Years before Father Lancaster Merrin helped save Regan MacNeil's soul, he first encounters the demon Pazuzu in East Africa. This is the tale of Father Merrin's initial battle with Pazuzu and the rediscovery of his faith.
While filming a haunted asylum in St. Louis, Missouri, documentary filmmakers uncover a secret diary of the infamous 1949 exorcism involving a 13 year old boy possessed by the devil that later inspired the book and movie "The Exorcist".
Christopher Saint Booth,
Philip Adrian Booth
Christopher Saint Booth,
Three American students vacationing in Finland, cross the border into Russia for fun of it. When they are spotted by the Russian soldiers who are shooting to kill, it's not fun anymore. ... See full summary »
Archeologist Lankester Merrin is asked to go to East Africa to excavate a church that has been found completely buried in sand. Merrin is also an ordained Roman Catholic priest who, still haunted by what he was forced to do during World War II in his native Holland, eschews any religion or belief. He's fascinated by what he finds and that it dates hundred of years before Christianity was introduced to the area. Accompanied by a young priest, Father Francis, to keep an eye on the religious elements of what they find, Merrin makes his way to the camp. There he meets a young doctor, Sarah and soon realizes there is an air of gloom that envelops the entire site. Workmen go mad and a young boy is mauled by a pack of hyenas while completely ignoring his younger brother Joseph. Inside the church itself they find signs of desecration. Merrin is forced to re-examine his lack of faith and come face to face with the devil. Written by
small Finnish flag visible on top of a cabin next in Sarah's medical room. See more »
Father Gionetti gives Father Merrin a copy of the Rituale Romanum (Roman Ritual). (The administration of exorcism is in Title X of the Rituale Romanum.) The title of the book embossed on its leather cover is "Roman Ritual", in English. Later in the film, Father Merrin asks Joseph to help him by reading passages of the book, and we are shown a couple of printed pages, the text of which is also in English. The Rituale Romanum would have been printed in Latin in 1949, when the film is set, because vulgar translations of liturgical texts were not authorized until the promulgation of the Sacrosanctum Concilium (Constitution on the Sacred Liturgy) by Pope Paul VI on 4 December 1963, as part of the Second Vatican Council. See more »
What do you do when you're stuck with making the third sequel to a long-ago horror classic, and the two previous sequels have played out every possible angle? Why, you make everything as gory and bloody and exploitative as possible, far exceeding all three previous films' violence and gore quotient. You also hire a hack director, in this case Renny Harlin, because any reputable director would either: A. refuse to make this, or B. never be able to top the original, anyhow. In THE EXORCIST, William Friedkin directed a masterpiece to which there should never have been a followup, simple as that. EXORCIST: THE BEGINNING should have been a straight-to-video release, for all the special effects and bloody killings and panoramic desert shots. Stellan Skarsgard is saddled with following in Max Van Sydow's considerable footsteps as a younger Father Merrin in this so-called prequel, and no one else in the cast is worthy of note. There's no Linda Blair or Ellen Burstyn or Jason Miller or J. Lee Cobb here to lend able support. So the whole thing falls on Skarsgard's shoulders, and as mush as I admire the actor, he simply isn't up to it. He spends most of the movie standing around, providing reaction shots to the various doings, which include an endless series of children and adults being shot in the head, some shown repeatedly. As we know, this is really the director's fault. Renny Harlin. How much worse can it get? A couple of scary moments don't make up for all the crap the rest of this film is loaded down with. Plotwise, we have a middle-age, spiritually fatigued Merrin involved in a post-WWII East African dig that unearths the very demon he is destined to meet up with again in a Georgetown townhouse many years later. The good versus evil battle fought here is, shall we say, less than auspicious.
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