Sinister Summer: Wes Craven’s “New Nightmare”

Before “meta horror” became commonplace, to the point that the once innovative concept has become all too cliche, Wes Craven wrote and directed his triumphant return to the Nightmare on Elm Street franchise (although, he did co-write Dream Warriors). Made, not only for horror fans but also for general horror audiences, New Nightmare is a horror film within a horror film that successfully dances the line between reality and fantasy. One can easily liken that to the very character of Freddy Krueger who exists in our dreams but can inflect real pain. A fascinating parallel! Craven’s revolutionary approach to one of the most iconic franchises in horror history begs the question asked of horror filmmakers whether the effects of the diegesis on screen cross over into the real world, affecting the actions and thoughts of people who love to watch horror films. Beyond the meta nature of the plot of New Nightmare, there is also a self-reflexive element to the plot because the story, lore, and movies of Freddy loops back on itself by confronting the creators of A Nightmare on Elm Street. Wes, Robert “Bob” Shaye, Robert Englund, Heather Langenkamp, and even future horror star Lin Shaye (Robert Shaye’s sister) are all playing themselves, and even referencing the Nightmare movies in the same way we do. Heather even references all the movies in the franchise, not just the one’s she’s in.

While other franchises force a reboot or revival in order to bring back an iconic horror icon–by way of just chalking the return up to being a superhuman, resurrected, or supernatural with little to no reasoning–New Nightmare provides evidence (albeit supernatural) for why more Freddy films need to be made. Therefore, Freddy will appear in one more movie (two more, if you count this one). One more, because we do not count the 2010 remake (it does not exist). While few will dispute that the original A Nightmare on Elm Street is the best, it is quite possible that this self-reflexive entry is the second best. During graduate school, when studying horror films, I used Carol Clover’s pleasurable unpleasure and Freud’s uncanny often when exploring the subtext and themes of horror. Both of these theoretical approaches to reading and understanding horror films are clearly visible in this brilliant story. We get pleasure out of and attracted to that which should repulse us. Therefore, we do not want Freddy to be dead. In many ways, we need Freddy to live, and New Nightmare brings Freddy back for an encore in the present story and Freddy vs Jason. Of course, we’ve had the first appearance of Robert Englund as Freddy in last year’s Halloween episode of The Goldbergs and there is massive social media support for Englund to play Freddy one last time.

It had been ten years since Freddy made his debut in cinemas worldwide! The once near-bankrupt New Line Cinema rose up from the ashes to become a powerhouse of films and distribution. While the first three Nightmare on Elm Street movies are solidly horror, the franchise took a different route than Halloween or Friday the 13th by relying upon comedy to the point that the franchise became a parody of itself. The worst offender being Freddy’s Dead. We watch them because we love Englund as the iconic horror villain, but the movie’s plot and other characters were complete garbage. Fun garbage, but garbage nevertheless. With the downward trajectory of the franchise heading to “direct to TV or DVD” territory, why make another Freddy movie? Simply stated, Bob Shaye said “because the public wants it.” This line is from a Shaye cameo in New Nightmare, referencing the Nightmare movie that is being produced within the film we are watching, but is also very much why New Nightmare was made. Although I have no empirical data to back up this statement, I imagine that Freddy has more fans than Jason or Michael. From his self-deprecating humor, memorable one-liners, and creative kills (despite a low body count), he has found his way into our cinemas, homes, and dreams.

New Nightmare represents a return to true horror for the franchise. Not that Freddy doesn’t have some funny lines, but the focus of the film is on the horror of Freddy manifesting in the real world. Under the direction and writing of the brilliant Wes Craven, the Nightmare franchise was about to get a heaping helping of genuine horror infused back into the series. The strength of this movie is in the script and direction that was about to take horror to new frontiers by pioneering the largely untapped sub-genre of meta-horror. Whereas Craven’s Scream is the definitive meta-horror, he used New Nightmare as the training ground. Therefore, we can consider New Nightmare as the proto-meta-horror film. Upon a close reading of New Nightmare, the groundwork can be witnessed that would support what would become Scream. In addition to exploring a new sub-genre, this film delivers the horrifying, murderous, Freddy that we were first introduced to in 1984 instead of the sinister clown that he became in Freddy’s Dead. Once again, he becomes the centerpiece, only this time his claws are sharper and he’s been given a more sinister makeover. None of this could come together if Englund wasn’t reprising his iconic role. But instead of more blood, Freddy and Craven deliver quality scares, kills, and drama versus shallow kill after kill gore fests.

