In The XXXorcist, after all other exorcism methods fail, Father Merkin has no other option but to screw the hell (and the devil) out of a possessed woman, Regan Teresa MacFeel. Her Mother, Mrs. MacFeel looks on helplessly until she succumbs to the evil and becomes possessed as well. Father Merkin is forced to fight for his life…with his genitals.
If you feel inclined, there’s a trailer for the film and for a few other ‘wonderful’ horror porno parodies, Re-Penetrator and Evil Head, on the official website HERE… download at your peril.
Carlotta Mercedes McCambridge (March 16, 1916 – March 2, 2004) was an Academy Award-winning and Golden Globe-winning American actress. Orson Welles called her “the world’s greatest living radio actress.”
McCambridge was born in Joliet, Illinois, the daughter of parents Marie and John Patrick McCambridge. She graduated from Mundelin College in Chicago. She began her career as a radio actor during the 1940’s while also performing on Broadway.
Her Hollywood break came when she was cast opposite Broderick Crawford in All the King’s Men (1949). McCambridge won the 1949 Academy Award for Best Supporting Actress for her role, while the film won Best Picture for that year. McCambridge also won the Golden Globe Award for Best Supporting Actress and New Star of the Year – Actress for her performance.
In 1954, the actress co-starred with Joan Crawford and Sterling Hayden in the offbeat western drama, Johnny Guitar, now regarded as a cult classic. McCambridge and Hayden publicly declared their dislike of Crawford, with McCambridge labeling the film’s star “a mean, tipsy, powerful, rotten-egg lady.”
McCambridge played the supporting role of ‘Luz’ in the George Stevens epic, Giant (1956), which starred Elizabeth Taylor, and James Dean in his last role. In 1959, McCambridge appeared opposite Katherine Hepburn, Montgomery Clift and Elizabeth Taylor in Joseph L. Mankiewicz’ film adaptation of Tennessee Williams’ Suddenly Last Summer.
Of more interest to casual readers of this site, McCambridge provided the dubbed voice of the demonically possessed child Regan in The Exorcist, acted by Linda Blair. McCambridge was promised a screen credit for the film’s initial release, but she discovered at the premiere that her name was absent. Her dispute with director William Friedkin and Warner Bros. over her exclusion ended when, with the help of the Screen Actors Guild, she was properly credited for her vocal work in the film.
In the 1970’s, she toured in a road company production of Cat on a Hot Tin Roof as Big Mama, opposite John Carradine as Big Daddy. She appeared as a guest artist in college productions such as El Centro College’s 1979 The Mousetrap, in which she received top billing despite her character being murdered less than 15 minutes into the play.
In the mid-1970’s, McCambridge briefly took a position as director of Livingrin, a Pennsylvania rehabilitation center for alcoholics. She was at the same time putting the finishing touches on her soon-to-be released autobiography, The Quality of Mercy: An Autobiography (Times Books, 1981).
McCambridge died on March 2, 2004 in La Jolla, California, of natural causes.
Check out these clips from the Turkish version of The Exorcist… so bad it’s awesome.
In what seems to becoming ‘Exorcist week’, here’s a fantastic behind the scenes documentary by Owen Roizman, cinematographer on The Exorcist (1973), who personally filmed behind-the-scenes footage while working on the horror production. The footage was made available in 2010 as part of the documentary Raising Hell: Filming The Exorcist, which appears on The Exorcist Blu-ray release. The documentary itself is laced with interviews from cast and crew (and is a great watch!) but I always thought it would be great to see all of that amazing rare footage spliced together, without interruption.
Check out these storyboard panels from The Exorcist. Click on the image to see larger panels…
Pierre Teilhard de Chardin SJ (Society of Jesus), (May 1, 1881 – April 10, 1955) was a French philosopher and Jesuit priest who trained as a paleontologist and geologist and took part in the discovery of Peking Man and Piltdown Man. Teilhard conceived the idea of the Omega Point (the maximum level of complexity and consciousness towards which he believed the universe was evolving) and developed Vladimir Vernadsky’s concept of Noosphere (sphere of human thought). Some of his ideas came into conflict with the Magisterium of the Catholic Church. He was reprimanded and his works were denounced by the Holy Office.
