The Exorcist

THE EXORCIST (1973) is classic in the way it portrays Christian horror. It's one of the best-rated horror movies of all time (imdb.com), so it's only natural that it should be just about the best example of religion-themed horror. As with any film of that nature, it shows us the struggle between good and evil. THE EXORCIST also explores the everlasting battle between science and religion in addition to questions of faith. Put aside the supernatural, demonic events of the film and you have some very realistic issues that the characters are dealing with.

At some level horror films are loveable because they scare, challenge and entertain us. Monsters taken at face value are still great monsters-- we love them, we hate them, we fear them, we cheer for them. But at another level, a deeper level, horror is enjoyable because of what those monsters-- and their victims-- represent to us. Who do we identify with, and why? Does the movie scare us because of how fantastic and unnatural the horrors are, or because they embody a very real threat?

When we're watching Regan and her mother suffer physically and emotionally at the hands of doctors who still can't figure out what's wrong, is our sympathetic fear caused out of knowledge that Regan is actually possessed by something evil? Or are we also subconsciously identifying with them because of instances where medical science has given us, or someone we love just cause to lose faith in the power of medicine?

Worse, that we should have faith in nothing besides man-- for when we finally lose faith in that, we have lost all possibility of salvation. You may not agree, but I suggest that this is at least one message that most religious horror films attempt to get across. They give us a situation in which faith in man is gone or severely depleted, and the only thing left to save us is belief in something higher.

This isn't so far-fetched, either. Those who do participate in religion or spirituality would agree quickly, and I would literally be preaching to the choir. Something bad happens, and your alternatives are to a) become bitter, cynical, jaded, depressed, etc. or else b) put your faith in God or some kind of deity and believe that it's a challenge, it was meant to be, that you'll be alright-- as long as you have that faith. Even if you're not a spiritual person, there are such things as ideals. If you don't want to become bitter and unhappy, you look to those ideals to save you from a miserable life: duty, loyalty, friendship, love, family, service, selflessness, work ethics, etc.

Faith is a core issue in THE EXORCIST. Chris MacNeil (Regan's mother) isn't religious, and hasn't raised her daughter to be. She's divorced, so all she really has is her daughter and the love they have for eachother which is threatened when Regan becomes "ill." MacNeil uses her money and fame to get Regan the best doctors, but even that won't help. With no hope left in wealth, medicine, or the familial bond she turns to the last place she would have ever thought to look: religion.

This is where she finds Father Karras, who coincidentally is having a crisis of faith. Although he is a priest, he's also trained in psychology. More often than not, he finds himself relying on medicine over faith, and feels at a loss when people come to him with problems that have to do with the latter. He's also struggling with guilt over not taking better care of his elderly mother, so he has family issues of his own.

It's suggested by Kendall Phillips in the book Projected Fears: Horror Films and American Culture that for Chris and Regan, Karras acts as both a priestly Father and a familial father-- they have neither. Although his faith is lacking when he first meets them, it returns full force by the end of the movie and so he fulfills his role as priest to them by using that faith to extract Satan from Regan. He fulfills the second "father" role by taking on Regan's case, agreeing to help her and her mother and finally by selflessly sacrificing himself in exchange for Regan's life and the well-being of the family.

So in the end, although lives were lost in pursuit of the preservation of love and family, Karras has given his life renewed meaning and given someone else the gift of faith. He's absolved of his sins before he finally passes on, so he dies faithful, guiltless and redeemed. Faith in both man and God are re-established simultaneously.

Rosemary's Baby

ROSEMARY'S BABY (1968) is one of those films that tends to fall more easily into the "Thriller" genre than it does "Horror." But time and culture have defined the film as a horror film, one which does in fact frighten its audience.

The movie is definitely the type to leave an impression on an individual, rather than simply making them jump out of their skin a few times. The psychological effect is not limited to a fear of evil, supernatural forces in the world. In addition, and perhaps more importantly, it creates a paranoia and suspicion about other people. We can never really be sure that the people in our lives aren't lying to us, or betraying us without our knowledge. In Rosemary's case this deception just happens to include demonic rape, in addition to the lies, drugging, mental and physical anguish and endangerment of health.

Anyone unfamiliar with this rather well-known film will find a plot that involves a Satanic cult of witches with plans to bring forth Satan's child in a mortal woman's womb. Rosemary and Guy Woodhouse, a young couple moving into a strange Manhattan apartment building, become part of these plans when the cult's original target commits suicide. Guy is seduced by the cult with promises of fame, money and success. He allows his wife to be raped and impregnated by Satan, and lies to her throughout most of the film.

