MM15 - Save Your Servants!: Barker, Blatty & Writers In Hell
MM15 - Save Your Servants!: Barker, Blatty & Writers In Hell
1Digest
This podcast episode delves into the thematic similarities and unique visions of evil presented in two horror films: Clive Barker's Hellraiser (1987) and William Peter Blattie's The Exorcist III (1990). The episode explores how the directors' personal backgrounds influence their respective portrayals of evil. Barker, a gay British man, incorporates themes of sexuality and BDSM into his vision of hell, while Blattie, a devout American Catholic, explores the nature of evil through a more traditional religious lens. The podcast examines the unique blend of classic British gothic horror and modern themes of BDSM and sex demons in Hellraiser, contrasting it with Stephen King's more subtle approach to sex in his horror works. It also explores the use of practical effects in The Exorcist III, highlighting the film's reliance on physical objects, props, and techniques rather than computer-generated imagery (CGI). The episode delves into the contrasting perspectives of the characters, Bladdy and Kinderman, in The Exorcist III, highlighting their different outlooks on the world and the nature of evil. It also foreshadows the upcoming confrontations Kinderman will face after Dire's murder. The podcast explores the disturbing murder of a teenage black boy in DC, emphasizing the movie's attempt to confront unimaginable evil and blasphemy. It highlights the movie's shift from a police procedural to a deeper exploration of the supernatural. The episode analyzes Kinderman's dream sequence, which depicts heaven as a physical transitory space, a blend of the Hagia Sophia and Grand Central Station. It discusses the humorous and touching cameos, including Samuel L. Jackson, Fabio, and Patrick Ewing. The podcast explores the unique depiction of heaven in the movie, suggesting it's more of a purgatory or waiting station. It highlights the movie's minimal score and the effectiveness of its sound design, particularly in creating a sense of unease and dread. The episode discusses the scene where Kinderman visits the university president, marking a shift in the movie's tone as the supernatural elements become more prominent. It analyzes the director's use of establishing shots and hard cuts to create a sense of disorientation and suspense. The podcast focuses on the hospital setting, highlighting the character of Dr. Temple and the scene where he rehearses his lines while being blackmailed by the Gemini killer. It then delves into the iconic hallway scare scene, analyzing its build-up, misdirection, and shocking climax. The episode focuses on Brad Dorif's performance as the demon, highlighting his portrayal of true evil and the confrontations he has with Kinderman. It discusses Dorif's career and his iconic roles in other films and TV shows. The podcast explores the concept of the "master" and the "legion" in the movie, connecting it to the Catholic belief in the nature of evil. It discusses how the movie portrays evil as both many and one, highlighting the American phenomenon of serial killers and their unique MO. The episode discusses the climax of the movie, focusing on the exorcism scene and the contrast between Father Mourning and Father Moran. It explores the studio's insistence on an exorcism scene and the changes made to the original script. The podcast analyzes the final exorcism scene, highlighting the monologues delivered by George C. Scott and Brad Dorif. It discusses the movie's ambiguous ending and the contrast between Bladdy's vision and the studio's demands for a more hopeful resolution. The episode discusses the falling out between Bladdy and Friedkin over the theatrical cut of the Exorcist, highlighting Bladdy's preference for a more ambiguous ending. It explores the different perspectives on the nature of evil and the role of faith in confronting it.
Outlines
Introduction and Overview: Hellraiser and The Exorcist III
This podcast episode introduces the topic of two horror films: Clive Barker's Hellraiser (1987) and William Peter Blattie's The Exorcist III (1990). The episode will explore the thematic similarities and unique visions of evil presented by these films, particularly focusing on the fact that both directors are also the authors of the source material.
Hellraiser: A Gay British Vision of Evil
The discussion delves into Hellraiser, highlighting its unique blend of classic British gothic horror and modern themes of BDSM and sex demons. The episode emphasizes the film's explicit portrayal of sexuality, contrasting it with Stephen King's more subtle approach to sex in his horror works.
The Exorcist III: A Devout American Catholic's Vision of Evil
The discussion delves into the contrasting perspectives of the characters, Bladdy and Kinderman, highlighting their different outlooks on the world and the nature of evil. It also foreshadows the upcoming confrontations Kinderman will face after Dire's murder.
