VIZ Media has announced that it will serve as an official distribution partner for Aniplex of America’s domestic debut of the BLUE EXORCIST anime series. VIZ Media will carry the new action series (subtitled) on its VIZAnime website beginning Wednesday, April 20th, just days after its eagerly anticipated debut on Japanese TV on April 17th. New episodes will stream on the site every Wednesday.
In the animated series, Rin, along with his twin brother Yukio Okumura are raised by an eminent priest, Shiro Fujimoto, but one day Rin discovers that their biological father is actually Satan! As the border between “Assiah” (the human world) and “Gehenna” (demon’s world) is intruded upon by evils, Rin vows to become the ultimate exorcist to defeat his own father, Satan. To hone his raw skills, Rin enters True Cross Academy to train with other exorcist candidates. Can Rin fight the demons and keep his infernal bloodline a secret? It won’t be easy, especially when drawing his father’s sword releases the demonic power within him!
VIZ Media is the official North American publisher of the BLUE EXORCIST manga (graphic novel) series, created Kazue Kato. Volume 1 is on sale now and is published under the company’s Shonen Jump Advanced imprint. BLUE EXORCIST is rated ‘T+’ for Older Teens and carries an MSRP of $9.99 U.S. / $12.99 CAN.
BLUE EXORCIST Volume 1 will also available on April 11th as part of VIZ Media’s expansive digital manga library available exclusively for the VIZ MANGA APP for the Apple® iPad™ mobile device. For more information on the VIZ MANGA APP, please visit www.VIZ.com/apps/.
Manga creator, writer and illustrator Kazue Kato won the prestigious Tezuka Award when she was only 19 for her work, Rabbit And I, published in Japan in Akamaru Jump magazine. Her latest manga series, BLUE EXORCIST, debuted in Jump Square magazine in April of 2009.
Twisted metal, slow-motion explosions, outrageous gunfights, and more bodies than you can count – some naked, some bloody, some both – and all of it in 3-D! It’s a rip-roaring trip down the Road to Hell as the Cinefantastique Podcast crew (Dan Persons, Lawrence French, and Steve Biodrowski) hitch a ride with Nicolas Cage for DRIVE ANGRY, the movie that dares to reveal what Satan really thinks of Satanists. Is this the film that GRINDHOUSE tried (and failed) to be? Listen in, and find out!
The Devil and the related phenomenon of demonic possession, have been the source of several horror films for the years. Previous decades offered THE EXORCIST (1973), with its Roman Catholic perspective, and the various films that made up Protestant responses to it in THE OMEN (1976) and its sequels. Moving forward into more recent cinematic history, we have seen THE EXORCISM OF EMILY ROSE (2005), and a dual release of diabolical films in 2010: DEVIL and THE LAST EXORCISM. Our fascination with the ultimate supernatural villain continues in 2011 with the recent release of THE RITE, which returns the horror treatment of Satan and demonic possession to the Catholic roots of THE EXORCIST. As a result of our present social and cultural circumstances, which echo much of the turbulence of the 1970s, we may be calling on Satan to help us deal with our current angst. As we will see, paradoxically, he may also provide some with faith in God.
THE RITE tells the story of a young American, Michael Kovak (Colin O’Donoghue), who has decided to leave the family business of running a mortuary with his father (Rutger Hauer) in favor of entering Roman Catholic seminary. As he explains his decision to a friend, the Kovaks do only two things, undertaking or the priesthood; with his increasing dissatisfaction with the former, it is time for Michael to explore the possibilities of the latter. Kovak completes his program of study, but just before taking his ordination vows, he submits his resignation because he lacks the faith that underlies the work of the priesthood and the church. One of his professors, Father Matthew (Toby Jones), sees potential in Kovak and, instead of accepting Michael’s resignation, sends him to a school in Rome that trains priests in the Roman Catholic rite of exorcism. It is here, Father Matthew argues, that Kovak may find the faith that he needs to become a priest.
