Jesus Christ Superstar (Film)

Looks, let’s get this straight about Jesus Christ Superstar. It is not what most people think it is. I don’t think it is even what Norman Jewison, the director, thinks it is. Least of all is it what Andrew Llloyd Webber thinks it is, though he wrote the music– nothing he did elsewhere in his career substantiated the promising intrigues of this modest little opera and film.

In short, some interpretations I’ve heard, which I think are wrong:

1. the movie is very “spiritual” and has led a lot of people to Christ. Look, it may be true that the movie has led some people to Jesus, but it’s not a very spiritual film at all. It’s very much about politics and power and organized religion as a social force. But God makes no appearance in this movie– he is conspicuously absent. The cheesy image of the sheep at the end (I’ll bet Jewison wishes he could take that one back.) is misleading. Jesus dies on the cross and, in this version of events, he stays there, leaving his followers and antagonists to wonder just who he really was.

Did you know there is even a web site devoted to very pious paintings of Ted Neely as Jesus? These are paintings of an actor playing Jesus, as if he really were Christ. Strange.

There are dozens and dozens of productions of this very expensive show– many of them by churches or religious groups. Even stranger. I mean, it’s agreeable– and certainly an improvement on the usual drivel many churches’ mistake for art, but it’s still somewhat surprising.

2. the movie is about a bad man, Judas, and how he grew jealous of Jesus’ popularity and betrayed him, only to be disappointed when he becomes a “superstar”. Oh please! Judas hangs himself because he realizes that he has caused the horrible death of an innocent man because he misunderstood the motivations of the Scribes and Pharisees. He thought Jesus was getting carried away with his mission and posed a threat to the foolish, innocents who surrounded him. When he realizes that the Pharisees and Scribes mean to kill Jesus, he understands that a) he has been just as foolish as Jesus, b) he has become the tool by which manifest evil will be committed, c) he is going to remembered as the man who betrayed the holiest man on earth.

3. the movie is about the different paths by which people come to find God. As I said, there is no God in this film. There are some stories about dark clouds blocking the sun during the crucifixion scenes, and about Norman Jewison running around modern day Israel pointing at archeological digs and shouting, “God is here”, but Jewison didn’t understand the opera, and tried to put a bit of a new age spin on things. Didn’t wash.

Significant Changes From Rice’s Original Script:

Original Caiaphas: “What you have done will be the saving of Israel,”
Movie Caiaphas: “What you have done will be the saving of everyone,”

Original Jesus to Pilate: “There may be a kingdom for me somewhere if I only knew!”
Movie Jesus to Pilate: “There may be a kingdom for me somewhere, if you only knew.”

Original Jesus, as he is mobbed by the poor and the lepers: “Heal yourselves!”
Movie Jesus: this angry, frustrated outburst is omitted.

Original: nothing
Movie: awful, schmaltzy song led by Peter and Mary on how they miss the guy: “Could We Start Again”. I believe the song was written for the original and then wisely omitted. The movie, needing an extra few minutes of scenery, resuscitated it, to ill effect.  The action, Jesus and Peter and Mary strolling in the hills, is cringy.

What does it mean? That Jewison tried to put a “correct” spin on the movie? Rice’s lyrics clearly imply that Jesus is deluded, and has begun to question his own mission. His irritated outburst at the mob of lepers and poor betrays a deep frustration with the demands put on him by an endlessly needy and desperate populace, and raises doubts about Jesus’ confidence in his ability to meet those demands. Then Jewison tries to make it sound like Jesus is one up on Pilate. And he tries to make it sound like Caiaphas is paying Judas an ironic compliment, when Rice meant to suggest that the betrayal is significant only to Israel.

What is the movie about? It’s about an extraordinary, complex man whose gifts and ideas generated intense responses in the people around him. The story constantly shifts focus from one constituency to another, from his disciples who hardly grasp what he means and hope to be famous some day, to Herod who finds him a curiosity, a joke, to Pilate who discerns the worth of the man, but sees him as a danger to himself, to Mary Magdalene doesn’t know how to love him, to the priests who see him undermining their legalistic authority. The utter clarity of the schematic should be apparent to everyone: all of the parties are self-interested, except for Jesus. Jesus is a shock to “Israel in 4 BC” as he would be today. He was the very definition of the word “provocative”. And you don’t have to believe that he was the literal son of God to understand this.