The central question in this film is: where does the line between fantasy and reality lie? Moreover, is it a dark, bold line or it is one that is blurred or delineated? The first movie was inspired by the series of real articles in the Los Angeles Times that chronicled people who claimed to have been nearly scared to death in their nightmares, but then they actually died. This film takes the idea of a dream-like killer to the next level by using the past Freddy movies as a springboard, as a source of energy for the idea of Freddy to cross over into our reality. What’s crazy is that we have witnessed this IN real life. Here’s a great example: in Se7en, the film never actually shows Gwyneth Paltrow’s head in the famous box; however, countless people report to have seen her head in the box. It is an idea that is so largely collectively shared that it becomes part of our reality. So, Craven is taking that same idea and applying it to A Nightmare on Elm Street. The fascination I have with this particular installment in the franchise is just how brilliantly Craven dances that line between fantasy and reality; he does it in such a way that it comments on our fascination with horror movies. Much like Craven’s line I referenced earlier is both about the movie within the movie and about us (the audience), Heather Langenkamp questions “don’t you people ever think about the effect your movies have on the people who watch them? A question for (1) Craven and (2) Shaye in the film and (3) by extension, a question to us (the audience). Deep, right?

The concept of Freddy crossing over from the screen to our world is a fascinating approach to take in this film that laid the groundwork for Craven to forever change the landscape of the American horror film just two years later in Scream. Craven’s masterful grasp of horror storytelling is highlighted in his speeches within the film. Furthermore, his years as a humanities professor certainly provided a critical lens through which he analyzed what makes horror special. There are few other writers/directors who understand the genre as well as Craven did. I absolutely love the idea Craven posits in the film that when a horror story dies that an evil force is released upon the world because it needs to live somewhere. And if not in its story, in our world. A terrifying prospect. Furthermore, once can extrapolate from Craven’s monologues in the film that we need horror films to contain as much of the evil in the world as possible. These films keep nightmares from consuming us in real life. He urges us to keep these stories alive because they are how we work through so many of life’s perils, traumas, and conflicts that tap into our most primal fears.

You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, let him know and you can join him at the cinema.

Ryan teaches screenwriting at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter!

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Twitter: RLTerry1

Instagram: RL_Terry

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“Knife + Heart” French Horror Review

As heard on One Movie Punch

Brian de Palma’s Dressed to Kill meets William Friedkin’s Cruising in this 1970’s inspired French slasher. Throw in a splash of Black Christmas and the concept of dealing with the heartbreak of loss, and you have this spectacularly haunting slasher. To the casual observer, this film might seem like an auteur’s masturbatory dream; but upon closer examination, the many layers to the story reveal a motion picture that is just as concerned with its messages as it is the medium through which it expresses the narrative. At the center of this film is one poignant message of social commentary: the panic of being gay in a potentially hostile world. While the killings are explicitly violent, the sexuality is not. Gonzalez keeps the focus on the mystery of the identity of the serial killer preying on the actors of the blue films within this film instead of the sexuality being in the forefront of the plot. It’s just as much a whodunit as it is a campy slasher movie.

For the podcast review, click HERE.

It’s Paris, summer of 1979, and gay porn producer Anne finds herself suddenly single when her editor and lover Lois leaves her. To win her back, Anne sets out to produce her most ambitious film yet with her assistant producer, the flamboyant Archibald. Following the brutal murder of one of Anne’s stars, she gets caught up in a bizarre “Black Dahlia” like investigation that turns her life upside-down. When more and more of her stars wind up victims of the sadistic killer, she finds herself in a whodunit of cinematic proportions.

