The few critics who bother acknowledging John Boorman’s Exorcist II: The Heretic, the most expensive film produced by Warner Brothers at the time of its release, typically offer only a few scant, yet scathing, words about the production. Indeed, the work does stand to be lambasted on several counts considering Richard Burton was obviously drunk throughout much of the filming, the work erroneously introduces a science fiction motif, Ned Beatty plays a religious icon salesman, the director was threatened with a potential lawsuit if he left the production, poor acting from all of the principle actors–especially Linda Blair–plagues the film, and James Earl Jones appears as a giant grasshopper. Yet, not attempting to redeem the feature by any means, Exorcist II does house a few ideas, none of which are developed or explored to any consequence. What remains by the final credits is the unintentionally humorous line from Blair, “I was possessed by a demon. Oh, but it’s okay. He’s gone now!”
On assignment to investigate the death of Father Merrin (Max Von Sydow), who died four years prior while attempting to exorcise Regan MacNeil (Linda Blair), Father Philip Lamont (Richard Burton) locates MacNeil, who is currently under the care of a psychologist by the name of Gene Tuskin (Louise Fletcher). As he observes an experimental hypnotherapy treatment called the “Synchronizer,” Lamont realizes that the demon is still within MacNeil, but before the priest can attempt to alleviate the girl of her affliction, he must travel to Africa and seek the advice of the once-possessed Kokumo (James Earl Jones).
Exorcist II’s script cannot be cited as being lethargic at any point, merely unorganized as many, many ideas are posited yet never developed to any effective ends. Interestingly, early in the production Tuskin appears with a devise, which she calls a “Synchronizer,” a machine which coordinates two individuals’ biofeedback rhythms, permitting one to view the repressed and subconscious images of the other. Shortly thereafter, Lamont engages in an argument with the psychologist as Boorman issues his own version of religion in conflict with science (thus carrying over one of the primary motifs from the original). Ironically, but nonetheless just as intriguingly, he then parallels his established dichotomies as Merrin’s face is double-exposed with Tuskin’s. Unfortunately, this theme is subsequently abandoned as we move onto to another idea before we are forced to abruptly part ways in order to adopt yet another motif. What results is the feeling that the writers–William Goodhart, Rospo Pallenberg, and John Boorman–could not sustain and exhaust an idea before submitting to the giddily prospect of introducting another. Such examples include, but are not limited to, society’s unwillingness to acknowledge evil (as well as the Church, which refuses to canonize Merrin in that it would intuitively accept and promote the premise of Satan, which isn’t a popular selling point for the denomination as this time), tribal/ancient belief verses contemporary conviction, and the most promising notion, that good cannot be determined without the presence of evil to oppose and therefore define it. Predictably, we are likewise barraged by a slew of iconography and symbolism which, understandably, stands alone as locusts, mirrors, and the like scamper around the screen for nearly two hours.
Outside of the film’s inability to congeal into a cohesive whole, Boorman’s production suffers from most every other angle as Burton’s character stagnates throughout most of the work. In retrospect, perhaps this was for the best for the actor is reputed to have been intoxicated throughout much of the filming as he is seen perpetually sweating as Blair, just as consistently, utters “Father” ad nauseum. Of course, this says nothing of the fact that Blair, obviously very proud of her newly blossomed breasts, is more than glad to dance to the sound of a saxophone sans bra, not far removed from the routine of a performing monkey. Her arrogance, which stands second only to Burton’s druken lassitude, is further exhibited in that she refused to don the Dick Smith make-up which made her famous, thus forcing the producers to resort to a more-than-obvious body-double for Regan’s possession sequences. Arguably more disconcerting than the irritating performances is the fact that, though experimental, it seems that everyone who comes in contact with the Synchronizer becomes a well-versed veteran with the theory, practice, and implementation and utilization of the machinery within a matter of minutes as each character guides the other though the sessions without hesitation.
John Boorman’s sequel to William Friedkin’s original blockbuster graciously deserves its nomination as one of the worst, most disappointing sequels in cinema history. Though not as putrid as some features in that it offers a least a few, however token, ideas, Exorcist II: The Heretic never organizes itself into a meaningful, comprehensive whole.
Trivia tidbit: John Boorman, attempting to discover the most effective means to present a plague of locusts, resorted to clipping the legs off the insects in order to force them to remain in the air before abandoning the idea for other, most feasible, options. Also, Stanley Kubrick turned away the opportunity to direct (after declining to position for the original) and, ironically, Boorman accepted the post after refusing to direct The Exorcist on grounds that it was cruel towards children.
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