Without developing a theological treatise here, you could do worse than encapsulate the nature of his message thusly: blessed are the weak. This particular phrase has become a modern cliché, but it’s fundamental subversiveness should never be underestimated. All around us, we proclaim “blessed” are the strong, the successful, the rich, the able, the triumphant, the popular, the creative, and so on. To understand the subversiveness of Christ’s message, try to picture Pat Robertson standing in front of his earnest Republican cohorts, or Madeline Albright in front of the U.N., or Eminem at the Grammys, or Colin Powell in Jerusalem: blessed are the losers. Aint gonna happen.

On the other hand, picture former President Carter hammering a shingle on a house for Habitat for Humanity. Every president of the U.S. claims to be a God-fearing Christian, but Carter is the only one I know of who actually might be one.

The tragedy of the movie is that when Christ resists the temptation to play to the self-interests of those around him, they do him in. And so it will always be. I doubt if the reaction to Christ today would be any different. Those Christians who rave about how they can’t wait for his return have one serious problem: they won’t know him. If Christ returned today, he would not say, “blessed are the cheerleaders…”

And that’s what is being done to the original rock opera itself.

The movie was reasonably faithful to the opera (which was recorded before the show was produced anywhere) at least partly because it had to be: it was an opera. The terms were relatively fixed.

But do a quick search on the internet and you’ll find that it is being appropriated by people who don’t seem to understand or care what it means.

Bugs in Lingerie

Have you ever seen Bugs Bunny in black lingerie? He sidles up to some Arab sheik and bats his false eye-lashes and giggles….

I’ll bet you’ve never seen it.

I’ll bet you’ve never seen the horse’s ass that turns into the face of Adolf Hitler in an old Popeye cartoon either. Actually, I’m not sure if it was Popeye. I seem to remember that it was Donald Duck’s three nephews who were trying to hoist the horse into their bedroom. It spun around as Donald Duck or Popeye or whoever it was turned to look and with a swish of it’s tail, there it was, Adolf Hitler’s face.

Now, you probably don’t think it is very important that you or your children ever see Bugs Bunny wearing sexy black lingerie. You probably even think that it is a rather perverse idea, after all. What on earth is Warner Brothers doing showing that stuff to our vulnerable impressionable children? You may have seen the great documentary, Crumb”, in which the celebrated underground artist admitted to an unhealthy sexual infatuation with Bugs Bunny.

But that is not the point at all. You can take Bugs Bunny in his black lingerie or leave him, but the problem is that you did not have a choice. Some flunky at some big corporation simply decided that, from now on, you were not going to see Hitler as a horse’s ass or Bugs Bunny as Mae West or Al Jolson. They decided that it would not be appropriate or suitable or honorable or profitable for Warner Brothers to continue to issue the cartoons as they were created by those renegade Disney animators who couldn’t stand Uncle Walt’s control-freak mentality.

These cartoons, incidentally, were not necessarily originally intended for mass audiences in the uncontrolled environment of the family living room. They were shown in theatres, before the main features. They were shown in glorious Technicolor projection, forty feet high and sixty feet wide (or 16:9 or whatever…).

Did those early audiences storm out of the theatre when Bugs showed up in black garters and panties, trying to seduce an Arab sheik? Did people of Arabian descent start picketing the Warner Brothers’ studios in protest against the crude stereotypes?

Yes, it must be admitted, that it is not only the humor and sexual content that have been edited out of these cartoons. The original animators were not, as it were, sensitive, by modern standards, to racial stereo-types. Native peoples, blacks, Italians, women– we might squirm today at the broadness of their humor.

A few years ago, Disney produced an updated version of “Huckleberry Finn”. In the modern version, the word “nigger” was completely expunged from the text. Disney didn’t want to offend anybody– except for the broadly caricatured racists.

This is ridiculous. Does it really need to be explained to anyone? Mark Twain recreated the language of his day. He brilliantly imagined the dialogue between Huck and the runaway, slave, Jim, as it would quite likely have sounded, including the word “nigger”. What is the point of removing it from modern versions of the story? To deny that we ever used that word? To pretend that white Americans in the 19th century referred to African-Americans as “blacks”, “coloured”, or “negroes”?

The point is to re-imagine history in a way that is flattering to ourselves, that panders to our sense of personal worth, that sells.

