Hit Me With Your Best Shot: "The Exorcist"

The Hit Me With Your Best Shot series is deceptively simple. Choose a single shot from a pre-selected movie that you think is best, best being in the eye of the beholder. Tonight we're looking at The Exorcist (1973). And for me at least, it's the first time I've looked at it. That's not quite as shocking as your 12 year old daughter's head spinning 'round 180º, but maybe it's close.

Nearly every horror classic I've seen I've resisted in some ridiculous way: I saw Halloween at a sleepover movie marathon but it took my horror-loving friend five holidays to convince me; I first saw Silence of the Lambs because I had five nightmares about it beforehand and wanted them to end; I can't remember what prompted Rosemary's Baby but I'm willing to bet that I rented the video five times before actually watching it. And so on. 

If I was ever going to watch The Exorcist, the power of blogging would have to compel me. And so it did.

And here we are in the haunted upstairs bedrooms of actress Chris MacNeil (Ellen Burstyn) and her daughter Regan (Linda Blair). The first thing that impressed me about the  movie was how rooted in character it was. Director William Friedkin and the novelist screenwriter William Peter Blatty spend more than half hour with the four main characters before the devil (The Devil?) crashes the party. The first shot that I truly loved foreshadowed the horrors to come in a wonderfully lived-in nonchalant way. After Chris MacNeil unleashes a stream of profanity on an angry phone call (including, pointedly, several "Jesus Christ!"s) we cut to the middle of the night when she's woken by a phone call. I love that the shot starts in the dark and when Chris flips on the light the only face that's really illuminated, given her bleary banged face, is Regan's in a photo on the bedstand; the young girl looks actively worried for her mother which is a brilliant set decoration move. Chris hangs up the phone and the camera tracks her movements to the right until we and she realize that her daughter has crawled into bed with her. It's the first time Regan is essentially split in the film, surrounding her anxious still oblivious mother.

Chris: What are you doing here?
Regan: My bed was shaking. I can't get to sleep.

Here in a sweet mother/daughter moment, Regan's telling us where all the horror will be found. The next voice we here, overlap edited over the end of this shot but just barely is the devil's if you want to get metaphoric about it is Captain Howdy's (The Devil's) who is banging about in the attic. Oh Chris, soon to be overwhelmed Chris, it's not rats. 

The Exorcist builds beautifully towards its truly grotesque last act but at least half of the reason it's so effective is that it never forgets who is terrified while it's terrifying us. My second favorite shot in the film is a beautifully quiet character beat for the title character(s) in the "intermission" of the exorcism. 

The Exorcist(s): Father Karras and Father Merrin

One of the movie's most disturbing famous images is "Help me" scrawled on Regan's stomach from the inside.  If Father Damien Karras (Jason Miller) were to remove his clothing, wouldn't we see a similar cry for help from his private hell?

It's these quiet glimpses of internal terror that really sell the movie for me, whether it's Ellen Burstyn's increasing impotent understanding (when no one else has accepted it -- not even the priests) or Father Karras's personal doubts. This silence, this vacuum, lets the terror flood in, often courtesy of the Oscar winning sound work. In the shot above we still hear Regan's possessed wheezing from inside the bedroom, less shocking but even more unsettling than her loud profane outbursts.

This push and pull between external and internal terror, room-shaking chaos and sudden absences of sound but for Exorcist chanting to fill the void powers, for me, the most hypnotic shot in the film. The room suddenly goes quiet and we see Regan lift off the bed in crucifix pose until she's nearly touching the ceiling. A simple familiar image, yes, like you'd see in a magic show. But somehow alien and unnatural, too. Only the exorcists can break this unholy spell.

The Power of Blog Compels Them
Movies Kick Ass is Hollywood the devil?
The Tomas Experience "as sure as the sun rises, you can find evil anywhere"
Film Actually the mysteries of faith and science
The Sketchy Details Regan split in two
Antagony & Ecstasy a single mother's personal hell
Cheerful Cynicism the slow burn is the best part 
Cinesnatch has mixed feelings about the movie 
Okinawa Assault colours and threats 
Encore's World is moved by the mother/daughter bond 
Beau McCoy "The Exorcist and Nothingness" 
Stranger than Most find horror in the hospital
Pussy Goes Grrr "body and soul" and Linda Blair's eyes

Next Wednesday: Edward Scissorhands (1990)... will we catch you dancing in it?
Previously: Pariah (2011), Raise the Red Lantern (1991),  Serenity (2005)

Happy Birthday, Louise Lasser

"I wish you had done this twenty years ago.Now I'll have to get another fucking face-lift!"

