the universe is interconnected—that the patterns, energies, and principles that govern the heavens are reflected on Earth, and within the human soul. This idea, rooted in ancient Hermeticism, suggests that by understanding the microcosm (the self and the material world), one can also understand the macrocosm (the universe and the divine). It is a concept that bridges science, spirituality, and mysticism, revealing a deep unity that binds all existence together.

Origins in Hermetic Philosophy

The phrase comes from the Emerald Tablet, a mysterious text attributed to Hermes Trismegistus, the mythical founder of Hermetic philosophy. The full quote reads:

“That which is below is like that which is above, and that which is above is like that which is below, to accomplish the miracles of one thing.”

In Hermeticism, this statement reflects the belief that the cosmos operates according to universal laws that are mirrored in all planes of reality. The divine realm, the celestial bodies, nature, and human consciousness are not separate but expressions of the same creative force. To the Hermetic philosophers of ancient Egypt and later Renaissance alchemists, this principle was the key to understanding the mysteries of creation and the path to spiritual enlightenment.

The Microcosm and the Macrocosm

Central to the idea of “As above, so below” is the correspondence between the microcosm (the small world of the individual) and the macrocosm (the vast world of the universe). Human beings were seen as reflections of the cosmos—each organ, emotion, and thought corresponding to elements, planets, and divine principles. For example, in astrology, the movements of the planets were thought to mirror inner psychological patterns, while in alchemy, the transformation of base metals into gold symbolized the spiritual purification of the soul.

This belief fostered the idea that the divine could be known through self-knowledge. If humans are a reflection of the universe, then by turning inward, one could come to understand the workings of the cosmos and even the nature of God. This unity between inner and outer worlds became a foundation for many mystical traditions, including Kabbalah, Gnosticism, and later occult systems.

Spiritual and Philosophical Meaning

Spiritually, “As above, so below” teaches that the material world is not separate from the divine but an expression of it. Everything in existence is sacred, and every event—no matter how small—echoes the larger rhythms of the cosmos. It invites people to see the world as a living, interconnected system, where thoughts, emotions, and actions resonate through both visible and invisible realms.

Philosophically, the phrase also emphasizes balance and harmony. The heavens represent order, perfection, and divine wisdom; the Earth represents material reality and human experience. When the two are aligned, one achieves a state of wholeness. This harmony is reflected in nature’s cycles, in the balance of opposites such as light and dark, and in the union of spirit and matter.

The Tree of Life as a Map of the Cosmos

In Kabbalah, the Tree of Life is not merely a mystical diagram — it is a blueprint of creation. It shows how divine energy flows from the infinite, unknowable source (Ein Sof) into the manifest world.

The Tree is divided into ten spheres, called Sephiroth, which represent different aspects of God, reality, and consciousness. These range from the highest spiritual realm to the physical plane:

1. Kether – The Crown, pure divine unity (the “Above”)

2. Chokmah – Wisdom

3. Binah – Understanding

4. Chesed – Mercy

5. Gevurah – Severity

6. Tiphereth – Beauty (the harmony point, the heart)

7. Netzach – Victory

8. Hod – Splendour

9. Yesod – Foundation (the bridge to manifestation)

10. Malkuth – The Kingdom, the physical world (the “Below”)

Energy descends the Tree from Kether to Malkuth, becoming increasingly material and dense — yet every lower sphere still contains the essence of the divine above it.

This is the living structure of “As above, so below”: what is divine and immaterial at the top is mirrored in the material and human at the bottom.

 The Descent and Return of Divine Energy

The Tree of Life expresses a two-way current:

• Descent: from spirit into matter (divine creation and manifestation).

• Ascent: from matter back to spirit (spiritual awakening and return to the Source).

In Hermetic language, “as above” refers to the divine pattern in Kether, and “so below” refers to its manifestation in Malkuth. Everything that exists in the physical realm is a reflection of a higher archetype — a shadow or echo of a spiritual reality.

For example:

• A human being (Malkuth) mirrors divine consciousness (Kether).

• The human soul (Tiphereth) reflects the beauty and balance of the divine heart.

• Every creative act on Earth repeats the cosmic act of creation above.

Thus, the Tree of Life embodies the Hermetic axiom — the microcosm reflects the macrocosm.

Baphomet and the Tree of Life

Eliphas Lévi was not only a Hermeticist but also a student of Kabbalah. His drawing of Baphomet, which we discussed earlier, represents the same principle shown in the Tree of Life.

Baphomet’s upward and downward hands signify the connection between:

• Kether (Above) – divine illumination, the flame between the horns.

• Malkuth (Below) – the Earth, matter, and physical existence.

Between them flows the Middle Pillar, the path of balance that runs vertically through the Tree: Kether → Tiphereth → Yesod → Malkuth. This is the axis of equilibrium — the line of light through which divine energy descends and ascends.

In this sense, Baphomet can be seen as a symbolic guardian or living representation of the Tree itself:

• The torch between the horns corresponds to Kether.

• The heart or caduceus aligns with Tiphereth (Beauty, the heart of the Tree).

• The earthly base or sitting posture connects to Malkuth.

Together, they form the vertical channel of divine communication — the Hermetic bridge of “As above, so below.”