After beginning exorcism studies, Kovak is assigned to work with Father Lucas Trevant (Anthony Hopkins), a priest whose many years of experience include thousands of exorcisms. Father Trevant is aware of Kovak’s struggle with faith, a struggle that Trevant himself has experienced from time to time in the past. Trevant immediately enlists Kovak’s help in assisting with exorcisms; the first involves the alleged possession of a pregnant teenage girl. After watching Trevant interact with the teenager, Kovak’s skepticism remains. He believes that her strange behavior can be accounted for by deep psychological problems, and that what she really needs is a psychiatrist. But after his experiences with Father Trevant, the allegedly possessed girl, and another case of possession, Kovak’s skepticism becomes more difficult to maintain. Eventually, he experiences strange phenomena, has deeply troubling and surreal dreams, and begins to wonder whether there may be some truth to the possibility of possession. As the film reaches its climax, Father Trevant and Kovak both have their faith tested, on the one hand, and given an opportunity for confirmation on the other, thanks to the presumed presence of evil supernatural entities.
Before addressing what I believe is the major thrust of THE RITE, I would like to make a few minor observations. At one point in the film, as Kovak begins his exorcism studies in Rome, he has a spirited exchange with the priest teaching the course, and Kovak notes that while the church accepts the veracity of demonic possession without hesitation, if someone reports a UFO sighting and alien abduction, the claim is immediately suspect. For Kovak, both claims are just as unlikely, so why should a strange claim in a mainstream religious tradition be privileged over a paranormal claim in what is often considered part of the cultural and religious fringe. Here THE RITE stumbles upon not only a question that can be found in any number of skeptical publications, but also an often unacknowledged issue in popular expressions and the academic study of religion. Phenomena like demonic possession or Marian apparitions are more likely to be take seriously, at least by believers, than other experiences by other segments of society outside the religious mainstream.
The second observation involves two of the actors in THE RITE. This film represents Anthony Hopkins’s return to horror, his prior effort being THE WOLFMAN (2010). Interestingly, in both films Hopkins plays a man who must wrestle with an internal evil. In THE WOLFMAN he battles the effects of a werewolf curse and releases his inner monster to roam and attack at will because, he says, “The beast must have its day.” In THE RITE his character likewise wrestles with an inner evil, but in this instance the evil is resisted, and deliverance is desired rather than unbridled relishing in that evil.
Another actor in this film completes the final part of my second observation, and that is Alice Braga. In THE RITE Braga plays a journalist, Angeline, struggling to know whether her deceased brother (who struggled for years with mental difficulties and claimed to hear voices) was really suffering from mental disease or demonic influences. Like Kovak, Angeline wrestles with the issues of faith and skepticism. It is worth noting that this is not the first time Braga has taken a role that depicts a character addressing faith in the face of evil. In I AM LEGEND (2007), Braga played Anna, a woman who believed that even in the face of a worldwide plague that turned most of the human population into contagious, monstrous creatures, God’s voice could still be heard if humanity was willing to listen.
It is here that the latter half of my second observation above leads to what I view as the major focus of this film: developing religious commitments in the midst of a skeptical age. But THE RITE presents this idea in a curious fashion, almost by “backing into” faith as understood in the Judeo-Christian tradition. According to this film’s reasoning, although life’s experiences, coupled with the reigning cultural narrative of the sciences as the arbiter of truth, make it very difficult to maintain traditional religious commitments in terms of belief in God, the presence of supernatural evil through demonic possession proves the existence of the Devil; by extension, this then proves the existence of God. If Satan exists, then God must exist as well.
Although this reasoning is problematic, it is not difficult to understand in light of Kovak’s experiences that are displayed in flashbacks and dreams over the course of the film. Kovak’s father runs a mortuary out of the family home, and thus young Michael was exposed to the unsanitized reality of death from a very young age. In addition, his mother died when he was a child; it was her death, coupled with his father’s enlisting Michael to assist with his mother’s embalming, that led to Michael’s functional atheism symbolized by the young Michael bending and twisting a crucifix behind his back as his mother’s casket is lowered into the ground. Many irreligious as well as religious convictions often begin at the experiential level, and then develop rational justification and support over time. Kovak’s lack of faith is understandable in light of the close proximity of death since his youth, and the loss of his mother, a woman of religious convictions.