There is also a time capsule of sorts in this film as it takes place in 1979, just before the AIDS crisis, much like Cruising. But this — what could have so easily been simple a throwback gay exploitation horror film — is a comprehensive motion picture that uses the setting of Paris 1979 to reflect upon the present state of affairs for the queer community, and the world in which they live today. As the content of this film is extremely dark, there was need to inject some comedic relief into it in order for it not to become too heavy. So while you may be cringing at the kills, especially the first few ones, you will have moments of levity that keep the emotional rollercoaster going. Moments of comedy are very important to a horror film. If a heavy horror film lacks moments that make you laugh, then it becomes too heavy and off putting.

Clearly inspired by the films of Argento, de Palma, and even Kubrick, Gonzalez shows a command of the screen and the power of the moving image coupled with emotion communicated through colors, shapes, and angles. Despite being made in the 21st century, the film has an exquisitely recreated vintage sound, look, and feel. The dream-like colors, horror tropes, and synth score composed by M83 work together to create a film that is truly “dressed to kill”. In terms of the screenwriting, the film’s opening is extremely strong and expertly hooks the audience. Following the shocking opening, the plot and characters seem to take a backseat to the imagery, emotion, messages, and directorial style.

Gonzalez may look similar to de Palma and Friedkin, but he lacks their emphasis on a narrative that showcased exemplary character drive supported by the action plot. Evidence of this lack of direction and plot can be witnessed in the film’s repetitive scenes in acts two and three. After such a terrific first act, the second and third acts don’t play out as effectively, and often feel like they’re in a holding pattern. Even the kills eventually lose shock value because the uniqueness fades after a while. While the film successfully depicts the horrors of being gay in a world that wants to see you dead, the plot feels thinly stretched.

However, holding the film together, and keeping it gripping, is the character of Anne, because her performance is outstanding. We may not fully buy into why she does what she does, because so much seems to be so unrealistic even for that time; but she definitely comes across as a real person through whom we connect to the story. We’ve all been heartbroken, so we can identify with her trauma following being dumped by Lois.

In short, “Knife + Heart” does so many things very well, but the plot is not executed with the same caliber as the film’s visuals. Perhaps it is due to having bits and pieces of so many different genres and even plots. Essentially, Gonzalez tries to balance a tormented lesbian love story against a homophobic serial killer movie. Both point to the message of being gay in a hostile world; but had the focus been on one or the other, instead of both, then narratively, the film would have worked better. Thankfully, the artistic achievement of this film works to compensate for the lack of proper pacing and plot development. For fans of immersive artistic horror or erotic whodunit films like the original Suspiria, The Black Dahlia, Cruising, or Muholland Drive, this is definitely one to check out.

Knife + Heart is included with Shudder (highly recommended for horror fiends like me) or available for rent on Amazon Prime.​

  • Rotten Tomatoes: 82% (Certified Fresh)
  • Metacritic: 69
  • IMDb: 6.3
  • One Movie Punch: 6.0/10

Podcast: onemoviepunch.libsyn.com/episode-542-knife-heart-2018

You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, let him know and you can join him at the cinema.

Ryan teaches screenwriting at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter!

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Twitter: RLTerry1

Instagram: RL_Terry

“Crisis Hotline” (2019) Indie Film Review

Erotic thriller with a shocking twist. Mark Schwab’s Crisis Hotline is an indie film that is reminiscent of Psycho IV, yet is budding with originality. It’s not often that we see fresh or original interpretations of past premises, but this film provides audiences with a new lens through which to explore heartbreak, guilt, and abuse of power. The small cast and two primary locations allow audiences to focus on the conflict between the crisis hotline operator and the caller. But down the rabbit hole the audience goes as the caller elaborates on why he is making a decision to harm himself and others. Despite the excellent hook provided by the opening scenes that setup the intriguing premise, the tone of the film shifts back and forth from heavy drama to psychological thriller to an erotic love story. Thus, leaving the film searching for what it wants to be. The screenwriting suggests that the writer was experimenting with genre, but didn’t commit to any one to a signifiant level, so there are tropes of all the aforementioned. What sets this film a part from many others that possess some of the same characteristics is that it features a predominantly gay male cast. What I appreciate about the characters is that their sexuality isn’t the focus of the story; truthfully, you could replace this cast with a heteronormative cast, and the story could play out similarly. However, the choice to make the characters gay does allow Schwab to explore relationship dynamics not often seen in films. While the premise may be intriguing, the execution lacks precision brought on by the underdeveloped plot and mostly flat characters.

