Why The Exorcist III remains a fascinating,… | Little White Lies

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Why The Exor­cist III remains a fas­ci­nat­ing, flawed hor­ror sequel

09 Dec 2019

Words by Anton Bitel

Close-up of a weathered, middle-aged man with glowing yellow eyes in a dark setting.
Close-up of a weathered, middle-aged man with glowing yellow eyes in a dark setting.
A sense of cre­ative con­flict infus­es William Peter Blatty’s spir­i­tu­al fol­low-up to William Friedkin’s 1973 classic.

The Exor­cist is two, even three films. There is the sen­si­tive, slow-burn­ing psy­chodra­ma of faith in cri­sis that direc­tor William Fried­kin actu­al­ly made, work­ing close­ly with his screen­writer William Peter Blat­ty (adapt­ing his own 1971 nov­el). Then there is the abbre­vi­at­ed ver­sion that plays in our mem­o­ries and in our memes, con­sist­ing exclu­sive­ly of the film’s most sen­sa­tion­al moments – the green pro­jec­tile vom­it­ing, the bloody stab­bing mas­tur­ba­tion with the cru­ci­fix, young Regan’s head spin­ning an impos­si­ble 180 degrees.

A third ver­sion of the film, the so-called director’s (or extend­ed) cut, was assem­bled lat­er, adding more out­takes, most famous­ly Regan’s spi­der­walk’ down a stair­case. Fried­kin and Blat­ty had intend­ed to make a film about one lost priest’s strug­gles to locate his rela­tion­ship with God in a mod­ern, increas­ing­ly sec­u­lar world – but what audi­ences real­ly want­ed to see was the dev­il get­ting all the best tunes.

Some­thing of this schism between filmmaker’s inten­tions and audience’s desires was repli­cat­ed in the pro­duc­tion sto­ry of The Exor­cist III. It was orig­i­nal­ly writ­ten by Blat­ty as a screen­play for Fried­kin to direct, but when Fried­kin with­drew over cre­ative dif­fer­ences, Blat­ty adapt­ed his script into the best-sell­ing 1983 nov­el Legion’. Mor­gan Creek pur­chased the film rights, and hired Blat­ty to direct, but after he sub­mit­ted his com­plet­ed film the pro­duc­tion com­pa­ny realised that they had a sequel to The Exor­cist with no actu­al exor­cism in it.

So they insist­ed that Blat­ty shoot an entire­ly dif­fer­ent, SFX-heavy exor­cism-based cli­max in order to give the audi­ence what it want­ed, and then released this ver­sion of the film under the title The Exor­cist III (it has no con­nec­tion to John Boorman’s much-maligned Exor­cist II: The Heretic, from 1977, although Blatty’s own 1980 direc­to­r­i­al debut The Ninth Con­fig­u­ra­tion was set in the same uni­verse as The Exor­cist, and was in many ways a truer, bet­ter first sequel to Friedkin’s film).

Watch­ing that the­atri­cal cut now, it is per­fect­ly clear that the entire sub­plot involv­ing Father Morn­ing (Nicol Williamson) – a priest with past expe­ri­ence in exor­cisms who is an obvi­ous dou­ble for Max von Sydow’s Father Mer­rick in the 1973 film – has been gra­tu­itous­ly shoe­horned into the nar­ra­tive, and is there just to lit­er­alise the film’s spir­i­tu­al con­flicts with unsub­tle imagery and whizzbang effects. Before that, the film’s focus had instead been entire­ly on Lt Bill Kin­der­man (George C Scott).

Kin­der­man was best friends with Father Damien Kar­ras (Jason Miller) from the orig­i­nal The Exor­cist, and was present when Kar­ras died 15 years ear­li­er. The well-named police­man – gen­uine­ly a kind man beneath his grouchy blus­ter – is now inves­ti­gat­ing a spate of hor­rif­ic and para­dox­i­cal mur­ders that bear all the hall­marks of the ser­i­al killer James Vena­mun (aka the Gem­i­ni Killer), except that Vena­mun had also died 15 years ago on the elec­tric chair.

Played with earthy bril­liance by Scott, Kin­der­man is a decent hus­band and father who strug­gles increas­ing­ly to make sense of all the dis­ease, deprav­i­ty and death in the world around him, and as his inves­ti­ga­tions lead him to the George­town hos­pi­tal where his good friend Father Joe Dyer (Ed Flan­ders) – also an old friend of Kar­ras’ and a char­ac­ter in the orig­i­nal film – was bizarrely mur­dered, he is con­front­ed by a man locked in soli­tary in the dis­turbed ward’ who looks like Kar­ras but claims to be the Gem­i­ni Killer reborn, and whose men­tal ill­ness may be mask­ing a demon­ic possession.

