CaptainHowdy.com The #1 Exorcist Fansite Since 1999
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Ryan is going to be the best man to answer your questions, Paz (welcome back, by the way!) Check out his message boards and information at his Blatty website theninthconfiguration.com
Wow, more from Mark Kermode. That'll be a fascinating essay.
RatBoy, it seems Shout Factory don't have a licensing deal with Warner Brothers, so I assume they can't do anything with a Legion Blu-ray.
Justin uncovered this! I've been meaning to post it but have been having ongoing technical difficulties. I believe he extracted it from a website that has many reels like this one file, and this one was available to preview online. I'll get him to elaborate.
Father Bowdern said:
What granville said and I tend to think of it as a demonic force and to effectively scare the shit out of audiences.
Father B
Yes, I agree. But interestingly, it didn't appear to phase Chris very much. She seemed to be more startled by Karl, rather than the giant flame.
Thanks for your reply. Ok, so whether the giant flame was caused by natural or supernatural forces, I think the question remains: why didn't she have any comment about it?
It just seems like such an odd scene to me, that there was no reaction to the giant flame.
Very nice!
Wish I could wear shirts like this but sadly, they're not my kind of thing.
Justin gave me a heads-up that these guys had something coming. Thanks for sharing! I'll get it up on the main page pronto.
My review of Part 2 and thoughts of the dramatization as a whole:
With the first hour of The Exorcist dramatization tucked away, everything was ready for the second hour to power through to the climactic exorcism. It did exactly that while maintaining an eerie tone and deliberate-yet-precise pace. But was it gripping enough for the exorcism to be effective?
As evidenced in part one, the investigation of Burke Dennings' death by Lieutenant Kinderman is much more prevalent in this audio adaptation; just as it is in William Peter Blatty's 1971 novel. In this second hour, the conversation with Kinderman and Father Dyer takes place, where Kinderman probes about Karras' ongoing business in the MacNeil house. Opening with this scene helps bookend this hour as the story will honor the novel's conclusion.
While Karras is speaking with Regan in her bedroom, the demon suddenly imitates the voice of the deceased Burke Dennings (tying in the episode's opening conversation) for an extended conversation (not like the brief-yet-famous “cunting daughter” line in the film) and begins singing the tune All Things Bright and Beautiful before “his” voice turns back into Regan's sweet, innocent harmonies– an essential gesture to illustrate how different 'its' voices really are. Regan's mother Chris is called into the room and, instead of acting fearful, she proceeds to curse at the demon and behaves like she wants nothing to do with any of it. “Someone has to throw this thing to Hell! Get rid of it, Father…” This frustrated me as the nurturing nature of a loving mother remained completely lost.
Parts of Karras pulling evidence together had to utilize borderline cringe-worthy telegraphing and I can only sympathize with writer Robert Forrest and the vocal actors. For example, when Sharon show's Karras Regan's stomach, she must recite the words “Help me– it says help me. She couldn't have done that herself. The straps are secure,” because anyone unfamiliar with the story wouldn't know what is going on without the visual. It has to be told to the audience somehow. Yet, it's hard to believe anyone would actually say that in the moment. A tough predicament, creatively.
Similarly, when Karras learns the strange language he recorded Regan gargling is actually just English in reverse, the scene plays out pantomimed and the spookiness of this revelation was lost. (Or perhaps I just knew it was coming… that's where being objective while reviewing this was proving difficult.)
Merrin appears out of nowhere. Without mystique, without a knock or a greeting. He accepts brandy in his coffee from Sharon and that's it– he's ready to exorcise. He's as straight forward, passionate and determined as expected, and the performance is very well delivered Ian McDiarmid, but his arrival to the story felt somewhat jarring; which might go to prove that the opening Iraq scenes in both film and novel do wonders for the third act introduction of the mysterious character.
The exorcism itself plays out as a cunning, deceitful struggle between good and an unwavering evil. A piercing, high-pitched tone shoots through the opening moments and creates a genuine grotesque feeling. I found myself honestly wanting it to stop, and I realized that this sound design had done its job perfectly.
The cunning words from Regan; be they sweet and pointed lies to Karras, or devilishly attacking curse words; pulled listeners into her orbit. While Karras and Merrin had traditional responses via the Roman Ritual, she was clearly the center of the room and controlled proceedings, creating a dreaded feeling of her insurmountable odds. This was aided by the fact that the exorcism was essentially (literally) more dialogue driven than the film. Portrayal of supernatural goings-on were cleverly crafted as explanations of their occurrence outside of the scene, allowing the listener to visualize what they just heard rather than have it horribly telegraphed in the middle of proceedings. “Want me to do that trick with the bed again?” teases Regan at one point.
It may have felt at times that the exorcism scenes walking a fine line between not meeting expectations and just suitably delivering, but all doubt was removed when Karras struck Regan. Repeatedly. Finally bursting with anger after the meticulous taunting of his guilt over his mother's death and his fickle faith, and the untimely death of Father Merrin (he comes and goes rather quickly) Karras attacks Regan without restraint. This scene conjured a potent visual in my mind while listening.
“I'll kill you right now! What happens then? What happens if I break your neck right now, you bitch!” Karras lashes out, the spit audibly spattering from his mouth.
“No, please, I want my mother!!” Regan shrieks. No demon voice. Just her sweet, innocent voice frantically begging for mercy.
Karras demands the demon come into “something bigger, something stronger– come into me!!” while choking Regan to the verge of death, her crackling voice gasping for air. And the demon makes it so, entering Karras's soul… then it continues its taunting.