A race-against-time thriller that highlights the potentially darkest sides of the social media phenomenon. Jaded by the job of managing an LGBT crisis line, Simon (Corey Jackson) finds that most of his callers are using the service for reasons that would qualify as being certainly less than a crisis. That all changes when he gets a call from Danny (Christian Gabriel) who says he is in the process of killing himself. Instantly gripped by his first real case, Simon does his best to connect with Danny and find out why he has come to consider such a drastic action. As the tale of Danny’s journey is unraveled through the use of flashback sequences, we discover a young romance, a troubling network of individuals, and a dark secret. (IMDb)

Although the characters are mostly flat, that doesn’t mean that they lack relatability. In fact, the characters of Simon and Danny are highly relatable. We’ve all been jaded over something in our lives. Maybe it’s failed relationships or perhaps it’s work related. Whatever the case, we’ve all been there. Simon goes into this shift with the same feelings that some of us may have experienced in our own jobs. Those in the service industry can definitely relate to that. Maybe you’re a Danny; you know what it’s like to be the new guy in town without a system of established friends and trying to date. Or you’ve been betrayed by someone you loved after having gone a long time just going through the motions of dating to the point you can provide an analytical breakdown of the steps, rises, and pitfalls. When Danny calls Simon to explain why he is intending to do himself and others harm, we can place ourselves in Danny’s shoes because perhaps we have been extremely heartbroken over a terminated relationship. He is our conduit through which we experience the plot of the film. He is a de facto narrator, and as such, because he is expressing suicidal and homicidal ideas, he is established as an unreliable narrator. But we have no choice but to listen to him because he must provide “the context” for Simon to process the severity of the call. Simon must establish the legitimacy of the call before contacting the authorities because there have been many false crisis claims in the past. In many ways, we are like Simon, listening to every word and trying to piece together the puzzle. There is no dramatic irony in this film, so we learn as Simon learns. The scenes of Simon listening to Danny are the scenes that I feel work best because that is when tension is at its highest.

Without getting into spoiler territory, I want to touch on how the film explores heartbreak, guilt, and abuse of power. Heartbreak is evident from the onset because the caller speaks to his broken relationship with Kyle. But when Simon suggests that the caller is going to extremes over a bad breakup, the caller draws Simon in closer to reveal the sordid, disturbing context of the broken relationship. Though Simon listens to a soft spoken Danny on the phone, it is clear that he is experiencing immense psychological pain. The heartbreak is more than sadness over a relationship that is over, it goes much deeper because of the sadistic betrayal that is slowly revealed over the phone call exposition. In addition to the exhibited heartbreak, the caller hints at the guilt he feels for some of his decisions, but the full extent of the guilt is not realized until the end of the film. I appreciate the film exploring not only the heartbreak of relationship loss, but the guilt parties feel in the aftermath. Lastly, the film comments on gross abuse of power. Through the conversation on the phone, Simon learns that Kyle’s employment may not be on the up and up, despite Kyle explaining to Danny that his employers were not involved in anything illegal–just sleazy. But Danny slowly begins to understand the degree to which Kyle’s employers hold him a captive employee. While the focus is on Danny and Simon, the film provides context for the audience to realize that the love of money is the root of all evil, and can reduce people to zeros and ones. Evaluating persons as a commodity is a dangerous slope that can lead to one’s destruction.