It is important that we know that, in the 19th century, most white mid-westerners referred to blacks as “niggers”. It is important to know that people used to smoke in offices. It is important to know that women used to breast feed babies. It is important to know that children of all ages and genders often slept in the same bed. It is important to know that there was no indoor plumbing. It is important to know that people trapped together in a life-boat occasionally had to urinate.

It is important to know that Bugs Bunny’s creators thought it would be funny if he wore black garters and panties. If you don’t want to watch– fine. Don’t.

But please allow some of us the freedom to have our history without blinders.


Update (2001-05-03]

AOL/Time Warner is holding a Bugs retrospective on The Cartoon Network next month, but don’t look for those rare original Bugs cartoons I was talking about. Warner Brothers, concerned, apparently, about the commercial value of the Bugs “property” won’t let those cartoons be shown. In other words, this retrospective will be anti-historical. It will deny history. It will pretend it never happened. Without a doubt, these are the same minds that would decide to do “Huckleberry Finn” without once using the word “nigger”, as if white mid-westerners in the 1880’s didn’t use the word.

What next? Will they digitally remove the smoking from offices in 1950’s movies? How about the the rape in “Water Hole #3”, the James Coburn flick that suggests the woman enjoyed it? And should we really allow Nazis to appear in “The Sound of Music”?


If you can find an original copy of The Wabbit Who Came to Supper (1942).  Wait a minute– where?

That Wascally Wabbit

More information about cross-dressing Bugs.

Baptized Banality

The Banner, a magazine of the Christian Reformed Church, reports that a Christian screenwriter and a Christian actor have put together a company called “Act One” which is designed to provide Christians with training in screenwriting for Hollywood Movies. Barbara Nicolosi and David Schall are the two entrepreneurs– or missionaries– depending on your point of view.

Some of the teachers in this program have writing credits for shows like “Batman Forever”. I’m not kidding.

It only cost $1800 U.S. for one month, including room and board. That’s pretty steep, in my view. A red light goes off in my head. Aren’t there a lot of scams in Hollywood? So many people want so badly to become celebrated Hollywood writers, directors, actors…. there’s a lot of snakes out there quite eager to take advantage of them. This couldn’t be one of those scams, could it? Do Mr. Schell and Ms. Nicolosi give their students a realistic assessment of their chances of actually selling a script to a Hollywood producer?

And what are their chances? About a million to one?

The truth is, if you don’t know somebody in a key position at a studio in Hollywood, your chance of selling a script is almost nil.

Schell says, “I know Christians on the sets of several sit-coms and soap operas who make a positive difference in what is shown on the screen by creatively intervening in productions whose messages or stories are heading into areas that run counter to a Christian worldview.”

That’s the key right there. That tells you a lot about where Schell and Nicolosi are headed.

When, I asked myself, does a sitcom or soap opera begin to head into areas that are counter to a Christian worldview?

1) at the moment they insert advertising?

2) at the moment they promote their actors as “celebrities” who deserve our admiration and emulation because they are famous for being famous?

3) at the moment they engage in escapist fantasies that allow viewers to avoid confronting real life issues?

4) at the moment they pass off inane and repetitious formulaic plot devices stolen from “Mr. Ed” and “Gilligan’s Island” as “original” work?

5) at the moment they add a laugh track, to convince the audience that these tired mindless jokes are actually funny?

6) at the moment they eliminate every brand name, political party, identifiable religion, pop song, television show, social issue, and financial concerns from every episode of every show, in order to appeal to the lowest common denominator?

7) at the moment they select only actors who are physically beautiful or colorfully ethnic or comically fat?

Who knows?

Well, I suppose we do know. We know that what they mean is that when the script editors of a soap opera want to have two of the characters commit adultery with each other, the Christian on the set will pipe up with, “Whoa Nelly!” and put a stop to it immediately.

The main problem with Christians and the arts is that most Christians see art has having a function beyond the revelation of things seen and unseen. This function is propaganda. The trouble with most Christians who see themselves as more sophisticated than that is that they see art as having another potential function: to entertain and make money.

What we need are more Christians who, like Bruce Cockburn, see art as the revelation of things really seen and unseen– a very biblical standard that most great atheist artists and almost no Christian artists adhere to religiously.

