Editorials
Special Feature: Exorcism: An Overview Part 1
Based on the non-fiction book by Matt Baglio, the upcoming film The Rite (releasing January 28) tells the story of a disillusioned young American man (Colin O’Donoghue) who travels to the Vatican to study exorcism and finds faith through his encounters with demons. Leading up to the film’s release, Bloody-Disgusting will be putting out a series of six articles dealing with specific aspects of exorcism, a practice that has become a staple of the horror genre ever since the release of William Friedkin’s 1973 blockbuster The Exorcist. In this first installment, B-D’s Chris Eggertsen gives a general overview of the exorcism phenomenon, shedding light on the legends and stories that gave rise to the practice in the first place and highlighting the real-life case that inspired The Exorcist.
The term “exorcism” stems from the Greek word “exorkizen”, meaning “to bind by oath”, and is said to have first come to use sometime in the early second century. In Christian religions the practice stems from the New Testament of the Bible, particularly the synoptic gospels (Matthew, Mark, and Luke), in which Jesus would cast out demons from possessed people as a demonstration of his Messiahship. He also granted his apostles the same power (and, to a lesser degree, his disciples), which is why those of a higher religious authority in the Christian faith (i.e. priests) are seen as qualified to exorcise demons from the bodies of possessed people. The passages that describe exorcism in the New Testament (perhaps the most famous one has the demons inside a man declaring, “My name is legion: for we are many”) are what gave rise to the practice in the Roman Catholic Church, in addition to other sects of Christianity, and it is a tradition that carries on into the 21st century.
Perhaps the most famous early case of exorcism happened in 1633/34 with what became known as the “Loudun Possessions” (the basis of Aldous Huxley’s 1952 novel The Devils of Loudun and Ken Russell’s controversial 1971 film The Devils), in the town of Loudun, France. In 1632 several Ursuline nuns at the local convent began acting strangely, engaging in bizarre behavior such as throwing themselves on the ground, going into convulsions and shouting obscenities. The nuns then began claiming that a handsome priest by the name of Urban Grandier, who’d made many political enemies during his time at a neighboring parish, had been appearing to them in dreams and seducing them. After a series of bizarre public exorcisms in which the nuns would expose themselves and contort their bodies into overtly sexual positions, Grandier was convicted of making a pact with the Devil and burned at the stake.
Another notable case occurred in the United States over 300 years later with 14-year-old Roland Doe (known alternately as Robbie Mannheim or John Hoffman, depending on your source), who was thought to be possessed by demons following a series of strange occurrences in his Maryland home. The supposed demonic manifestations included scratching sounds on the walls, levitating household objects, and furniture moving on its own across the floor. These episodes would always occur in Roland’s presence, and the boy also began exhibiting strange behaviors such as defecating on the walls and lashing out violently at those around him. After medical and psychiatric evaluations turned up nothing, priests were called in and the boy was exorcised 30 times over a period of two months, after which the “supernatural phenomena” were said to have ceased.
While doubts remain regarding the more sensational details of the Roland Doe case, it was nevertheless what inspired author William Peter Blatty to write his 1971 novel The Exorcist, which became a massive bestseller and was later adapted into the blockbuster 1973 film. It is during this period that exorcism became a bona fide pop cultural phenomenon and entered into the lexicon of ordinary Americans of all faiths and backgrounds.
The film’s success can be partially contributed to the controversy that came to surround it, including genuine outrage expressed by many in the religious community – some of who believed that an evil force capable of causing madness had been burned into the celluloid – as well as to its shocking nature, which reportedly caused vomiting, fainting, and other horrified reactions from audience members (with some even going so far as to claim that individuals had been committed to mental institutions or killed themselves after seeing it). Needless to say, the film’s enormous success led to several rip-offs, sequels and parodies and opened the door for a wave of religious horror films that has ebbed and flowed ever since.
Be sure and check out Part 2 of our exorcism overview, where we delve into how an exorcism is actually performed and the ways in which the practice endures even into the 21st century.
New month, new horror recommendations from Deep Cuts Rising. This installment features one random pick as well as four selections reflecting the month of May 2024.
Regardless of how they came to be here, or what they’re about, these past movies can generally be considered overlooked, forgotten or unknown.
This month’s offerings include a self-loathing serial killer, a violinist’s murderous ghost, and a postmodern vamp flick.
Scream, Pretty Peggy (1973)
Pictured: Ted Bessell and Sian Barbara Allen in Scream, Pretty Peggy.
Directed by Gordon Hessler.