Inside Karras' head, we hear the demon urging him, pressing him, luring him to “kill the piglet”. To tear her face apart. “You want, you need, you must… kill her, Damien.” But in a final show of true faith and ultimate good– Karras commits suicide, lunging out of the window and down the same steps where Burke Dennings met his demise.
For those fantastic final moments I was totally engrossed. I felt a chill rattle my spine and, in retrospect, I can honestly (and thankfully) say the film was completely out of my mind. For me, it made the entire re-imagining worth it.
Just like the novel and the Extended Director's Cut of the film, the final image is that of Kinderman and Father Dyer agreeing to have lunch; “The beginning of a beautiful friendship.” The scene being included would appease Blatty should he ever hear this production and it was a comforting way to close… But I can't help but feel attached to film director William Friedkin's impulse to leave on a more somber tone, given the hellacious struggle all these characters just endured. In my mind the 'happy ending' is when Karras saves Regan by diving out that window. Regan is fine and doesn't remember any of it. Good made the ultimate sacrifice.
Before starting this second episode I had read some online negativity from Exorcist fans who had listened to Part 1. I think it's fair to assume they were listening to the production with the perfection of the film fresh in their minds and their negativity came from the idea that the film was somehow being dishonored. While it's absolutely fair for everyone to have their opinion, I feel those who were voicing their negativity failed to appreciate that this production was not intended for an audience that are diehard fans of the film. It's target audience was people who may have only ever breezed the book back in the day; or had never seen the film.
With this in mind, hearing the production from a fresh point of view (as best as possible), it most certainly delivered on its promise to be a faithful, digest version of the source material: The novel.
But obviously, nothing will ever top the magnificence that was the 1973 motion picture. Nothing.
My review (pasted from the main page)
It was mid-morning here in Australia when Part 1 of The Exorcist dramatization went to air on BBC Radio 4. I had purchased a delicious coffee, closed my shutters and sat in darkness by the dim light of my monitor, listening without bias as best I could while taking down a few notes. This review contains spoilers to the episode, so if you'd rather listen before you read on, I suggest doing so now.
Fans of The Exorcist, especially diehard fans like myself who have seen the film countless times and read the novel on a number of occasions, faced the difficult task of removing themselves from any familiarities and embracing a new approach as the adaptation got underway. Understanding that the larger intended audience for this dramatization would be people who may have never seen the film or read the book some time ago helped me a great deal. It was hard not to compare, but ultimately– this production delivered.
The first thing that struck me was how masterfully writer Robert Forrest reshuffled the timeline, dropping listeners directly into the heart of the story. The sound of a ticking clock brings us straight into the MacNiel home where Lieutenant Kinderman is again questioning Hollywood actress Chris MacNiel and her assistant Sharon about the death of film director Burke Dennings. Regan is already possessed. Chris is already stressed. Kinderman is already investigating Burke's death.
Our introduction to Father Karras in the very next scene has him asking his parish's Father Superior for a transfer so he can be closer to his mother, warming the character right away and laying the foundations of his guilt and rocky faith.
And just like that, with no time wasted, we're in the thick of a captivating story.
Interestingly, there was no mention of Father Merrin whatsoever in this episode. And that's fine– it didn't need it. Not yet.Hearing Kinderman mention Regan was already 'unwell' in the opening lines of dialogue worried me at first. I was concerned her innocence would be completely lost for anyone hearing this story for the first time. But, again, Forrest's fantastic writing had the answer: Chris played a recording Regan made for her father before she became unwell. She spoke about Washington monuments, a graveyard the size of a city and getting a horse. We got to hear how she was before messing around with her imaginary friend Captain Howdy (referred as Mister Howdy in this instance).
While hearing Regan's natural voice before Karras stepped into her room was cleverly handled via the tape recording, the smartest move was to not use clichéd and cringe worthy 'raspy demon voice' which has been so poorly mimicked since The Exorcist (even in its own sequels). Hearing Regan's innocent voice sniping demonic things while talking with Karras had a much creepier feel to it. Even when she interchanged between tones (to illustrate numerous demons inside “the piglet”) it wasn't as distracting as a silly-sounding demon voice might have been.
I don't want to harp on performance because there's only so much you can do with voices and many things need to be telegraphed as a result. So there's bound to be a few hiccups in that regard and I think it's acceptable to let most slide.
Having said that, I must mention how jarring and awfully out of place I found Chris MacNiel during this entire episode.
It seemed she said everything with a snarky bitterness. Perhaps this direction was deliberate in an effort to convey that she, as a mother, is at the end if her wits and desperate to get this problem with her daughter resolved. Unfortunately it unintentionally presented Chris as completely lacking any warmth. She came across as clinical, privileged and uncaring– not the kind of traits I was expecting from a worried mother.
Or perhaps I've just been spoilt by Ellen Burstyn's immaculate performance in the film which perfectly encapsulated Chris' turmoil.Ultimately, though, the focus was clearly on Karras and his struggles, even to the point where the possessed 12-year-old Regan (who, unfortunately, doesn't sound twelve whatsoever) plays third in line; behind Karras and his faith; and second to Kinderman's investigation.
For a digest version of this story, things are still very deliberately paced. Lieutenant Kinderman doesn't introduce himself to Father Karras until the 42nd minute of the hour-long episode, kicking off the second act right before the episode came to a close.
The voices were deliberate and sincere. Importantly, the music and sound design by Gary C. Newman was subtly placed in support of the drama, not in an over-barring manner which so easily could have been the case. It's obvious the drama of this story and these characters is front-seat, leaving the listener to find the chills themselves as they listen.
While eerily similar, everything about this dramatization of The Exorcist refreshingly different. I am eagerly looking forward to part 2 tomorrow.
Download the mp3 of part 1 here.
