William Friedkin, the acclaimed filmmaker who sadly passed away at the age of 87, is best known for directing “The Exorcist,” a horror film that explores the Roman Catholic Church. It’s ironic that a Jewish agnostic was behind this masterpiece. Despite being acknowledged as a religious film, “The Exorcist” is often categorized as a genre picture, along with Friedkin’s other notable work, “The French Connection.” However, it goes beyond being just a well-crafted movie and delves into the literal claims of the Catholic Church.
Upon its release in 1973, “The Exorcist” shocked audiences with its intense scenes of possession. It also confronted the tension between two conflicting views of religion present in Western society. Is religion a representation of a transcendent moral order, or is it primarily concerned with compassion and social justice? “The Exorcist” supports the former, aligning itself with traditional beliefs in the face of a crisis within the Catholic Church.
Following the Second Vatican Council in 1965, which brought about changes in Catholic practices and a decline in its moral authority, “The Exorcist” serves as a cinematic reflection of this turmoil. The film, based on a novel by William Peter Blatty, showcases how the Church’s modernizing efforts weaken its spiritual power, while the traditional elements uphold the true faith. Consequently, “The Exorcist” prompts viewers to reconsider and embrace the supernatural aspects of religion.
In a 1973 interview, Friedkin explicitly expressed that his film centers around the “mystery of faith.” This phrase resonates with Catholics, as it is recited during Mass, symbolizing the real presence of Christ in the Eucharist. By incorporating this aspect, Friedkin aims to alleviate concerns regarding the Church’s stance on traditional teachings post-Vatican II.
This crisis within the Catholic Church was not unique to Catholics alone, as other denominations, such as mainline Protestants, faced similar challenges due to liberalization of doctrine. However, the impact on Catholicism was particularly significant. By the early 1970s, the image of the radical priest, prioritizing activism over religious duties, had become a cultural cliché. “The Exorcist” portrays the clash between modernity and tradition through its two main characters, Father Damien Karras and Father Lankester Merrin.
Father Karras represents the modern era, disillusioned with the priesthood, prioritizing secular education and physical exercise over dogma. On the other hand, Father Merrin, an older, traditional scholar-priest, believes in the reality of the demonic and upholds pre-Vatican II practices. Their stark contrast sets the stage for the film’s climax, wherein Father Karras must confront his own ambivalence and acknowledge the existence of supernatural evil, ultimately sacrificing himself to save the possessed girl.
“The Exorcist” cannot be fully understood without considering its religious perspective. Unlike other religious films that can be interpreted secularly, such as “Becket” and “A Man for All Seasons,” which emphasize virtues easily understood in a non-religious context, Friedkin’s film presents a deeply theological narrative. It centers around the eternal struggle between good and evil, emphasizing the importance of faith and obedience to Catholic teachings.
Friedkin’s fascination with demonic possession persisted throughout his life. In his later years, he befriended Father Gabriele Amorth, an exorcist in Rome, and even filmed a real exorcism. When asked about his own religious beliefs in 2018, Friedkin admitted that nobody knows the answers to life’s mysteries, including the existence of an afterlife or heaven and hell.
With William Friedkin’s passing, one can’t help but wonder if he now holds the answers to these eternal mysteries he so deeply explored in “The Exorcist.”
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