The TV-movie Scream, Pretty Peggy first aired as part of ABC Movie of the Week. Bette Davis plays the mother of a reclusive sculptor (Ted Bessell), and after the previous housekeeper goes missing, a local college student (Sian Barbara Allen) fills the position. Little does she know, though, the young employee’s predecessor was murdered — and the killer is still on the loose.
Admittedly, Scream, Pretty Peggy isn’t difficult to figure out; its inspiration is obvious. However, Bette Davis’ overstated performance and the son character’s macabre artwork are enough to stay tuned and learn who’s behind the killings.
Scream, Pretty Peggy is now available on physical media from Kino Lorber. Perhaps watch the movie with your own mother this Mother’s Day (May 12).
Paganini Horror (1989)
Pictured: The ghostly killer in Paganini Horror.
Directed by Luigi Cozzi.
For National Buy a Musical Instrument Day (May 22), check out this absurd Italian entry in the subgenre of cursed music horror. A rock band unleashes hell when they unknowingly use a satanic piece of music composed by Niccolò Paganini, the violinist who was rumored to have made a Faustian deal.
Even though Paganini Horror is hardly deemed a standout of Italian Horror, and the movie indeed drags itself toward the finish line, there are some bright spots worth focusing on. For instance: Donald Pleasence. If that’s not enough, the very ’80s aesthetic helps gloss over the flaws in Daria Nicolodi‘s uneven script.
Paganini Horror is now on physical media from Severin Films and is also streaming on SCREAMBOX.
Nadja (1994)
Pictured: Suzy Amis Cameron and Karl Geary in Nadja.
Directed by Michael Almereyda.
These vampires may or may not cast a reflection, but they sure do love to reflect. David Lynch executive-produced as well as briefly appeared in the film, which Roger Ebert succinctly described as “Deadpan Noir” in his review. This tale of revenge and philosophical pondering begins with the vampiric namesake (Suzy Amis Cameron) seducing the daughter (Galaxy Craze) of Van Helsing after he killed Nadja’s father, Dracula. From there a war erupts between the two sides, all while taking place in modern NYC.
Nadja is quite slow but also just strange, stylish and creative enough to keep your attention. In addition, the trip hop soundtrack is easy on the ears, and Peter Fonda plays a memorable Van Helsing. Overall, this is a unique and artsy approach to vampire horror.
Nadja is now streaming on Freevee.
The Bone Snatcher (2003)
Pictured: Scott Bairstow, Warrick Grier and Rachel Shelley in ‘The Bone Snatcher’.
Directed by Jason Wulfsohn.
For National Sunscreen Day (May 27), dig up the monster movie The Bone Snatcher. It will take more than a high SPF to protect the sunburned characters here; they are stuck in a South African desert with a bizarre monster called the Esikhulu.
The best things about The Bone Snatcher are its setting and the creature. This beast, which is brought to life on screen using a combination of practical and digital effects, sports a ghastly design to go with its unnerving ability to animate skeletons. Something else this movie has going for it is a refusal to show the monster too often; that way there is less chance of becoming desensitized to the Esikhulu. Ultimately, this has nothing on John Carpenter’s The Thing, however, those more forgiving fans of Syfy-ish creature-features should be satisfied.
The Bone Snatcher is currently streaming on Tubi.
#1 Serial Killer (2013)
Pictured: Jason Tobin in #1 Serial Killer.
Directed by Stanley Yung.
May is AAPIM, and the subversive #1 Serial Killer (originally titled Chink) is relevant when discussing the “Invisible Asian” notion. Acknowledging the irony, Stanley Yung’s movie has gone widely unnoticed despite its potent take on race and identity.
Jason Tobin (Warrior) delivers a compelling performance as the vile protagonist here. The self-hating, Ted Bundy-admiring character discriminates against other Asians after years of mistreatment and disregard, and that growing rage finally manifests as cathartic violence.
#1 Serial Killer is currently available at digital retailers like Apple.
No genre is as prolific as horror, so it’s understandable that movies fall through the cracks all the time. That is where this recurring column, Deep Cuts Rising, comes in. Each installment of this series will spotlight several unsung or obscure movies from the past — some from way back when, and others from not so long ago — that could use more attention.
‘Infested’ Review – One of the Best Spiders Attack Horror Movies in Years
‘The King Tide’: An Island Town Rots with Moral Decay in Canadian Folk Horror Fable [Review]
Limited Edition Morticia & Wednesday Addams ‘Monster High’ Dolls Releasing Next Week!
TWO New ‘Evil Dead’ Movies Now in the Works; Sébastien Vaniček & Francis Galluppi Directing
“AHS: Delicate” Review – ‘The Auteur’ Gives Birth to a Lackluster, Laughable Finale
You must be logged in to post a comment.