Idiotic Previews

Sometimes, for discernible reasons, the corporate marketing hacks who try to control our lifestyles, do something really really annoying. And then again, sometimes they do it for no discernible reason.

Case in point. I just rented the VHS tape of the movie “Walkabout” by Nicholas Roeg. I popped it into the machine, pressed the “play” button, and watched. What I saw was a preview for the movie… “Walkabout”, by Nicholas Roeg.

I thought, whoa! That’s cool. A preview of the movie I just rented.

Now, wait a minute. Do people go to a video store, pick a movie at random, take it home, watch the preview, and then decide if they are going to watch the movie?

Not very likely, you’ll agree. No, like most people, I picked a movie I wanted to watch and then took it home to watch. So why is there a preview for the same movie on the tape?

Now, previews are designed to peak your interest. They show you the most interesting or provocative scenes from the movie, in the hope that you will want to see the whole thing… a few weeks later at a movie theatre.

But when you are about to watch the movie, do you want the preview to show you what is going to happen to the people in the film? Do you want to know that the car you see them driving in at the beginning, is going to end up burning in the dessert? Do you want to know that the girl is going to go skinny-dipping? Do you want to know that she and her little brother will run into somebody out in the dessert?

Yes, you do, when the movie gets to it.

It’s like the loudmouth leaving the movie theatre as you are going in, muttering, “can you believe it? The butler really did do it!”

Left Way Behind

I just read that the movie “Left Behind” will now be released on video before it is released to theatres. The announcement makes it sound like this is some ingenious new marketing strategy.

Could be. Could also be that market research showed that the movie is a total dog and a disaster and couldn’t possibly survive a humiliating week of empty theatres across the nation.

Could be that the makers of the movie realized that a large contingent of Christians will buy the movie to support the cause, generating the cash they desperately need to somehow recover the impressive cost of making this ambitious but doomed concept a reality.

If you do see it, let me know if it’s any good.

DivX

If you thought the world’s fat-cat corporate copyright holders had a problem with Napster and MP3’s, you can bet they are about to go into cardiac arrest.

A few years ago, some companies tried to foist a new video standard on a largely unsuspecting, but not entirely stupid, public. It was called DivX. The basic idea was this. Here were all these huge, fat, rich Hollywood companies and here were all these movies that they owned and here were all these consumers– that’s what we are, after all, “consumers”– buying copies of these videos and watching them over and over again after only paying for them once.

Now, if you’re not a lawyer, you probably don’t often think about that situation and think things like, gee, how can we get them to pay for it every time they see it? And why shouldn’t we? Again, you have to be a lawyer…

So these people got together and decided that when the next generation of high quality digital video came out, they would rectify that situation by providing disks to people that would only play once or twice. And then, pffftt! Unless you paid again.

Just what the consumer was demanding at that time, as I recall. Yes, yes, we want to give Viacom and Warner Brothers and Disney Corporation and Bruce Willis and Robin Williams even more of our money!

Anyway, the system was called DivX. And, of course, the hacker community looked upon DivX and just hated it. They hated it for both good and bad reasons. They hated it because like everyone in the world they hate to pay more than they need to to get what they want. But they also hated it for a good reason. The good reason is that these big Hollywood companies and actors already get way more money than they deserve for foisting their disgraceful products upon us. They already annoy us to death with product tie-ins, commercials, outrageous prices for food at the movie theatre, and deceptive advertising.

So the hackers set to work.

It’s not very clear to me (or anybody, apparently) where DivX 😉 (the “;)”, a winking emoticon, is part of the name) came from. It is rumoured to be a hacked Microsoft product. In any case, what DivX 😉 is is a “codec”, a computer process whereby video is compressed into small files so it can be downloaded and copied from computer to computer. It is a very good one, though not necessarily the best, nor the most readily available. But it is good enough to make it reasonable for people to copy movies off of DVD players and distribute them– illegally, of course– through the internet.

The lists of movies available tell you something about the kind of personality involved. You’ll find “The Matrix” and “The Cell” and “Terminator” and “Star Wars” on many sites. You won’t find many copies of “The Sound of Music”… yet.

The only missing piece right now is the equivalent of Napster to really take the whole thing mainstream. But it’s coming. Oh yes, you can bet it is coming.

One browse of the newsgroups devoted to topics like DivX;) and desktop video should be enough to convince anyone that a tidal wave of perverse ingenuity is at work out there and it is bent on completely destroying the entire system of copyright and distribution now in effect.