Teilhard’s primary book, The Phenomenon of Man, set forth a sweeping account of the unfolding of the cosmos. Teilhard views evolution as a process that leads to increasing complexity. From the cell to the thinking animal, a process of psychical concentration leads to greater consciousness. The emergence of Homo sapiens marks the beginning of a new age, as the power acquired by consciousness to turn in upon itself raises humankind to a new sphere. Borrowing Julian Huxley’s expression, Teilhard describes humankind as evolution becoming conscious of itself.
In Teilhard’s conception of the evolution of the species, a collective identity begins to develop as trade and the transmission of ideas increases. Knowledge accumulates and is transmitted in increasing levels of depth and complexity. This leads to a further augmentation of consciousness and the emergence of a thinking layer that envelops the earth. Teilhard calls the new membrane the “noosphere” (from the Greek “nous,” meaning mind), a term first coined by Vladimir Vernadsky. The noosphere is the collective consciousness of humanity, the networks of thought and emotion in which all are immersed.
The development of science and technology causes an expansion of the human sphere of influence, allowing a person to be simultaneously present in every corner of the world. Teilhard argues that humanity has thus become cosmopolitan, stretching a single organized membrane over the Earth. Teilhard describes the process by which this happens as a “gigantic psychobiological operation, a sort of mega-synthesis, the “super-arrangement” to which all the thinking elements of the earth find themselves today individually and collectively subject.” The rapid expansion of the noosphere requires a new domain of psychical expansion, which “is staring us in the face if we would only raise our heads to look at it.”
In Teilhard’s view, evolution will culminate in the Omega Point, a sort of supreme consciousness. Layers of consciousness will converge in Omega, fusing and consuming them in itself. The concentration of a conscious universe will reassemble in itself all consciousnesses as well as all that we are conscious of. Teilhard emphasizes that each individual facet of consciousness will remain conscious of itself at the end of the process.
He had abandoned traditional interpretations of creation in the Book of Genesis in favor of a less strict interpretation. This displeased certain officials in the Roman Curia and in his own order who thought that it undermined the doctrine of original sin developed by Saint Augustine. Teilhard’s position was opposed by his Church superiors, and some of his work was denied publication during his lifetime by the Roman Holy Office. The 1950 encyclical Humani generis condemned several of Teilhard’s opinions, while leaving other questions open. However, some of Teilhard’s views became influential in the reforms of the Second Vatican Council. More recently, Pope John Paul II indicated a positive attitude towards some of Teilhard’s ideas. In 2009, Pope Benedict XVI praised Teilhard’s idea of the universe as a “living host”.
Teilhard and his work have a continuing presence in the arts and culture. He inspired a number of characters in literary works. References range from occasional quotations—an auto mechanic quotes Teilhard in Philip K. Dick’s A Scanner Darkly, to inspiring William Peter Blatty to base the character of Father Lankester Merrin in his blockbuster novel The Exorcist on Teilhard. In Dan Simmons’ 1989–97 Hyperion Cantos, Teilhard de Chardin has been canonized a saint in the far future. His work inspires the anthropologist priest character, Paul Duré. When Duré becomes Pope, he takes Teilhard I as his regnal name.
If you’re in Los Angeles anytime between July 3 and August 12, get down to the Geffen Playhouse to see the stage adaptation of William Peter Blatty’s The Exorcist. If anyone out there manages to see this production, please post a review.
SYNOPSIS: The most chilling test of faith comes to life on stage. This world premiere adaptation of the famous 1971 novel documenting the terror and redemption of a ten-year-old girl remains as frightening and relevant as when first experienced. Under the direction of Tony Award winner John Doyle and adapted by acclaimed playwright John Pielmeier (Agnes of God), The Exorcist transforms the unsettling battles of good versus evil, faith versus fact and ego versus ethos into a uniquely theatrical experience as sophisticated as it is suspenseful.
Another nice LEGO image, this time of the classic levitating scene from The Exorcist.
Awesome spoof ‘The Exorcist’ advertisement.