Thematically, the film works very well. The premise feels fresh, and the character setups are interesting. The weakness in this film falls on the screenplay that lacks direction. Although the plot is initially interesting and starts out gripping, it was stretched too thin to fill a 90min run time. Thankfully, the twist at the end helps to justify having sat through the poorly paced scenes. Not that this needed to be a quickly paced film; on the contrary, this is a story that needed to be a slow burn. But a slow burn does not mean that scenes should be poorly paced or longer than they need to be. Alfred Hitchcock stated, “start your scene as close to the end as possible.” And to Crisis Hotline’s credit, some scenes are tight and effective. But there are many that feel like they could have moved the plot along more efficiently. While I may be coming down hard on this film for it’s weak plot and lack of character development (when there was such an opportunity to explore these characters further), it provides audiences with a some great atmospheric scenes, a believable love story, and some rather suspenseful moments. I appreciate the film for not including explicit sex scenes, because then it’s entirely possible that it may have felt too close to a porno with a loose storyline. It has a good story idea with relatable characters and an intriguing premise.

You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, let him know and you can join him at the cinema.

Ryan teaches screenwriting at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter!

Follow him!

Twitter: RLTerry1

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Hagrid’s Magical Creatures Motorbike Adventure Review

I finally had the opportunity to experience #HagRide at the Wizarding World of Harry Potter at Universal Orlando Resort. After two previous attempts to ride the mindblowing attraction, I was able to mount my motorbike and be hurled into a world of adventure. My experience was enhanced because my sister and brother-in-law were visiting, and we got to ride it together for the very first time! Additionally, I was able to share the experience with my friend Dani (her review here) because she was just 30mins ahead of us in queue–we found out each other was at the park in queue for HagRide on Twitter–small world! If you’ve heard it characterized as a storycoaster, you’ve heard correctly. HagRide represents the best of coaster and dark ride technologies all rolled up into one innovative attraction that is unparalleled by any other I have experienced. And if you’re like me–averse to the proliferation of screen-based attractions–then you’ll be immensely delighted that this storycoaster is full of practical effects, sets, props, and groundbreaking animatronics. And to answer the question that is likely on your mind, I only waited for 1.75hrs. Would’ve been 1.5hrs but it was momentarily delayed–no surprise there. Is it worth the 3+ hour wait that many are still reporting? For that, I will not provide commentary; however, my brother-in-law who isn’t a big theme park fan because of the wait times said, and I quote, “that was worth the wait.” Thankfully we had unlimited Express Passes because we were staying at the Royal Pacific Resort, but HagRide does not offer an Express Pass queue nor does it open during the hour-early resort guest hours. Bottom line, this coaster is one that you do not want to miss during your visit to Wizarding World Orlando!

I feel that I have been in the Forbidden Forest ever since I began receiving the Press Releases containing artwork, progress photos, and descriptions of the highly anticipated addition to Hogsmeade at Universal Orlando. Every time I read about a new magical creature or the animatronics, I grew increasingly excited. Unfortunately yours truly still isn’t important enough to Universal to be invited to the media events, but I am glad that I at least get the media emails from the resort to keep up with the goings-on at the park. Thankfully, I can now provide you with the review of my first time on the motorbike (I rode the motorbike, my sister and brother-in-law were directly behind me in the motorbike/sidecar respectively). Although it is not fair to compare it to any existing theme park attraction because of its uniqueness, if you compare it to the two existing Harry Potter attractions, then it has the ride vehicle innovation of Forbidden Journey and the storytelling of Escape from Gringotts. The queue and attraction include more than 1200 live trees to truly immerse you in the forbidden forest. Longtime visitors to Islands of Adventure will recognize parts of the queue as belonging to the former Dueling Dragons turned Dragon Challenge coaster. I love looking for the remnants of the past as incorporated into new attractions.