The Human as a Reflection of the Tree

In both Hermetic and Kabbalistic thought, the human being is a miniature Tree of Life — a microcosm of the divine cosmos.

• The mind reflects the upper Sephiroth (Kether–Binah).

• The heart reflects the middle (Tiphereth).

• The body reflects the lower (Yesod–Malkuth).

Thus, when a person balances their inner forces — intellect, emotion, and action — they mirror the divine harmony of the Tree itself.

To “raise one’s consciousness” up the Tree is to awaken to divine unity, just as the maxim teaches: the same laws that shape the stars also shape the soul.

The Spiritual Message

When we unite the teachings of “As above, so below”, the Tree of Life, and Lévi’s symbolism, a single truth emerges:

• The divine and the earthly are not separate realms but two expressions of one eternal source.

• The Tree of Life is the structure that connects them.

• The Hermetic initiate (or seeker) becomes the bridge — awakening the divine within to transform the world without.

Or, in poetic form:

“The roots of the Tree are in Earth,

its branches reach toward Heaven,

and in its trunk flows the light of creation—

the living path between above and below.”

Eliphas Levi and the Baphomet

Eliphas Lévi’s famous drawing connects directly to the Hermetic maxim “As above, so below” both symbolically and philosophically.

The image below refers to Lévi’s illustration of Baphomet, created in the 19th century and published in his 1854 book Dogme et Rituel de la Haute Magie (Doctrine and Ritual of High Magic). Though often misunderstood or misrepresented, the drawing is actually a rich visual expression of Hermetic and alchemical principles—and “As above, so below”lies at its very heart.

The Gesture of Baphomet

At the centre of Lévi’s drawing, Baphomet—a winged, goat-headed figure with both male and female features—raises one hand upward and points the other downward. Between the horns shines a torch symbolizing divine illumination. This dual gesture perfectly embodies the Hermetic axiom “As above, so below.”

• The right hand, pointing upward, signifies the spiritual realm, the heavens, and higher consciousness—the “above.”

• The left hand, pointing downward, represents the material realm, the Earth, and the physical plane—the “below.”

• The alignment of both gestures shows that these two realms mirror each other; the divine and material are reflections of one truth.

Lévi himself explained that Baphomet’s hands express the reconciliation of opposites, writing:

“The sign of the pentagram above and below… shows the harmony of mercy and justice.”

This is essentially the Hermetic teaching of correspondence: that all planes of reality operate under the same universal laws.

Symbolism and Unity of Opposites

Every element in Lévi’s Baphomet reinforces the idea of cosmic balance and correspondence:

• Androgyny – Baphomet is both male and female, representing the union of opposites (sun and moon, active and passive). This mirrors the Hermetic ideal of balance within all creation.

• Caduceus – The twin serpents around the figure’s abdomen symbolize the dual currents of energy (positive and negative, or spiritual and physical) that intertwine and rise toward enlightenment.

• Torch Between the Horns – The flame of consciousness illuminates both realms, showing that divine wisdom bridges heaven and earth.

• Wings and Earthly Form – The combination of angelic and animal traits reminds us that spirit and matter are not separate forces, but complementary aspects of existence.

Together, these symbols visually express the Hermetic worldview: that all things are reflections of one divine unity—the “One Thing” mentioned in the Emerald Tablet.

Lévi’s Hermetic Message

Eliphas Lévi was deeply influenced by Hermeticism, Kabbalah, and alchemy, and his image of Baphomet was never intended as a symbol of evil. Instead, he saw it as an allegory of balance, a diagram of the cosmos itself.

His depiction shows that enlightenment comes from understanding the relationship between the spiritual and the material—between “above” and “below.” To Lévi, the true magician or initiate seeks to harmonise these forces within themselves, achieving spiritual wholeness through inner balance.

Eliphas Lévi’s Baphomet is, in many ways, the living embodiment of “As above, so below.”

• Its upward and downward gestures literally depict the phrase.

• Its androgynous, balanced form symbolizes the union of opposites.

• Its torch of light and caduceus represent the transformative flow between heaven and earth.

Through this image, Lévi was teaching a Hermetic truth: the divine is reflected in the material, and the material is sanctified by the divine. By understanding the harmony between the two, humanity can transcend duality and approach the unity of all creation.

Influence on Modern Thought

The principle of “As above, so below” continues to influence modern spirituality, psychology, and science. In Jungian psychology, for instance, the concept of synchronicity—the meaningful connection between internal states and external events—echoes this Hermetic idea. In ecology, the understanding that all life forms are interdependent reflects the same holistic vision. Even in modern physics, theories such as fractals and holographic universes suggest that patterns repeat across scales, from the smallest atom to the largest galaxy.

As Above, So Below. Within and without, Light and Dark, Yin and Yang. Life in balance.

“As above, so below” is far more than a mystical saying—it is a timeless truth that expresses the unity of all creation. It reminds us that the divine and the earthly, the spiritual and the physical, are not separate but intertwined aspects of one vast reality. When we look to the stars, we see reflections of ourselves; when we look within, we find the universe. To live by this principle is to recognize that every thought, action, and breath participates in the great cosmic dance. It is an invitation to harmony, self-discovery, and reverence for the sacred connection between heaven and Earth.