Is that a bad thing? I don’t know. The problem, as always, is how will artists get paid. On the other hand, the artists don’t get paid now. The lawyers and investors and accountants and manipulators and cheaters and liars get paid. They get paid enormous sums.

I do know a few things though.

In my opinion, all of this underground activity will not destroy either the music or film industries. Most people will continue to buy CD’s and DVD’s. Knowledgeable hackers and aficionados will use the technologies to access every form of recorded entertainment known to man, but most people still want to pop a video into the console and sit back and munch on popcorn and not give a thought to copyright law and fairness and justice for all.

The entertainment monoliths will have to be nimble and quick. They will have to keep coming up with improvements and enhancements that keep them a year or two ahead of the hackers. They will have to begin to offer CD’s and DVD’s at reasonable prices.

The only thing I’m sure they won’t do is take the high road or offer anything of value to anybody unless they really, really have to.

Movie Theatres are Pinball Machines

I just went to see a movie at “Silver City”, one of those new mega-theatre complexes that are supposed to make movie-going a thrilling experience.

It cost $11 to see a movie at Silver City. It cost about $8.50 to see a movie at most other theatres in town, except the Frederick which is, if I remember correctly, about $4. The trouble is both “The Cell”, which I didn’t want to see but decided I should see, and “Almost Famous”, which I did want to see, are only playing at Silver City.

So first you pay $11.00. You might pay a cashier or go to something called an “Express Ticket”, something that looks and operates like an ATM except that you can actually buy your tickets there, and which should be called the Cashier Unemployment and Increased Profits Machine.

There is a sign at the cashier: No Outside Food Permitted Beyond This Point. One look at the prices for food beyond this point and you will know the reason why. French Fries and a humungous Coke are $7.40. The same package is one half of that price at the Fairway Mall. Popcorn and coke, for two, will run you about $15.00. So if you take two kids to see a movie and you buy some popcorn and a soft drink, you are looking at about $50 or more.

The food, of course, is garbage. You would think that at those prices, you might get something exceptional. Not a chance. And the soft drink is only sold in three gallon tubs. I exaggerate only slightly. The coke that came with the large fries I ordered from New York French Fries must have been at least three liters.

Why are the soft drinks so big? Why can’t you buy a decent sized soft drink at a mega-plex? The reasons are simple: 1) the profit margin on soft drinks is very large, so volume is not an issue– the objective is to get you buy a drink, any drink, of any size. 2) you can’t buy a drink from anyone else or bring your own– they have you over a barrel. 3) they have to do something to convince that you are getting good value for the 3 or 4 dollars you are paying for basically carbonated water– so they make it huge.

You can barely hold the soft drink in one hand. And it doesn’t taste as good as pop from a bottle or can. I suspect it is diluted, but I don’t know for sure.  Yes I do: it’s not diluted.  It is supposed to taste like that.  So maybe it just naturally tastes like crap.

The atmosphere at Silver City is like the inside of a pinball machine. Indeed, they have loads of video games and lights and plastic props and signs. If you have any illusions about going out for an artistic experience when you go to a movie at Silver City, forget it. You feel like you have entered a gigantic, noisy arcade.

I waited to pick up my daughter from a movie in front of Silver City once. I saw lots and lots of parents picking up their kids. They drop them off and then pick them up. Do they know which film their kids are going to see? Do they know that Hollywood test-markets “R” rated films to twelve-year-olds because they know that theatre chains are very lackadaisical about enforcing age restrictions (and because video chains hardly enforce them at all).

Of course, in America, an “R” rating is there to prevent your child from seeing a mother breast-feed her baby. However, decapitation, disembowelment, and other scenes of gratuitous violence are readily available to adolescents. What kind of sick society allows it’s children to view every imaginable violent act under the sun, but not breasts?

The screens are pretty good and the Dolby Sound is quite impressive. All the better to whack you over the head with, my dear. When they make these previews, do they think you will obey and come see the movie if they blast you with 140 decibels of sound effects and 4,000 very, very short clips of helicopters, guns, and bikinis?