The story begins in the queue–specifically–the preshow (from which, you are looking at 45mins to 1hr wait). Just as Dumbledore opened Hogwarts to muggles, the premise for the story found in Forbidden Journey, Hagrid opens his Magical Creatures class to muggles! Love the parallel there. During your tour, you will encounter magical creatures with which you are familiar and a brand new hybridization created by Hagrid known as Blast-Ended Skrewt. During the preshow, you also get a first-look at your ride vehicle, Sirius Black’s flying motorbike (that you can also see in the video on the Hogwarts Express as you travel from Diagon Alley to Hogsmeade). After the preshow and prior to mounting your bike, you continue to meander the labyrinth of hallways filled with dragon and other creature eggs, graffiti from Hogwarts Students dec the walls, yes even venders selling food and drink in queue because of the long wait time. Because Hagrid loves the students, their sneaking around and all, he is wokring with Arthur Weasley to finish the train of motorbikes that will take students and you out into the Forbidden Forest in large groups to see the Blast-Ended Skrewt. Of course, something goes terribly wrong and hijinks ensue! Prepare for the ride of your life as there are launches, twists, turns, and even some pitfalls along the way.

HagRide excels in both its delivery of the narrative and spectacle. It is both impressive from a technical marvel perspective and experiential one. The long and short of it is that HagRide is FUN! You will want to ride it again and again. Although you will probably not want to wait 3+ hours, time and time again. Whereas I do not typically scream on or truly get lost in an attraction, this one successfully transported me to the Forbidden Forest in both mind and body. I screamed and whoah’d multiples times! Not knowing what lies ahead held me in suspense, and delivered in spades, after every windup. I was holding onto the handlebars of the motorbike as if I was actually on one. If I closed by eyes, I’m confident that I would truly feel that I was on a motorbike zooming through a forest. Every moment, every prop, set piece, and turn earns your screams and laughter! You’ll be captivated by the production design and incredible animatronics the entire time and even after you exit the attraction!

Impressive. That is the one word, aside from fun, that truly captures what it is like to experience HagRide. The combination of technologies integrated into the design of the attraction has never been seen before. No flight simulator can replicate what Universal Orlando Resort was able to deliver in this attraction. There is even a moment that you shot up a nearly vertical ~70ft track section, just to pause for a few seconds then shot backwards through the dark–think Expedition Everest, but BETTER and more intense. That’s not the surprise that awaits you on HagRide, there are seven launches and a 15ft drop (won’t tell you were it is). There was such a huge possibility that the focus could have so easily been on the technology–see what we can do now–but I am pleased to report that the technical advancements never take away from the narrative. There is a perfect balance of spectacle vs narrative; the show and ride technology serve the park guest by enhancing the experience. HagRide effortlessly weaves the story into the mechanics of the attraction in such a manner that you will truly want to experience it again and again to witness what you may have missed on the first time around. I certainly need to return for more re-rides to continually take everything in.

With so much to see on HagRide, you will likely notice some detail in the queue or on the ride that you may have missed before. Definitely make the time to experience Hagrid’s Magical Creatures Motorbike Adventure!

You can catch Ryan most weekends at Busch Gardens Tampa, SeaWorld Orlando, Universal Orlando Resort, or Walt Disney World. So if you’re in the area, let him know and you can join him in the parks.

Ryan teaches screenwriting at the University of Tampa and has been writing on theme parks for more than five years. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter!

Follow him!

Twitter: RLTerry1

Instagram: RL_Terry

Sinister Summer: “The Exorcist” Retrospective Review

Pea soup anyone? Not only one of the most profitable horror films of all time, William Friedkin’s The Exorcist remains timeless. Celebrating its 45th anniversary last year, this truly is the definitive possession horror film. Thematically, it takes the concept of the external “monster” and moves it into the mind and body (of a little girl). In many ways, Linda Blair’s Regan takes the psycho-social horror of Psycho and combines it with a classic monster and adds in a Rosemary’s Baby spin. This trifecta of excellence works together in order to provide the plot and characters of The Exorcist with substance. Much like Psycho was the first modern horror film and proto-slasher, The Exorcist is widely regarded as the first modern possession film. There are elements of possession in Rosemary’s Baby, but I don’t technically consider it a possession film. This film also takes the idea of the “home invasion” to the next level by having the innocent Regan’s body invaded. There are many past horror films that were once viewed as terrifying, but over the course of time, do not evoke the same degree of fear in contemporary times; however, this is a film that remains nightmare-inducing for many who are brave enough to watch it. Furthermore, adjusted for inflation, it remains among the top 10 highest grossing films of all time.