Kovak’s experiences are mirrored by countless individuals in our late modern period. As just one example, a recent story in THE NEW YORKER on Guillermo del Toro included a telling paragraph which echoed similar sentiments in a National Public Radio interview of the past in which the gifted film director described his atheism as a result of his experiences with the corpses of young children in his native Mexico. In his view, no human beings can have souls, and no God can exist if even these innocents are tossed out like garbage. In other interviews with del Toro, we learn that other experiences played a part in his lack of faith, such as an overbearing religious grandmother, but the point is that the experiences of one of the greatest contemporary horror and dark fantasy film makers echoes the struggle of faith of Kovak in THE RITE. It is indeed difficult to believe in God, or in anything.
Yet here an unlikely source provides for positive religious inspiration. It is through his battles with evil personal entities – which he comes to believe are supernatural – that Kovak comes to accept the existence of the Devil. And as mentioned previously, if the Devil exists, it is argued, then in light of the Judeo-Christian tradition, then God must exist as well. Of course, there are other possible explanations, even if possession is granted as a legitimate phenomenon. After all, anthropologists have described possession across a variety of cultures and religious traditions. But it is interesting that in our skeptical age, the Devil is construed as a proof of God’s existence.
It remains to be seen how much longer Satan will be given a starring role at the box office. We have been fascinated with him for years in literature and cinema, as well as in religion and culture. Perhaps the moral ambiguity of our times – ever increasing since THE EXORCIST burst on the screen at a previous time of social upheaval and sent viewers vomiting from the theaters – demands the ultimate villain. By pointing beyond ourselves to an external and supernatural source of evil we can exorcise not only our individual but also our societal demons as well, and come to embrace faith, in something.
Last night I attended one of the nationwide Fathom screenings of THE EXORCIST (1973), featuring the new documentary TO HELL AND BACK, which charts the making of the classic horror film. Never having attended a Fathom event before (it’s a bit like watching television in a theatre, with digital image projected on select screens around the country), I am pleased to report that the picture quality was very impressive: with colors that were sharp and clear, the film looked as good as it ever has. It is also reassuring to note that not too much digital restoration has been performed: the photography retains the slightly grainy 1970s look that lends a documentary atmosphere to the proceedings. Assuming that the upcoming Blu-ray disc and iTunes download (which become available on Tuesday, October 5) are transferred from the same source, this bodes very well: THE EXORCIST has been preserved, not cosmetically embalmed.
I was also pleasantly surprised by the documentary TO HELL AND BACK. Not that I expected it to be bad, but after decades of reading about THE EXORCIST, I doubted there was much new to learn – especially after the wonderful behind-the-scenes features on the 25th anniversary DVD. However, TO HELL AND BACK has a devilishly good ace up its sleeve: besides interviews with producer William Peter Blatty, director William Friedkin, actress Linda Blair, and cinematographer Owen Roizman, the documentary includes never-before-seen screen tests and behind-the-scenes footage shot by Roizman on the set, depicting how many of the effects were done (the projectile vomiting – a brief startling shock in the film itself – goes on for what seems like minutes during rehearsals). Again, the presence of this short but insightful featurette bodes well for the home video release; though I already own two versions on DVD (the 1973 original and the 2000 “Version You’ve Never Seen”), I am seriously considering triple-dipping on this one.
All that, however, is secondary to the experience of revisiting THE EXORCIST on the big screen, along with an appreciative audience. In a way, the screening was something of a personal achievement for me: it was the first time I was able to sit through the film without becoming seriously disturbed. (For the record, I almost achieved this in 2000, but then the new footage – i.e., the Spider Walk – showed up, and my nerve faltered once again.)
I suspect that modern audiences will wonder what all the screaming was about; is this really the film that allegedly made people pass out and/or throw-up? But as William Friedkin told me, people who go just to get off on the effects, don’t. THE EXORCIST works because it takes a serious approach, asking you to buy into the possibility of possession – and, by extension – the existence of God and the Devil – on a deep, dramatic level.
Now that that shocks have worn off after all the years, it is pleasantly ironic (for those of us who were there when the film made its debut) to note how subtle THE EXORCIST is, in many ways. There are long stretches when little happens, except for the recurring sound of rustling in the attic. Big chunks of screen time are occupied with the personal lives of the characters, such as Father Damien Karras’s trip to see his mother in New York. Much of the horror derives not from demonic possession but from the medical science used in a vain attempt to locate the etiology of Regan’s illness.