Alfred Hitchcock used to scare movie-goers by carefully constructing suspenseful situations and then building the suspense to greater and greater intensity with a series of well-timed cuts and close-ups. It’s much easier for the modern film-maker: just show the viewer a dark, shapeless form, let it get closer, and then whack the viewer over the head with about 145 decibels of sound. Make sure the sounds include all kinds of scary noises that, of course, don’t actually have any identifiable cause in the movie itself.

“The Blair Witch Project” used some old-fashioned techniques to really scare you: the creepy sound of rocks being piled onto each other. The sense of being lost and disoriented in an inhospitable bush.

Just in case you want to do anything about this… you need to get politically involved. You see, the movie production chains have a stranglehold over the theatres in Canada. They are allowed to control which theatres are allowed to show which movies. This encourages Hollywood to make shitty movies because they can always shove them down the throats of the movie-going public by forcing theatres to show them whether local movie-goers want to see them or not

The system stinks. The movie studios argue that, hey, if you don’t like Silver City, you can just go down to the Frederick if you want to. No, I can’t. Not if I want to see “Almost Famous” or “The Cell” or “The Exorcist”. All of these movies have an exclusive engagement at Silver City. Movies are not material commodities like toilet paper: you can get the same brand at Walmart or Zellers or Zehrs.

And as for those great independent and foreign films… forget it. They will never be shown at Silver City because Silver City only shows films make by the big Hollywood studios.

Worse than that– the movie distributors force movie theatres to show mediocre films as part of a package including the mega-hits. If they want to show “Titanic”, they’re going to have to give a few weeks to “Rocky XIV”.

There oughta be a law… very simple. Movie theatres should be independent of movie-makers. And films should be rented to theatres on an individual basis. That is called free enterprise. That’s called competition.

I would bet you a million dollars that places like Silver City would disappear quickly if it were actually forced to compete with other theatres that don’t cheat you with their food prices or treat you like a pinball.

[I’d probably be wrong. A lot of people prefer the loud, brassy, noisy, clutter of special effects extravaganzas, and kids probably really do like the cheesy décor. 2004-07]

The Exorcist

“The Exorcist”, one of the most chilling, horrifying films ever made, has been re-released by Warner Brothers 27 years after it’s initial release stirred controversy and fascination.

There a few things you should know about “The Exorcist”, though you may not want to.

Now, when I say “you may not want to”, you probably think I’m going to tell you that demons are real and demon possession is a growing problem in our society so you better stay away from Ouija boards and stop listening to Marilyn Manson or AC/DC, backwards and forwards.

Actually, the truth is that people love these stories. They love them because something in us wants to believe that there are demons out there. The public is endlessly fascinated by villains, serial killers, poltergeists, ritual Satanic abusers, and so on. If you try to convince someone that there really isn’t as much evil out there as they think there is, they are frequently disappointed or alarmed.

Actually, the truth is that there really is a lot of evil out there. But, as Bob Dylan once observed, “the evil I see wears a cloak of decency”. Sure, there are rapists and pimps and pushers and thugs. But there are also executives and politicians and kings. Who is responsible for most of the misery in the world? How many people have died in this century, unnecessarily, as the result of war and starvation? What makes us think that because a man wears a suit and works in a gleaming office tower and drives in a limousine– what makes us think this man or woman is not “evil”, when they sometimes make decisions or policies that result in human catastrophes?

It isn’t even close.

But something in us prefers to see evil embodied in specific persons, whom we can ritually exorcise (pardon the expression) from our lives. Why? Because, at the most fundamental level, these stories allow us to believe that evil is not us.

Anyway, back to The Exorcist:

1. William Peter Blatty, the author of the book, The Exorcist, was brought up in a Catholic household and once considered joining the priesthood.

2. The novel was allegedly based on a “true story”, and the movie, of course, was based on the novel. Several priests served as “consultants” to William Friedkin, director of the movie. Now, when it comes to Hollywood, we all know what a “true story” is and the worthlessness of “consultants”. This particular “true story” concerns a 14-year-old boy who was possessed by a demon which was exorcised by several Roman Catholic priests. These events took place in 1949 in Mount Rainier, Maryland– so we are told–and were reported in various newspapers including the Washington Post. According to some researchers, the boy in question, the real boy, upon whom the Exorcist is based, had some serious emotional problems long before the possession episode. William F. Bodern, a Jesuit, was the officiating priest at the exorcism.

The boy is alive and well and has been located. He refuses to talk about the incident.