For more than 40 years, this was highest grossing horror film of all time (until 2017’s IT), this is the one that started the possession film sub genre of horror. A visiting actress (Ellen Burstyn) in Washington, D.C., notices dramatic and dangerous changes in the behavior and physical make-up of her 12-year-old daughter 9Linda Blair). Meanwhile, a young priest (Jason Miller) at nearby Georgetown University begins to doubt his faith while dealing with his mother’s terminal sickness. When the little girl begins to spiral violently out of control, lashing out at her mother and everyone in the Georgetown manner, and even levitating, her worried mother seeks medical help, only to hit a dead end. The young priest, however, thinks the girl may be possessed by a demon. The priest makes a request to perform an exorcism, and the church sends in an expert (Max von Sydow) to help with the difficult job.

While many films prior to The Exorcist depicted the occult, few (if any) have endured like this icon of horror has. Perhaps what frightens us most about this film is the fact of how close to home it hits. The MacNeil family could be our own or our neighbors. By default, the very setting and atmosphere of the film is relatable and realistic. There is a high degree of vulnerability on display. Not only can our homes be invaded, but our bodies can too. Whereas some may only see the effects of the demonic possession and focus on them (the vomiting, masochistic behaviors, or focussed vulgar profanity), these are all incidental. The point of The Exorcist is to provide social commentary on dehumanization and how evil forces and behaviors can affect us in such a way that we feel like animals unworthy of God’s love. But no matter how dark times get, redemption is possible. Whereas demonic possessions are not a daily part of our lives, by extension, this can be explored as a metaphor for the dehumanization witnessed today such as sexual assault, physical/emotional abuse, and other ways in which people are devalued.

There are few films that I would say this about–The Exorcist is a perfect film. Other examples are AlienPsycho, Sunset Boulevard, and The Shining. Compared to the schlock-fest horror movies that we often get today (until more recently with films such as Hereditary, Midsommar, and Us), this is a beautiful, bold work of cinema that pushed the envelop then, and even pushes the boundaries by today’s standards. There is a sense of prestige about this film; and not just a classy for the sake of pretense–there is a sense of purpose in this motion picture. Do all horror films need to mean something deep or provocative? Certainly not. Some have the purpose to simply entertain, frighten us, or even make us laugh. But The Exorcist is a special horror film in that there is immense depth to the story that takes us to incredibly dark places–to the point of no return if you will. Then in a brilliant fashion, turns it into a story of sacrifice and redemption. Not only was this one of the most frightening movies of all time when it was release din 1973–commonplace as possession movies may seem now–this was groundbreaking back then, it was also nominated for multiple Academy Awards including Best Picture! This was the first time that a horror film had ever been nominated for this most prestigious award. Furthermore, there are few other films that come with such an infamous status inspiring legends, curses, and more. Much like with Poltergeist, this film has also spawned macabre rumors. Everything about this film: direction, screenwriting, cinematography, cast, set design, score, and the editing work flawlessly to combine to become one of the greatest films ever made.

In screenwriting, there are two types of plots: action-driven and character-driven. That isn’t to suggest that an action movies don’t have great characters (Die Hard certainly has great characters) nor does a character movie lack gripping action (Nightcrawler has great action sequences), but the principle focus is on one or the other. Look to see wherefrom the conflict is derived. In a character-driven film, the conflict is derived primarily from characters, whereas in an action-driven movie, the conflict is primarily derived from the action. The characters of The Exorcist are utterly fascinating and relatable. We might remember Regan the most from the movie, but the other lead and supporting characters are also incredibly interesting. Part of the reason why this film resonates with us so, and is the material of nightmares, is because of how realistic it is, despite the supernatural element; this realism is brought to life by the incomparable performances. There is so much more to this movie besides the spinning head, spiderwalk (in the director’s cut), and the famous pea soup scene. Those scenes, and others, contribute to the overall experience of the film, but it’s the character-driven conflict and relationships that keep us coming back. Not only do we come back to the film over and over for the character, but we were able to experience memorable scenes and action sequences for ourselves at Halloween Horror Nights 26 at Universal Orlando.

