The exorcism genre may not be considered mainstream in the Hollywood system, but it has indeed delivered some highly acclaimed contributions, such as "The Exorcist.", a widely regarded scariest horror film. It has also given audiences the opportunity to witness characters like John Constantine, portrayed by Keanu Reeves, in one of his most iconic roles, where he exudes a charming and rogue-like charisma.
Indeed, the exorcism theme, particularly in the case of characters like John Constantine, has a distinct comic book style. Since it's adapted from comics, it's often more inclined towards commercialization. This is because the thrilling elements are often diluted by the heroism of characters like Constantine.
For many viewers, the exorcism genre is like an abyss:
- When you gaze into the abyss, the abyss also gazes into you.
- You can't look away, yet you're afraid to move forward.
- It's one of the genres that best embodies the essence of horror films—seeking protection in terror, looking down into the abyss from behind the safety barrier.
From the phrase "In God We Trust" on its currency to the tradition of U.S. presidents taking the oath of office with their palms on the Bible, religion has held a significant place to America from the beginning. Looking at the history of film development, "Samson and Delilah" ignited the trend of biblical epics dominating the box office market in the 1950s. Films like "Captain Horatio Hornblower" (1951), "O. Henry's Full House" (1952), "The Robe" (1953), "The Ten Commandments" (1956), and "Ben-Hur" (1959) appealed to the 60% of Americans whose way of life are linked to the church. These lavish biblical films with epic themes were a perfect match for the emerging widescreen technology.
Which show then brought the exorcism genre into the spotlight, especially in the eyes of Chinese audiences? It was "The Exorcist" from 50 years ago that truly accomplished this feat. Although it didn't lead to an immediate boom, over the past five decades, several successful and highly regarded films in the same genre have contributed to its popularity and box office success.
"Constantine," "The Conjuring" series, "The Last Exorcism"...
Gradually, a fixed pattern for exorcism-themed films has emerged for the audience:
- An innocent and vulnerable possession target.
- Supernatural phenomena after possession.
- An exorcist who is not necessarily a saint.
- Hidden sins.
- Unfamiliar Latin rituals throughout.
- A hidden conspiracy by the demons.
- Beyond providing the audience with sensory horror, the more realistic the portrayal of the story, the easier it is to resonate with the audience's everyday beliefs and values, achieving a more profound effect.
As a result, you'll notice that films in this genre often draw inspiration from real-life events, with the most famous being the original "The Exorcist" and the powerhouse IP "The Conjuring" series.
Especially in the case of "The Conjuring," when audiences hear actual historical recordings or encounter the real Annabelle doll, it doesn't lead to the typical sigh of relief seen in other horror films at the end. Instead, it keeps the audience in a state of high-pressure tension throughout. This tension is different from the traditional Western jump-scare effect and is more akin to the lingering unease often found in Japanese horror films.
Innovation within the exorcism genre goes beyond the elements mentioned before. It also includes reversing the traditional theme of good overcoming evil. For example, "The Last Exorcism" incorporates elements of detective reasoning into the exorcism process, "The Conjuring 3" blends religion and law into a courtroom drama, and "The Exorcism of Emily Rose" explores legal and religious aspects of the story.
"The Pope's Exorcist" is one of the most pure and orthodox exorcism films in recent years. In this film, we see only the suffering of the victims, unwavering faith, and human flaws.
This film can be seen as a return to the style of "The Exorcist," but its ending is a bit more commercially oriented.
In "The Exorcist," the emphasis at the end is about sacrificing for faith, while in "The Pope's Exorcist," I feel it's more like setting up the possibility of a sequel.
The majority of this film's focus is on Father Gabriel, played by Russell Crowe, while the victims get less attention. When compared to "The Conjuring," it becomes evident that this film has less emphasis on the victim's family in terms of their relationships, character development, and even the manifestation of supernatural events after possession. Especially in terms of jump scare elements, this film is quite unique, with only a slightly novel approach seen in the later part when the female host is pulled under the bed by the demon.
The film begins with an unrelated "exorcism" incident as an introduction to establish Father Gabriel's character. He is portrayed as experienced, empathetic, wise, yet burdened by a hidden "sin" from his past – something he can't speak about openly, stemming from having faked his own death to escape Nazi slaughter and his inability to prevent the suicide of an innocent young girl.
We can see that Father Gabriel has two sides to his life and work, maing him a more complex character. While he usually presents a righteous and virtuous image, he is also an older man with various quirks in his personal life. He enjoys a drink, occasionally flirts with younger nuns, defies authority figures, and leans on his age and experience. He only shows humility in the presence of his teacher, the Pope.
The character of the Pope in the film serves mainly to reference the film's title and doesn't contribute significantly to the plot. He plays a decorative role.
Father Gabriel's partner, the young priest Father Esquibel, has a role in the film that closely resembles Father Karras in "The Exorcist." The dynamic between these two characters, their positions, roles and story arcs, are nearly identical in both films. The young priest starts as a rookie, displaying his immaturity and impulsiveness, and eventually becomes the key to the resolution in both films.
The biggest difference between the two films lies in the portrayal of faith. In "The Pope's Exorcist," faith is portrayed as strong enough to overcome all evil and human sins, leading to a triumphant victory. This victory, compared to the brutal sacrifices seen in "The Exorcist," is more acceptable to the audience and has more commercial appeal.
However, such a triumphant ending has become relatively rare in recent years. Films like "The Last Exorcism," "The Wicker Man," "The Witch," and others have endings that are far from being entirely optimistic. While these films can achieve critical acclaim, from a commercial standpoint, if the main character sacrifices themselves, it can be challenging to continue the story with new protagonists.
