Jacob's Ladder: The Real Horror Isn't Demons, It's Bureaucracy?

Alright, folks, let's delve into Adrian Lyne's Jacob's Ladder. I've seen this flick a good few times, and while the grotesque imagery and the general sense of dread are palpable, I think the real horror – the thing that burrows deepest – is the film's depiction of institutional indifference. We're so focused on Jacob's potential descent into hell or madness, we forget about the very real, very earthly horrors he's facing. Think about it. Jacob's haunted by his experiences in Vietnam, yes, but the source of the madness is not some demon's trick. He is haunted by the fact that he was part of a drug experiment without his consent! The government actively experimented on its own soldiers, and then actively covers it up. While the demons and contorted faces are definitely unsettling, the real terror comes from recognising the very real possibility of systematic maltreatment and abuse of power within government and military structures. And the way they basically gaslight him into oblivion? Chilling. We see his attempts to get answers, the dead ends, the growing paranoia... it's not just PTSD; it's a very justified fear of a system designed to protect itself. The scenes with his lawyer, for instance, trying to expose the truth of 'The Ladder,' are interspersed with these intense, surreal visions. Are the visions exacerbating his paranoia, or is the paranoia simply a rational response to a conspiracy that's very much real? That's the unsettling brilliance of the film. And the ending, while some find it cathartic, I still find deeply unsettling. Is it acceptance? Or is it just… giving up? Is he finally at peace because he has died or because he stopped trying to understand what happened to him? I know that's heavy stuff, but I'm always struck by how Lyne uses the supernatural elements to amplify a very grounded critique of power structures. The demons are scary, sure, but the indifference of a faceless bureaucracy? That's a nightmare that hits a lot closer to home. Especially if you view this film through the lens of the decade that it was made, post Vietnam and Watergate. Very few things are more horrifying than the state turning on you.