3. The boy’s grandmother was, in modern parlance, a religious fanatic, fascinated with all things cultic and spiritual, and she passed on this fascination to the boy. So those of you looking for a more naturalistic, psychosomatic explanation don’t have to look too far. Add to this the fact that Blatty’s own mother was very “spiritual” and you might begin to get the picture. Blatty also attended a Jesuit High School. He served time in the U.S. Air Force. His parents moved around a lot while he was growing up.

4. People attach great weight to the “true story” business. In fact, William Peter Blatty has not kept a secret of the fact that he made up most of the details in the novel and the movie. On the other hand, at times he does sound as if he sees himself as a journalist, rather than a writer of fiction. This doesn’t keep most people from believing that some demon-possessed child somewhere did the things shown in the movie.

Two interesting interpretations of the movie: a) a allegory of dominant, controlling males attempting to restore innocence to a adolescent female whose emerging sexuality threatens them, b) an allegory of teenage rebellion, plain and simple. Neither interpretation is really interesting. They don’t survive the dynamics of the story itself.

5. In the movie, the words “help me” appear on Regan’s body, in broken letters, as if punched there from within. You might draw the logical conclusion that it is the spirit of Regan, inside the body, begging to be relieved of the presence of demons. I thought it was the dumbest thing in the movie. What is the supposed explanation for this? Obviously, Regan before possession was not capable of stenciling words onto the surface of her stomach through sheer will-power.  Was a little Regan inside her stomach doing it?

Oh, come on– it was downright hokey.

6. The British Board of Censors banned the film for 15 years after it’s release. I’m told the ban was lifted in 1999, which is strange, since the film was released in 1973. What was it doing between 1973 and 1984? Perhaps what they banned was the video release. [Do you live in a free, democratic society? Then why does the government tell you which films you are allowed to watch?]*

7. It won Oscars for best sound and adapted screenplay. Blatty initially wanted to use well-known actors, including Paul Newman, in the film, but later decided to use relative unknowns, including Jason Miller, Ellen Burstyn, and Max Von Sydow. This was a very, very smart decision: the film is much more forceful and convincing.

8. Aside from the special effects and the horror elements, the film is actually a good drama. In some ways, the story of Father Karras’ mother was more horrifying than the demon possession.

How does nonsense spread? Very easily. William Peter Blatty supplied the initial myth– that the movie bore some kind of substantive relationship to real events in Mount Rainier in 1949. This, as it turns out, is utterly false, other than the fact that a boy appeared to suffer from convulsions and some Roman Catholic priests performed what they called an “exorcism”. The boy’s convulsions eventually subsided, and at least one of the priests involved in the exorcism acknowledges that nothing really weird happened. But most news stories simply quote Blatty, and cite other books that were dependent on the same sources, and perpetuate the myth. Why? Because people love the story. They are fascinated by it. It’s a heck of a lot more exciting than mental illness.

You have to know this: Blatty was a lightweight Hollywood comedy writer before he turned out “The Exorcist”. Since then, he’s taken pains to try to establish his credentials as a “deep”, serious author. If you’ve only seen “The Exorcist” you might buy it, because, like I said, the drama is exceptional.

But what you are really seeing is William Friedkin’s wonderful direction and the superb acting of Ellen Burstyn, Jason Miller, Max VonSydow, and Linda Blair.


There are four full-time exorcists in the Archdiocese of New York, appointed by Cardinal O’Connor. The Pope himself has attempted three exorcisms (and failed). In an average year, according to Time Magazine, they investigate 350 cases and conduct 10-15 exorcisms. They only perform exorcisms after all possible “natural” causes of the phenomenon have been ruled out. Mind you, this judgment of what is “natural” and what might not be is being made by someone who believes that people occasionally can be occupied by sentient evil beings.

Added 2011-03

The “director’s cut” of the movie proved that Directors should not always get final cut. Actually, I’m sure Friedkin knew that the scenes “restored” to the “director’s cut” deserved to be cut.  The scene of Regan spider-walking down the stairs upside down is downright ridiculous.