JA from MNPP here. Because I'm too young to have seen Mary Hartman Mary Hartman or the Woody Allen movies she starred in (she's brilliant in Bananas) until recently, whenever I think of Louise Lasser my first thoughts are of her scenes in Todd Solondz's masterpiece Happiness (watch the above scene here), and also that time she dyed Ellen Burstyn's hair - "If this is red, I wanna know, what's orange?" - in Requiem For a Dream. What do you think of when you think of Louise Lasser?

Q&A Leftovers: Oscar Madness, Black Actors, Carrey & Kunis

Okay, before I decide how to reconfigure the fun but exhausting new Q&A series, I thought I'd answer 5 Oscar questions I stubbornly avoided before.

Ellen Burstyn in "Resurrection" (1980)

Michael: Going back to 1980 out of the five nominees - who would you have handed the Best Actress Oscar to?
Nathaniel:  I can't vote on 1980 because I've never found an opportunity to see Ellen Burstyn in Resurrection and I don't vote without seeing all five. Or at least I don't vote without all five if I really love the missing actor... which, in this case, I do. (Also: regarding 1980. I've heard the pleas for me to talk about Gena Rowlands since I never do. I just have to decide how to attack that large subject.)

Philip: Why do you think Oscar never took a liking to Jim Carrey?
Nathaniel: He was trying too hard when they weren't ready for him yet. The Truman Show (1998) was too close to his comic persona for people to get how brilliant he was in it. By the time he'd work up to "due" and gave his best performance (Eternal Sunshine of the Spotless Mind, 2004) he happened to do it within a romantic masterpiece. Alas, it's only women who ever get Oscar credit for those. Sexist but true.

Two Actors. Beloved by Plant Life. Not by Oscar.

Adam: What sort of project do you think Mila Kunis should tackle for Oscar recognition? Comedy or drama? Any roles in particular?
Nathaniel: I talked about this briefly last month, not in the context of Oscar but in the context of a wise career move. I wrote:

My basic feeling is that she should ditch the comedies briefly for something E-V-I-L. That vaguely sinister erotic charge that she gifted to Black Swan and the way you could read it as playful one minute and agenda-filled the next, suggests that she has an untapped capacity for darker roles

But what's good for the career isn't always good for Oscar favor. But wait there's more!

Click to read more ...

Darren Aronofsky's Familiar Faces: Acting Hierarchy

Black Swan is the fifth feature to come from the lunatic vision of Darren Aronofsky and with his first Oscar nomination pending, let's look back on his career. While Natalie Portman is front and center for the entire hit movie and Mickey Rourke had a similarly feature-length closeup in The Wrestler, Aronofsky is the star of all five pictures. If not, he has to be considered the co-lead. He's not invisible as a director is the point even though he's not onscreen. But which faces has he used the most to sell his masterpieces and/or follies (depending on your point of view)? 

Left: Aronofsky; Right: His parents (I believe) in The Wrestler

Let's investigate.

The Darren Aronofsky Acting Hierarchy
(Quantitatively Speaking)

5 Films

One character actor has appeared in every Darren Aronofsky feature (and so has Aronofsky's dad, no joke). Will they both appear in The Wolverine, Hugh Jackman's 5th go at the adamantium clawed Canadian supermutant? I suspect they will, though one has to wonder when Margolis is getting a bigger part. He's got such a great character face.