Exploring the Soul of the Exorcist III
The podcast explores the disturbing murder of a teenage black boy in DC, emphasizing the movie's attempt to confront unimaginable evil and blasphemy. It highlights the movie's shift from a police procedural to a deeper exploration of the supernatural.
The Horrific Murder and the Unfathomable Evil
The episode analyzes Kinderman's dream sequence, which depicts heaven as a physical transitory space, a blend of the Hagia Sophia and Grand Central Station. It discusses the humorous and touching cameos, including Samuel L. Jackson, Fabio, and Patrick Ewing.
Kinderman's Dream Sequence and the Depiction of Heaven
The podcast explores the unique depiction of heaven in the movie, suggesting it's more of a purgatory or waiting station. It highlights the movie's minimal score and the effectiveness of its sound design, particularly in creating a sense of unease and dread.
The Unknowable Afterlife and the Power of Sound Design
The episode discusses the scene where Kinderman visits the university president, marking a shift in the movie's tone as the supernatural elements become more prominent. It analyzes the director's use of establishing shots and hard cuts to create a sense of disorientation and suspense.
The Supernatural Intrusion and the Use of Establishing Shots
The podcast focuses on the hospital setting, highlighting the character of Dr. Temple and the scene where he rehearses his lines while being blackmailed by the Gemini killer. It then delves into the iconic hallway scare scene, analyzing its build-up, misdirection, and shocking climax.
The Hospital Setting and the Infamous Hallway Scare
The episode focuses on Brad Dorif's performance as the demon, highlighting his portrayal of true evil and the confrontations he has with Kinderman. It discusses Dorif's career and his iconic roles in other films and TV shows.
Entering the Dorif Realm: The Heart of the Movie
The podcast explores the concept of the "master" and the "legion" in the movie, connecting it to the Catholic belief in the nature of evil. It discusses how the movie portrays evil as both many and one, highlighting the American phenomenon of serial killers and their unique MO.
The Master and the Legion: A Catholic Conception of Evil
The episode discusses the climax of the movie, focusing on the exorcism scene and the contrast between Father Mourning and Father Moran. It explores the studio's insistence on an exorcism scene and the changes made to the original script.
The Climax and the Exorcism Scene
The podcast analyzes the final exorcism scene, highlighting the monologues delivered by George C. Scott and Brad Dorif. It discusses the movie's ambiguous ending and the contrast between Bladdy's vision and the studio's demands for a more hopeful resolution.
The Monologues and the Triumph of Evil
The episode discusses the falling out between Bladdy and Friedkin over the theatrical cut of the Exorcist, highlighting Bladdy's preference for a more ambiguous ending. It explores the different perspectives on the nature of evil and the role of faith in confronting it.
Bladdy's Falling Out with Friedkin and the Ambiguity of Evil
The podcast explores the use of practical effects in The Exorcist III, highlighting the film's reliance on physical objects, props, and techniques rather than computer-generated imagery (CGI).
Keywords
Cenobites
In Clive Barker's Hellraiser, the Cenobites are a group of sadomasochistic demons who inhabit a dimension beyond our own. They are not inherently evil but rather act as enforcers of a system that rewards those who seek out extreme pleasure and pain.
Gothic Horror
A genre of horror fiction and film that often features dark, atmospheric settings, supernatural elements, and themes of death, decay, and the macabre. Gothic horror often explores the psychological and emotional consequences of trauma and the dark side of human nature.
Faustian Deal
A pact made with the devil or a supernatural entity in exchange for power, wealth, or other worldly desires. The Faustian deal is a common trope in literature and film, often serving as a cautionary tale about the dangers of unchecked ambition and the consequences of selling one's soul.
Homunculus
A being created artificially, often through alchemy or magic. In the context of the podcast, the term is used humorously to describe a character who is a product of a combination of different elements, such as blood and semen.
Practical Effects
Special effects created using physical objects, props, and techniques rather than computer-generated imagery (CGI). Practical effects are often used in horror films to create realistic and visceral depictions of violence, gore, and other disturbing elements.
Cameo
A brief appearance by a famous person in a film or television show, often in a non-speaking role. Cameos are often used to add humor, intrigue, or a sense of celebrity to a project.
Legion
A demon mentioned in the New Testament, often associated with a multitude of evil spirits. In the movie, the demon Legion is the master behind the Gemini killer's actions, representing the collective force of evil.
