Nov/Dec 2005

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For some, the existence of evil is one of the great arguments against the existence of God; for others, it is one of the great arguments in his favor. Many films about demonic possession and exorcism fall into the latter camp, and the film that defines this genre more than any other is, of course, William Friedkin's The Exorcist (1973). Based on the bestselling novel by William Peter Blatty, it draws a strong contrast between modern scientific rationalism—depicted as cold, harsh, and mechanical, a view of the world that reduces body and mind to a mere collection of parts—with a more traditional worldview that boldly affirms the supernatural. Ironically, while there is something dehumanizing about the medical treatment that a possessed young girl is subjected to, the demonic possession itself affirms her personhood, as well as the reality of a mysterious unseen world beyond what science can prove or explain. And Blatty's original novel makes a point of linking the cosmic conflict to more familiar forms of evil, reminding us that evidence of this spiritual battle is before our eyes all the time. The novel begins with a page that cites the Holocaust, the persecution of Christians, and similar examples of real-world cruelty, as if to say, Why do we need a "sign" such as demonic possession in order to believe that this struggle is real?

Nevertheless, this generation asks for signs, and writers and artists step up to provide them. Blatty called Mel Gibson's The Passion of the Christ "a tremendous depiction of evil," and Thomas Hibbs, author of Shows About Nothing: Nihilism in Popular Culture from "The Exorcist" to "Seinfeld," noted that Gibson's film, like Friedkin's, set "primitive" faith against the smug skepticism ...

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