I also remain impressed with the way the William Friedkin managed to avoid going archetypal while depicting THE EXORCIST’s battle between Good and Evil. There is a fine review of Moby Dick – written by D. H. Lawrence, I think – that praises Melville for keeping the novel grounded in the semblance of a believable story about a hunt for a whale, even as the book piles on metaphors and symbolism that could have rendered the whole tale as an abstract allegory. Friedkin achieves something similar here: THE EXORCIST, we can see clearly now, is a film about people, who feel lost and helpless, who are trying to do their best, whether or not they are certain that God is watching over them. The film has a very scaled-down, credible tone, quite different from the adult fairy tale stylings of, for instance, HORROR OF DRACULA.
This leads me to my final point. From time to time, some critic will complain that THE EXORCIST’s view of evil is too small scale to mean anything (Stephen Thrower in his book Beyond Terror: The Flims of Lucio Fulci, comes to mind). Why, they ask rhetorically, does the Devil waste time tormenting a little girl in a room? The very fact that the question is asked shows that these viewers have missed the point.
Leave aside for a moment that the revised 2000 version (which is the one screened last night, which will be available on Blu-ray along with the original cut) offered an explanation in a restored bit of dialogue between Father Merrin and Father Karras. Focus instead on the entire vision of the world as it is presented in THE EXORCIST.
Everywhere the camera turns, we see examples of Satan’s work: the former alter boy, now a drunk sitting in his own urine and vomit in a subway; the pathetic inmates of an insane asylum, staring into space, helpless and lost in their own psychosis; the priest-psychiatrist – Karras – who has lost his faith because he has seen too many wounded souls that he could not repair. As if that were not enough, THE EXORCIST throws in a film-within-a-film, depicting campus unrest (with hints of potential political violence). Although never mentioned, the echo of Vietnam reverberates silently somewhere in the distance, and the the Georgetown setting tacitly reminds us of corruption in Washington, D.C. (this was the era of Watergate). Evil, if we only open our eyes and look, is everywhere present; the Devil’s fingerprints are scattered everywhere throughout the film, as the Evil One strives to breed despair in the human race.
Even if we do not believe in a literal Devil, the symbolism is clear: Evil is at work in the world. What happens to Regan Theresa MacNeil is only one manifestation, a small microcosm that brings the larger world into clearer focus. That’s what good dramas do. Although I dislike the oft-heard claim “It’s not a horror film,” in the case of THE EXORCIST I can accept it to the extent of saying, “It’s not just a horror film.” As shocking as it once was, hopefully we can now see more clearly that it truly is, as Friedkin has often said, a film about the mystery of faith – a faith all the more mysterious when set against the weary world view depicted in THE EXORCIST.
This week, the CFQ Podcasters Dan Persons, Lawrence French, and Steve Biodrowski suffer the flames of perdition as they go for a horrifying elevator ride to Hell in DEVIL, the new horror film “from the mind of M. Night Shyamalan.” The first in what is being billed as “The Night Chronicles,” DEVIL takes a TWILIGHT ZONE premise and spins it out to feature length, with five character trapped in an elevator, one of whom may be the Evil One himself, out to claim the souls of the damned. Is DEVIL a trip into terror? Listen in and find out! Also this week: a final farewell to the late Kevin McCarthy, the actor who starred in the 1956 science fiction classic, INVASION OF THE BODY SNATCHERS. All this, plus the usual round-up of news, upcoming events, and home video releases.
Have enough Satan in your life? Renee Zellweger and Bradley Cooper don’t think that you do. Enter CASE 39, the new thriller starring the pair and directed by Christian Alvart (PANDORUM), about a Child Services case worker Emily Jenkins(Zellweger) investigating reports of the abuse of young Lilith Sullivan (Jodelle Ferland, SILENT HILL). Deciding to bring her into her own home, Emily soon discovers that Lilith’s problems are more than skin deep. Check out the trailer and decide for yourselves whether or not to install new locks on your bedroom doors.
CASE 39 enters theaters October 1st, 2010