This is a prime example of a film that doesn't quite fulfill genre expectations, and so was rather underrated. The title most explicitly refers to the Catholic rite of exorcism, which the film prominently features. It also, however, refers to the central narrative of the film, which is its protagonist's rite of passage; whether into the clergy, manhood, or his own faith is up for discussion. The demonic possession elements of the story -- as well as some expected bugaboo moments -- certainly make this a horror film, but it's not particularly scary. I think that's why it never got much buzz. Its drama, however, is pretty solid, and plenty of skill went into crafting this picture.
The story spins intriguingly off a typical exorcism plotline in that our protagonist is a skeptic. The somewhat resentful son of a religious mortician, Michael Kovak (Once Upon a Time's Colin O'Donoghue) attends seminary intending to rescind his vows upon graduating to earn a free degree. His mentor, Father Matthew (Toby Jones), sees his calm and control in the face of violence and death, and sends him to Rome to become an exorcist under his friend Father Xavier (Ciaran Hinds). Unable to sate Michael's curiosity and skepticism, Xavier sends Michael to learn from Father Lucas (Anthony Hopkins), whose "unorthodox" methods apparently work.
Other elements to the film fit the genre a little too well, unfortunately. Michael's possessed case study -- the pregnant teenager Rosaria -- was raped by her father, supposedly inviting the demonic infestation. Another boy tended to by Father Lucas has been abused, possibly by his mother. But just when we expect the film to follow a rote pattern of sex/age/gender-based possessions, director Mikael Hafstrom and writer Michael Petroni (The Book Thief (2013), The Voyage of the Dawn Treader (2010)) turn the tables. The climax of the film occurs when Father Lucas, vulnerable from doubt and grief, becomes host to a demon, and Michael must perform the exorcism himself.
The dialogue in this film occasionally feels too quotable -- a little too heightened to be taken seriously -- but it also works. I think it works because the story itself is also a bit surreal. Thanks to cinematographer Ben Davis (Guardians of the Galaxy, The Best Exotic Marigold Hotel), the still, wide camera shots, varied colors, and beautiful lighting give the film a dreamy quality that brings the heightened script into balance. Alex Heffes's (The Last King of Scotland (2006), Red Riding Hood (2011)) lovely score similarly could be a little overwrought if the other technical elements were not slightly exaggerated. Director Hafstrom skillfully balances all these aspects while controlling the film with consistent pace, gentle style, and unrelenting tension. He recycles motifs, colors, and images with remarkable attention and perseverance, and its end result is one of a very specific exorcism movie that feels like few others.
Hopkins rules the screen with yet another portrayal of an isolated, frighteningly intelligent man with hell in his brain. I don't deny that he plays villainy better than most could ever hope to, but I do tire of seeing him cast as the crazed old man. To his credit, however, he does find fresh ways to scare us each time. Of course Ciaran Hinds and Toby Jones are fabulous as mentoring priests, though their roles are rather brief. The unsung hero of the film is Colin O'Donoghue, in what I believe is his first (and only?) major starring role in a feature film. His nuanced performance features layers of complexity and intelligence -- which says a lot when by day he fights demons and by night traverses disorienting hallucinations -- until he finally rises from tortured confusion to righteous triumph.
I sometimes think down on this film because it essentially reinforces a male-dominant narrative of returning to faith and the Christian tradition. That, and it does largely ignore the reality of mental illness and the importance of psychiatric attention in possession cases. But as I watch it again, I am reminded that the film does not give in to sentimentality or mindless Christian propaganda. It smartly and subtly weaves its way to a religious conclusion, and I can't fault it for that. If you're going to make an explicitly religious movie about turning to that religious tradition, this is the way to do it.
IMDb: The Rite
No comments:
Post a Comment