Their ensu­ing con­ver­sa­tions, like Kinderman’s ear­li­er ver­bal spar­ring with Dyer, rep­re­sent an ongo­ing dialec­tic on the prob­lem of evil that is the beat­ing heart of Batty’s film. For while The Exor­cist III is per­haps now best remem­bered for one con­ven­tion­al scare, shot wide in the hospital’s cor­ri­dor after an immac­u­late­ly exe­cut­ed build­ing (and false release) of ten­sion, what stands out in the film far more than its hor­ror beats are Blatty’s wit­ty dia­logue and some extra­or­di­nar­i­ly lived-in per­for­mances (espe­cial­ly, but not exclu­sive­ly, from Scott). Com­pared to all this, the exor­cism sequence at the end feels lazy, cheap and tacked-on.

Includ­ed in this boxset is also the so-called Director’s Cut (reti­tled Legion) assem­bled by Scream Fac­to­ry in 2016. This has been recon­sti­tut­ed from what remained of Blatty’s orig­i­nal, large­ly lost ver­sion – a com­bi­na­tion of incom­plete film and video sources pro­vid­ed by Mor­gan Creek (includ­ing some very poor qual­i­ty VHS copies of dailies) and footage from the the­atri­cal ver­sion. This is more a palimpsest of Blatty’s inten­tions than a defin­i­tive ren­der­ing of them, but it is still a more or less coher­ent ver­sion of the film that tan­ta­lis­es us with what might have been with­out dumb-assed stu­dio intervention.

There is more of that seri­o­com­ic dia­logue between Kin­der­man and Dyer, Jason Miller has been entire­ly replaced by Brad Dou­rif as the Gem­i­ni Killer (in the the­atri­cal cut the role was dis­ori­ent­ing­ly shared between them), there is no Father Morn­ing or indeed exor­cism, and the end­ing is far more down­beat and ambiguous.

If the Gem­i­ni Killer is loose­ly mod­elled on the real-life Zodi­ac Killer (who claimed to enjoy the film The Exor­cist), then there are oth­er gem­i­na­tions in both ver­sions of this sequel, which prove as schiz­o­phrenic in their use of cin­e­mat­ic allu­sions as the Gem­i­ni Killer is demon­i­cal­ly legion in his dif­fer­ent per­son­al­i­ties. Near the begin­ning of the film, Kin­der­man and Dyer go to a screen­ing of It’s A Won­der­ful Life to cheer them­selves up on the 15th anniver­sary of Karras’s death – and indeed this whole film plays like a Satan­ic inver­sion of Capra’s feel-good film, with Kar­ras’ post-sui­cide spir­it forced by a venge­ful demon to wit­ness from the inside all man­ner of night­mar­ish deprav­i­ties that his body is sub­se­quent­ly used to enact.

The cast­ing of Dou­rif as a patient who has under­gone reg­u­lar elec­tro-con­vul­sive ther­a­py and is shown dressed in a strait­jack­et rep­re­sents a clear allu­sion to his break­out role in Milos Forman’s asy­lum-set One Flew Over the Cuckoo’s Nest, while the director’s cut also has Dou­rif using the phrase child’s play’, con­jur­ing the sim­i­lar­ly metempsy­chot­ic ser­i­al killer Chucky whose voice Dou­rif had also recent­ly start­ed pro­vid­ing in Tom Holland’s Child’s Play.

One priest ref­er­ences The Fly (anoth­er film deal­ing with mon­strous­ly divid­ed selves), while extend­ed dia­logue in the Director’s Cut also has Dyer improb­a­bly com­par­ing It’s a Won­der­ful Life to David Lynch’s Eraser­head which, like Blatty’s film, fea­tures dream sequences set in heav­en. These dif­fer­ent inter­texts inform the iden­ti­ty of Batty’s film in much the same way that Vena­mun is an amal­gam of mul­ti­ple trapped souls (and the devil).

Watch­ing The Exor­cist III is a frus­trat­ing expe­ri­ence, with both cuts of the film – one a vic­tim of stu­dio tam­per­ing, the oth­er imper­fect­ly restored – point­ing to the bet­ter ver­sion of them­selves that, like Kar­ras, remains hid­den with­in. Still, they are both a cut above your aver­age sequel, and Blat­ty, once more, dis­in­ters a core of frail, fleshy human­i­ty in all the apoc­a­lyp­tic demonology.

The Exor­cist III is released by Arrow Video in a two-disc Blu-ray edi­tion (fea­tur­ing both a 2K restora­tion of the the­atri­cal cut in High Def­i­n­i­tion and the new reassem­bled Legion’ director’s cut) on 9 December.

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