Before we talk about the most famous character from the film Regan, let’s analyze the other two leads and chief supporting character: Regan’s mom Chris MacNeil (Ellen Burstyn), the young priest Damian Karras (Jason Miller), and the exorcist Father Merrin (Max von Sydow). Both Burstyn and Miller were nominated for Academy Awards for their respective performances.

Chris MacNeil is first and foremost a mother, but her acting career is also important to her. But when her daughter needs her, she is willing to put her career to the side to go to great lengths to help her. Beyond her role as a mother, she represents a person whom does not have faith in God. She is also faced with the life crisis of growing frustrated with her divorce and career as a mainstream actress. Father Karras is a highly educated man of faith, but his faith is strained because of his mom’s illness and death, causing a crisis. He is struggling with what many of us struggle with: if God is love, then why do bad things happen to good people? Furthermore, he represents the qualities of self-sacrifice and redemption, as well as personifies the empathy of psychiatry and a pragmatic priesthood. By extension, Father Karras can also be read as someone whom exemplifies that “science” and “faith” are not independent of nor negate one another. Lastly, Father Merrin is not only the very silhouetted image that is engrained in your mind when you think of this movie, but he is the inverse of Father Karras in that–whereas Karras is a pragmatic priest, Father Merrin is a zealous priest. Because Merrin was unable to defeat the demon Pazuzu (the one that possesses Regan), he is faced with his own redemption story. He is also going through the life crisis of failing health.

All three adults are each faced with their own respective crises that are explored through the possession of this little girl whom is also facing her own biological life crisis of puberty. Without knowing much about any of these characters during the first act of the film, we know that each one is vulnerable and doubts their own abilities and the direction they are going in life.

Central to The Exorcist is Regan (played by Linda Blair). Regan is both our central character and our character of opposition. Technically the character of opposition is Pazuzu, but the demon is manifested in Regan. Much like with her adult counterparts, Regan is also facing a crisis. She is experiencing what every young person goes through (to a greater physiological extent, girls)–puberty. As we know, at that stage in life, the human body undergoes what can be equated to psychological and physiological trauma. This trauma is manifested in the behaviors that we witness on screen from Regan’s explicit language and masochistic sexual assault. Regan can also be read as a home that has been invaded by an external monster, but this monster has not only defiled a home but has gone further, and more intimate to defile an innocent girl. Essentially, we’ve taken the idea of the external monster and placed it in the mind and body to exponentially increase the level of trauma and terror. Through another lens, we can witness the conflict that exists between parents and adolescents in which parents may view their kid(s) as a monster that has taken over the previously agreeable, obedient child, and how both parties must work through the conflict in order to emerge healthier and closer.

From page to screen, the cinematic excellent continues. The Exorcist is full of nightmare-inducing special effects that stick with you for the rest of your life. Not only does the very image of the transformation terrify the eyes of the audience, the minds of the audience are also confronted with the frightening realization of what the demon is doing to Regan’s body. From swearing at the central characters every chance it gets to displaying severe traumatizing masochistic behavior, the brutality is intense as you have sympathy for this young girl that you established a connection with from the beginning of the movie. One of the elements that I find particularly interesting, given the extent to which special effects are used, is just how real the movie feels. The supernatural elements of the story could have very easily pushed the film into the unbelievable category (like many others), but William Friedkin’s cinematic masterpiece stays grounded in reality. Looking to the characters themselves, the performances are so genuine that you feel that you are going through the very same crises that are on display. For those whom believe possession is real, it hits scarily close to home; and for those whom are skeptical, it is an equally terrifying possibility.

The showdown and realization of the film are just as deep as the first and second acts by playing around with the externalization of that which was internalized and the physical and mental journeys of the characters. Not only is duality and possession shown through the context of demon possession, but the film also comments that internalized physical and psychological trauma can be a powerful force that ostensibly takes control on ones body. And that is another reason why it still terrifies audiences to this day.

You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, let him know and you can join him at the cinema.

Ryan teaches screenwriting at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter!

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