To me, this is one of the most frightening aspects of ROSEMARY'S BABY. Perhaps I speak from a female perspective when I say that the thought of your own husband betraying you in such a manner is absolutely horrifying. It makes you question how much one can really trust another human being. Rosemary becomes stuck, surrounded either by those who have Satanic designs upon her womb, or those who think she is stark raving mad.

I don't know what would be worse, having a loyal and true husband who simply becomes killed or otherwise harmed by the cult, or having one that would sacrifice his wife's body, womb, sanity, trust, etc. for the sake of money and fame. It's sick, and if I were Rosemary I would be asking myself, "What kind of man did I marry? Who could do such a thing to the woman they supposedly loved?" Like many horror movies, ROSEMARY'S BABY makes me question who the real monster is: the demon or the human.

It also makes one think about the message it sends to its viewers. First of all, it encourages distrust. You never really know what kind of person your neighbor-- or even your husband-- is. And like most horror movies, it seems to make a comment about the consequences of its characters' transgressions. ROSEMARY'S BABY in particular focuses mostly on greed and disrespect for religion, particularly Catholicism. Although the movies discussions about religion are brief and almost unassuming, it's made very clear that Guy and Roman, the older male neighbor, are against organized religion-- specifically Catholicism. They disrespect the Pope and question his authority. Rosemary was raised Catholic, but is apathetic about Guy and Roman's discussion and doesn't seem to have a strong opinion about religion.

These two characteristics, among others, make both Guy and Rosemary weak individuals open to the deception and persuasion of a Satanic cult. Rosemary is a bit stronger and smarter, but it's too little too late. She is subjected to some of the most horrific experiences that any woman can go through: demonic rape, fear for her child's life and the inability to trust anyone around her, even her own husband.

Fear No Evil

The 1981 film FEAR NO EVIL isn't exactly part of the Christian horror canon. Its plot attempts to discuss the Anti-Christ and the Second Coming, but has so much working against it that one really can't compare it to a classic like THE OMEN. The movie doesn't get good reviews, perhaps partially because it's easy to pick on. The acting, dialogue, plot and effects are all lacking. It has a great soundtrack, but is awkward at times. The characters are greatly underdeveloped. As far as I know, the story doesn't even have much foundation in actual Christian belief, aside from some of the basics.

Yet, I find myself coming back to this movie every once in a while. When I watch it, I do become involved and affected by it. While it isn't a great movie by any stretch of the imagination, it does have its moments. Perhaps when I watch FEAR NO EVIL, I see those strengths and can imagine what the movie could have been, if not for its failings. So many people (myself included) complain about movies being unnecessarily remade, movies that were great to begin with and didn't need to be redone or fixed. FEAR NO EVIL is one of the cases where a new eye and hand could really be useful.

For example, there is the plot. According to this film, Satan's incarnation on Earth keeps being born, killed and resurrected in a new body as three archangels-- Raphael, Michael and Gabriel-- are also born to each generation in order to pursue and destroy the Anti-Christ. It doesn't match the Bible's take on the subject, but then again it isn't necessary that the movie portray Revelations word for word. Points are awarded for creativity, so let's assume this is simply a new perspective on an old story.

If this were true, a lot more explanation is needed. It's one thing to jump into a story for the sake of immersion, and then begin to explain later on. It's another to completely ignore one's audience or assume that they can read one's mind. More character development also needs to be done. In FEAR NO EVIL, we never learn enough about the main character, the boy who's born the Anti-Christ, nor any of the archangels who are born into human bodies. The movie hints at the obvious complexity that must exist in each of these individuals, but instead wastes time on some seemingly unimportant scenes and characters.

Of course, there's always the potential for a much deeper story where the religious plot plays only a metaphorical role. Perhaps one could look at FEAR NO EVIL as a comment on ordinary people with dual identities; people who are much more important to the world than they, or others may suspect. Or maybe it's a story about the complex and emotionally messy life of a teenage boy living in a small community where he feels totally unappreciated.

Wherever the true substance of the story lies, it isn't fully realized in this movie. I can't argue against obvious deficiency, no matter how well versed in contradiction I might be. However, I can argue that it's underappreciated. There was atmosphere and suspense to the movie at times, and I believe there is an intriguing story to be told. It's simply buried under some of the mistakes that were made.