Not a Single Jew

“… the men who ran the studios had decided upon such a stringent policy of ethnic cleansing that throughout the whole of the Second World War, the words ‘Jewish’ and ‘Jew’ appeared in not a single film set in the States (with the exception, it pleases me to say, of the Epstein Boys’ Mr. Skeffington).” Leslie Epstein, Harpers, September 2000

That’s an amazing fact. Not a single film, except one. Of all the films that presented stories of inspiration and information, motivation, rationalization, and propaganda, not a single one, really, ever mentioned the Jews by name. Germany was our enemy because they started it, because they tried to rule the world, because they were the aggressors, and because they were not democratic. We had to stop them.

And, oh yes, they killed some Jews.

There were claims after the war, of course, that the West didn’t really know that the holocaust was happening until they rolled into the camps with their tanks and found the ovens. Now we know that Western governments, at least, knew what was going on. We know that because we know that the United States refused to bomb the train tracks leading to Auschwitz because, they said, they were beyond their bomber range. But then they went and bombed a factory nearby instead.

Under the Communists, Poland tried to turn the Auschwitz Memorial into propaganda by emphasizing that communists were killed there. Then Poland shook itself free of its Communist shackles. The Roman Catholic Church is trying very hard to restore it’s own power and authority in Poland. And now it has appropriated, or tried to appropriate, Auschwitz. The memorial emphasizes the deaths of Christian Poles who resisted Hitler.

The story of World War II is entirely different without the Jews. With the Jews, our children can be taught that the West was noble and righteous and heroically fought to stop the greatest act of inhumanity of the millennium. Without the Jews, World War II was just about power, like all the wars before it. England, France, Spain, Italy, Portugal– they had all tried to build empires. The difference was that Germany was strong enough to try to absorb England, France, Spain, Portugal and Italy into its own empire of empires.

The Americans look relatively innocent. They merely slaughtered the Indians and took Texas away from Mexico.

Monkey Business

I’ve never quite understood the Ontario Film Review Board.

First of all, the name is deceitful. This is the Ontario Censor Board, in all but name. The politicians realized that the general public doesn’t approve of censorship so instead of addressing the real issue they made a meaningless cosmetic change: Ontario Film Review Board.

Our society doesn’t know what do to with free expression anymore. In principle, we all agree with it. In practice, we’d all love to censor anything we don’t like.

A director named Ron Mann has made a documentary film about the history of our society’s attitudes towards marijuana. The Ontario Film Review Board saw the film and, to put it mildly, had a fit. THIS FILM CANNOT BE SHOWN IN ONTARIO.

Why not? Does it show mutilation? Full frontal nudity? Urination? Masturbation? Surgery? What? What was so offensive that all of the people of Ontario MUST be protected from it?

Monkeys smoking pot.

That’s right.

You see, about 30 years ago, the U.S. government conducted some research into marijuana and it’s effects on various living beings. In one of their experiments, they strapped a bunch of chimpanzees into chairs and made them smoke some pot. They filmed this, those clever scientists! About 30 seconds of this footage is used in Grass.

There are also scenes of adults smoking marijuana in Grass. That did not arouse the ire of the Ontario Censor— Film Review Board. That is because no animals were abused in the process of making those scenes. Hmmm.

You will have noticed that the footage in question was made by the U.S. government, not by the film-makers. So the censor board is saying, well, you can’t show films of criminal activities…. er… just because they were made by someone else, even if it was the government??

Does this mean that archival war footage cannot be made into movies anymore? Just think: there is lots of film of soldiers getting killed in battle. Since we don’t want soldiers to be killed in battle, no one should see those films. Or would you argue that killing people during war time is perfectly legal? But then, it was perfectly legal for the U.S. government to torture monkeys too.

This is not the only film by Ron Mann that has aroused, shall we say, the concern of the Censor Board. About twenty years ago, he made a film in which a poet heaped lavish praise upon the form and appearance of a female breast. That too was considered pernicious and dangerous for public consumption even though an actual breast was never shown.

I think the Ontario Film Censorship Review Board is a little confused here. I think they are going by their bad instincts. When they see a scene that disturbs them, they try to find some reason to ban it. They will tell you it breaks a certain rule or violates a certain community standard. The truth is, they don’t have any logic or rationale for what they do. The truth is that, in the age of the internet, they have become entirely irrelevant anyway. In a few years, people will download movies from anywhere they want to, without the slightest interference from censor boards or politicians. We’re not very well prepared for that coming world. We’re shocked at monkeys smoking pot.

What would they do with a scene of alligators eating their own young? Or of a cheetah taking down a young Reebok? Or a bull fight?