• Mark Margolis -(left) pontificated about in Pi (1998) which was Aronofsky's debut feature. He also ran the sad pawn shop in Requiem for a Dream (2000) where Sara Goldfarb's TV traded hands so many times. He played Father Avila in The Fountain (2006), Lenny in The Wrestler (2008) and he appears in Black Swan (2010) briefly as a patron of the ballet.
• Abraham Aronofsky - the director's papa delivers a suitcase in Pi, rides the subway in Requiem, works in Ellen Burstyn's lab in The Fountain, is pissed at The Wrestler at the Deli counter, and is also a patron in Swan.

the infamous "ass to ass" scene with "Uncle Hank"

3+ Films

• Stanley Herman is Aronofsky's go-to perv.  He's played "Uncle Hank" twice. Who is Uncle Hank you ask? That's the lech who demands "ass to ass" in Requiem (y'all know what I'm talking about even if you'll forever be trying to block it out). He reprises the role to rattle prim Nina Sayers with obscene gestures on the subway in Black Swan. He also appears in Pi (1998) and in Aronofsky's short film Fortune Cookie. 

3 Films

• Charlotte Aronofsky is Darren's mother. She appears in Requiem, Swan and she's totally annoyed with Mickey Rourke at the deli counter in The Wrestler.
• Marcia Jean Kurtz you'll immediately recognize as one of the Mrs. Goldfarb's sidewalk hens in Requiem. She also works the admissions desk in The Wrestler and in the costume department of Swan, onscreen I mean. Amy Westcott and Rodarte did the actual costumes (though only Westcott will be Oscar-nominated, long story.)
• Ajay Naidu is a medic in The Wrestler, the tortured mailman in Requiem (seriously Mrs. Goldfarb... patience! Look into it.) and Farroukh in Pi.
  

2+ Films

The first of them...

• Sean Gullette is the unethical shrink basically paying for the privilege of screwing his patient Jennifer Connelly in Requiem for a Dream as she's always short on funds. Since Requiem is a hall of such compromised horrors, you may have forgotten him. Perhaps this will jog your memory: Connelly stabs him with a fork... in her daydreams. Gullette was  also the first, but certainly not the last, of Aronofsky's pool of protagonists-who-are-completely-losing-their-shit (Pi). He also appears in Aronofsky's short film Supermarket Sweep so they knew each other from way back.

2 Films

Will any of them increase their presence in The Wolverine?

• Gregg Bello is an ER doctor in Requiem and a promoter in The Wrestler.
• Ellen Burstyn was a legendary actress bereft of challenging material in the 1990s. Aronofsky to the rescue! Her performance in Requiem polished her star again, winning her a new generation of young fans and her sixth Oscar nomination. They reteamed for The Fountain. We're hoping against all hope that Aronofsky gives her another juicy role at some point. Though perhaps it's difficult to picture her in Japan with Wolverine. 
• Peter Cheyenne is, we assume, Aronofsky's friend since his only two credits are in Pi & Requiem.
• Joanne Gordon has a recurring role. She plays "Mrs. Octavia" in both Pi & Requiem.
• Shaun O'Hagan is currently stage managing Nina Sayer's big show in Black Swan --those ballerinas sure are a handful -- but he's no stranger to people hanging by their last threads. He was previously a ward attendant in Requiem.
• Ben Shenkman, is a familiar face in television and film. You'll recognize from Damages or Angels in America or Blue Valentine among many others. He appears in both Pi and Requiem.
• Samia Shoaib is a nurse in Requiem and "Devi" in Pi.

What's next?

Hugh Jackman, who gave the best performance of his career in The Fountain, will soon join the ranks of the two-time collaborators in The Wolverine (2012). While it's the sequel to a movie we'd rather not talk about, and will be Jackman's fifth run at the abrasive Canadian mutant superhero, we figure this pairing will reenergize him. At the very least Aronofsky knows from berzerker rages and if a Wolvie movie is ever going to be memorable it's got to sell those better than they've been previously sold.

Gullette, Libatique and Aronofsky on the set of Pi (1998)

One final thing...

Though these posts are about the colors on the director's pallete (i.e. faces in movies), Aronofsky also reuses crew. His most famous collaborator is the composer Clint Mansell who has written the scores for his entire filmography. Clint also appears onscreen in Pi as a photographer. The twice production designer James Chinlund (Requiem and The Fountain) is another collaborator used onscreen (Requiem's "space oddity") and then of course there's Matthew Libatique, the cinematographer, who lensed all of the films except The Wrestler. He's currently earning multiple critics awards for Black Swan so he may finally turn his Oscar luck around; incredibly he's never been nominated by his peers in the Academy.

If you were to appear in an Aronofsky picture, what kind or role would you want to have? Which actor would you love to see him work with again?

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