By: JWBM
Some come into this world with the intention of making a comfortable place or establishing a name for themselves. Others come into this world with the intention of destroying those same hopes and dreams. Some civilized folk form a fragile life for themselves of family, bond, and love. This thing of the shadows shatters all sense of security and spits on anything resembling value or sensibility. We're dealing with an entity void of emotion, compassion, forgiveness, or any shred of what's conceived as "good." It's the antithesis of holy, and filled with a raging fire to make every action come with a personal brand of hate and loathing. It might take someone who's numb and cynical to it all: someone who hasn't gone weak in the stomach, or isn't shy about seeing the world for what it really is to have a chance to fight back.
A lieutenant, William Kinderman, is investigating a series of meticulous murders that make even the most notorious serial killer look like a sloppy amateur. The crime scenes radiate with an ice cold cruelty; as if there's a higher predatory intellect toying with them. This is a story that's the equivalent of staring evil in the face and having it stare back with tormented, unflinching eyes. If you've ever stayed up late pondering what lurks out there waiting for your guard to be down, you will find it here crawling on the ceiling or standing behind you with razor sharp shears. This is evil of the purist kind. Unabashedly profane and blasphemous in every sense: there is no balance to this kind of wretchedness. It's at the far end of the spectrum where your surroundings are pitch black except for glowing red eyes and a dangerous means to expunge any morals in the world. Grab your cross tightly and don't let go, because this is the stuff people question their faith over, not to mention what the most hellish of nightmares are written about.
This could be looked at as a story of black versus white. Though traditional holy tactics don't always work here, nor do all of the staples that unholy means fall back on. It gives it more dynamic than a you're-only-on-the-left-side, and you're-only-on-the-right-side kind of story. Some of us often wonder what the battle of heaven and hell would look like. Visually it's been occasionally depicted as organized chaos. A busy scene of art that is as glorious as it is eye-opening. Each sword finds its mark and each person knows their place and purpose. One aspect these depictions sometimes lack is that real aspect of fear, grit, and cold-blooded savagery that weighs on the back of someone going to war. This film is entertaining first and foremost, though it's also capable of making you look over your shoulder and clench your teeth from a side never before seen or imagined. It's also chillingly relatable: some may recognize the streets here, the familiar language and mannerisms, or even just everyday mundane aspects now looked at as a little jaded. This is your home town. Where else would the battle of battles take place? But to the familiar places we experience.
"The Exorcist III" found itself in a unique position. It's a sequel for one, that came out after a poor excuse for a second movie at that. The first film was groundbreaking in every sense. The second was a pitiful cash grab that failed in more than one way. The author, William Peter Blatty, however, decided to take back control of his creative work and write a sequel to his 1971 book. "The Exorcist III" is based on the novel "Legion" from 1983, and is the true sequel to the first. Admittedly, when I caught this film after the fact in the 2000s I wasn't sure what to expect, but was then blown away at how effective of a horror experience this was. Especially coming out a good 17 years after the first. I've read both books. The first book is on par with the film. Though, with the second book, I feel the movie ended up being more powerful for its sense of putting you in the moment instead of the constant ramblings from Kinderman that were ultimately distracting. In the film they seem to be more balanced out.
There are certain conveniences here to piece together some scenes. That might be the innocence of author-turned-director William Peter Blatty. Though there are so many scenes that lead up to something memorable, not to mention how effective the overall mood is, that I often overlook them. While the film is no doubt littered with atmosphere and symbolism, there is a certain type of dry humor sprinkled in to lighten up the dark portions. Guess it's to make it so your nightmares are a little more cheery than all-out harsh. Kinderman has a thick skin and a sense of sarcasm from being unshielded to the ugliness of the world on a daily basis. If not for his ability to compartmentalize, it makes you wonder how or why he decided to establish a family in this world.
Another aspect that deserves an award in itself is the use of sound effects and suggestions. It's so effective that I have false memories of this being more violent and visually disturbing than what was actually shown. The direction is also daring in that it's not afraid to go there. I mean, other horror films typically have a certain truce or a pause that gives balance, while this makes it so recognizably safe havens are now filled with looming shadows and memories of terror. Anywhere from a church confessional, a hospital, to even your own kitchen after a day's hard work.
The performances by both George C. Scott and Brad Dourif where simply amazing. Some horror films out there are held together or lopsided by the direction, cinematography, effects, settings, or the soundtrack. While this does the same to enhance the experience and fill in the gaps, it also finds itself in a unique position of having excellent acting by the two leads. Scott, as Lt. Kinderman, isn't spewing line after line, though he brings a certain presence and command to the role each time he's on screen. As if he could turn towards the viewer and be commanding enough for them to get up off the couch and do it. Dourif—as the Gemini killer—on the other hand, is nothing but lines, but delivers them with unique emphasis on syllables and with the tone of his voice that it seems to bypass making the little hairs stick up, and dig deeper to chill your bones.
This is a horror film that I wish I made. It's a film that some other films wish they could have been. It broke down a barrier from some '80s films that had shameless, on-purpose trends and what-was-happening moments, to usher in a wave of horror that felt genuinely horrifying. Recommended in every sense for a truly frightening, enveloping experience that is sure to stick with you afterwards.
Rating: 9.5/10
Director: William Peter Blatty
Actors: George C. Scott, Brad Dourif
Info: IMDB link
Trailer: Youtube link
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