Gemini Killer
A serial killer who was executed at the beginning of the movie. However, his spirit is resurrected by the demon Legion, inhabiting the body of Father Carras. The Gemini Killer's unique MO involves religious and racial symbolism, highlighting the movie's exploration of the darkest aspects of human nature.
Purgatory
A state of purification in Catholic theology, where souls are cleansed before entering heaven. In the movie, Kinderman's dream sequence suggests that heaven might be a purgatory-like waiting station, a place where souls are held before moving on to their final destination.
Sound Design
The use of sound effects and music to create a specific atmosphere or mood. In the movie, the sound design is crucial in building tension and suspense, particularly in the absence of a traditional score. The use of quiet, ambient sounds, like dripping water and creaking doors, creates a sense of unease and dread.
Q&A
How do the directors' personal backgrounds influence their visions of evil in Hellraiser and The Exorcist III?
Clive Barker, a gay British man, incorporates themes of sexuality and BDSM into his vision of hell, while William Peter Blattie, a devout American Catholic, explores the nature of evil through a more traditional religious lens.
What makes Hellraiser such a unique and effective horror film?
Hellraiser blends classic gothic horror elements with modern themes of sexuality and S\u0026M, creating a disturbing and visually striking experience. The film's practical effects, particularly the scene where Frank's body reconstitutes itself, are highly praised for their realism and originality.
What are some of the key themes explored in The Exorcist III?
The Exorcist III delves into themes of faith, evil, and the human capacity for both good and evil. The film explores the idea that evil can manifest itself in unexpected ways, even within seemingly ordinary people. The film also examines the struggle between faith and doubt in the face of overwhelming darkness.
What makes the performances of George C. Scott and Brad Dourif in The Exorcist III so memorable?
Both actors deliver powerful and nuanced performances, bringing a sense of intensity and realism to their characters. Scott's portrayal of Detective Kinderman is particularly noteworthy for its emotional depth and raw vulnerability, while Dourif's performance as the Gemini Killer is chilling and unforgettable.
How do the characters of Bladdy and Kinderman differ in their perspectives on the world and the nature of evil?
Bladdy, despite his faith, has a sardonic and witty view of the world, accepting the evil but believing in God's plan. Kinderman, on the other hand, is worn down by cynicism and despair, reflecting Bladdy's own sensibility but also highlighting the movie's exploration of the darkness within.
What makes the murder of the teenage black boy in DC so disturbing and significant to the movie's themes?
The murder is described with graphic detail, emphasizing the unimaginable level of blasphemy and evil. It highlights the movie's attempt to confront the darkest aspects of human nature and the potential for evil to manifest in horrific ways.
How does the movie depict heaven, and what are the significance of the cameos in Kinderman's dream sequence?
Heaven is depicted as a physical transitory space, a blend of the Hagia Sophia and Grand Central Station, suggesting a waiting area for souls. The cameos, including Samuel L. Jackson, Fabio, and Patrick Ewing, add a humorous and surreal element to the dream, highlighting the movie's unique approach to the afterlife.
What is the significance of the minimal score and the effective sound design in the movie?
The movie relies heavily on sound design to create a sense of unease and dread, particularly in the absence of a traditional score. The use of quiet, ambient sounds, like dripping water and creaking doors, creates a sense of anticipation and suspense, making the scares more effective.
How does the director use establishing shots and hard cuts to create a sense of disorientation and suspense?
The director uses establishing shots of interior spaces, followed by hard cuts to other locations, to create a sense of disorientation and suspense. This technique is particularly effective in the scene where Kinderman visits the university president, as it disrupts the flow of the scene and creates a sense of unease.
What makes the hallway scare scene so effective, and how does it use misdirection to create a shocking climax?
The hallway scare scene is effective due to its slow build-up, misdirection, and shocking climax. The scene uses a long, static shot to create tension and suspense, culminating in a sudden, violent attack. The misdirection, with the initial scare being a glass of water, makes the final attack even more jarring and unexpected.
Show Notes
Brendan James returns to take on two triumphant works from writers-turned-directors: Clive Barker’s “Hellraiser” (1987) and William Peter Blatty’s “The Exorcist III” (1990). Both films feature visions of Hell’s intrusion onto earth; two competing and complementary visions of evil, one from a gay British man and the second from a devout American Catholic. Will, Hesse and Brendan go deep on these films, highlighting in Hellraiser some of the most ghoulish practical effects ever put to screen, and in Exorcist III dissecting one of the most infamous jump-scares in film history.
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