A police Lieutenant uncovers more than he bargained for as his investigation of a series of murders, which have all the hallmarks of the deceased Gemini serial killer, leads him to question the patients of a psychiatric ward.
Years before Father Lankester 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.
Dr. Gene Tuskin works with troubled children, perhaps none more troubled than Regan MacNeil, who suffers from bad dreams and repressed memories. The memories she represses are of the time she was possessed by a demon. Dr. Tuskin's invention, a device that hypnotizes two persons and links their minds together, reveals that the demon, named Pazuzu, still lurks within her. It is desperate to emerge again and wreak havoc. Meanwhile, Father Philip Lamont is ordered by his cardinal to investigate the death of Father Merrin, the priest who died while performing an exorcism on Regan. Father Lamont undertakes his task reluctantly. He feels unworthy of his assignment. He also feels that Evil is literally an entity and that this entity is winning the battle over Good. His investigation takes him to Africa where he locates another recipient of Merrin's exorcising and learns something fascinating and terrible about locusts.Written by
When Fr. Lamont is showing Dr. Tuskin the drawing Regan had made of him on fire, Dr. Tuskin says "Where are you going?" but her lips don't move. See more »
Father! Agh! Agh! Oh, Father!
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Tap Dance Routine Choreographed by Daniel Joseph Giaghi See more »
There is also an alternate version that made its way to television on TNT. This version exludes the Sync sequence when Richard Burton sees the death of Father Merrin, but includes the original ending with Father Lament surviving. Also, this version exludes the flashing pink light in the Sync sequence, and the scene with the naked African women. See more »
Inside this terrible film is an excellent film screaming to get out. There are moments of real power and and frightening beauty, but they are drowning in sludge. One wonders if this mixture is a result of conflict amongst those making the film, or of Boorman simply not being able to keep his grasp of a vision.
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