Exorcist II: The Heretic (1977)

User Rating:

3.5/10   

Director:

John Boorman

Writers:

William Peter Blatty (characters)
William Goodhart (written by)

Release Date:

17 June 1977 (USA)

Genre:

Fantasy | Horror | Sci-Fi

Tagline:

It's four years later...what does she remember?

Plot:

A girl once possessed by a demon finds that it still lurks within her. Meanwhile, a priest investigates the death of the girl's exorcist.

Plot Keywords:

Demon | Priest | Locust | Africa | Exorcism

Awards:

1 nomination

Cast

Linda Blair	...	Regan MacNeil
Richard Burton	...	Father Philip Lamont
Louise Fletcher	...	Dr. Gene Tuskin
Max von Sydow	...	Father Merrin
Kitty Winn	...	Sharon Spencer
Paul Henreid	...	The Cardinal
James Earl Jones	...	Older Kokumo
Ned Beatty	...	Edwards
Belinda Beatty	...	Liz (as Belinha Beatty)
Rose Portillo	...	Spanish Girl
Barbara Cason	...	Mrs. Phalor
Tiffany Kinney	...	Deaf Girl
Joey Green	...	Young Kokumo
Fiseha Dimetros	...	Young Monk
Ken Renard	...	Abbot

Also Known As:

Exorcist 2: The Heretic (USA) (alternative spelling)
The Exorcist 2 (International: English title) (informal alternative title)

Runtime:

118 min

Country:

USA

Language:

English | French

Color:

Color (Technicolor)

Aspect Ratio:

1.85 : 1

Sound Mix:

Mono

Certification:

Iceland:16 | Italy:VM14 | Netherlands:16 | South Korea:15 | Argentina:X (Banned until 1983) | Argentina:13 (re-rating) | Australia:M | Canada:14A | Finland:K-18 | France:-12 | Hong Kong:III | Ireland:15 | Norway:18 | Singapore:NC-16 | Sweden:15 | UK:18 | USA:R

Filming Locations:

Glen Canyon, Utah, USA

Company:

Warner Bros. Pictures

Trivia:

When the role of Dr. Tuskin was still written as male, Chris Sarandon, George Segal, and David Carradine were considered. John Boorman passed on Sarandon, and George Segal's salary demands were too high. When the decision was made to make Dr. Tuskin a woman, the screenwriter suggested Jane Fonda or Ann-Margret before Boorman decided upon casting Louise Fletcher.

Goofs:

Crew or equipment visible: When the two characters return to the house in Georgetown, they are in the pouring rain holding wet umbrellas which clearly reflect the very intense white film lights above them.

Quotes:

[first lines]
[pre-release version]
Father Lamont: [narrating] Father Lanchester Merrin died in Georgetown near Washington, D.C. while attempting to exorcise a 12-year-old child, Regan MacNeil.

Movie Connections:

Referenced in Teenage Exorcist (1991)

Soundtrack:

Lullaby of Broadway

A cult film if ever there was one

I liked this when it came out and I still do. The bad press on it began immediately, and all the reviewers jumped on the bandwagon; only one of the reviews seemed to correlate with what showed on the screen. I think the time was wrong for mysticism, and maybe for religion: the sixties had ended, and the mode of fantasy then in favor was space fantasy, full of technical detail. A couple of decades later, the climate is different: "Stigmata", which has a story not unlike that of "Exorcist II," and looks and feels so much like it that it might almost be the same film with different actors morphed in, didn't get good reviews but wasn't laughed out of theatres either.

Most of the people who like "Exorcist II" tend not to have liked "Exorcist I" much, and vice versa. Blatty himself said in one interview that it didn't work because the director was a Protestant, and in another interview that it was because he wasn't a believer. To me the second film shows more spiritual feeling than the first, but no interest at all in the Church, and maybe in some minds that equates to unreligiousness.

The first "Exorcist" purported to be about possession, but most of its imagery was of a young girl being raped: by her mother's party guests, by doctors, by priests, by a crucifix. "Exorcist II" actually is about possession, among other things, and culminates in the interesting idea (excised after release but later restored on video and DVD) that people who have been possessed and purged of evil can go forth to heal all the others who are similarly afflicted. I happen to think that's an inspiring idea for a story.

But then I like mystical thrillers, and apparently most filmgoers don't--or didn't then. The first "Exorcist" was not one; this is. The images in the first film, when they don't involve repulsive bodily detail, have no metaphysical resonance; they're relentlessly physical, often sexual, and when the demon itself appears, it's in the form of the actual, literal statue. By contrast the images in "Exorcist II" have deliberate metaphysical implications. I doubt that they were worked out thoroughly; it's more as if Boorman were playing with them, in the same way he lets the light play through the stylized sets and behind the actors. The scenes of possession capture the sense of historical accounts of the phenomenon more than those in the first film, which is too much distracted by physical threat and sexual aberration.

Like "Exorcist II" or no, take it seriously or no, I was and am puzzled why more people were unable to enjoy its appeal to the eye and the ear (the music was pretty too), let alone to the imagination. I think perhaps they couldn't allow themselves to enjoy it: that they had to deride it and be seen to deride it because what it said, or the way in which it was said, was something that they had just learned to reject or that contradicted something they had just learned to believe.

It must be admitted that the film is unsatisfactory dramatically. The fantastic incidents of the first film, besides being reduced to the most prosaic physical terms, were fitted within a sequence of conventional, punchy, easily playable scenes; one cared about Ellen Burstyn's problems in a movieish way, and through her Linda Blair's. In the sequel Blair doesn't have the scenes to play, and her inexperience as an actress keeps one from feeling involved with her; Burton is better, but his dialogue doesn't communicate the spiritual dilemma he's undergoing. The excitements of the narrative tend rather to distract from this also. But I found them fun in their own right, and the film as well, apart from the occasional gratuitous shock for shock's sake: fun for the mind and the fancy.