William Peter Blatty, author of THE EXORCIST, based the character of Father Lankester Merrin on the Jesuit scholar Teilhard de Chardin. In books such as "The Phenomenon of Man", de Chardin theorized a metaphysical concept he called the World Mind, an interpretation of Christian mysticism which sees all minds as joined and gradually evolving into a full awareness of Being as a single consciousness akin to the New Thought idea of Christ Consciousness--the "only begotten" extension of Universal Consciousness, or God. This idea, a synthesis of Christian and Asian religious concepts, is resonant with many unorthodox spiritual teachings from Theosophy to the psychology of Carl Jung. After de Chardin's death his papers were suppressed by the Vatican and his work was investigated on charges of heresy (his ideas being heretical by the standards of the Catholic Church.)
When Blatty declined to write Warner Bros.' sequel, John Boorman and his creative associate Rospo Pallenberg developed an original script from a treatment by playwright William Goodhart, the credited screenwriter. Boorman accepted the project as a means to artistically express metaphysical ideas in which he was absorbed. The link to Teilhard De Chardin provided an ideal venue. The story of Father Lamont's spiritual odyssey is specifically a meditation on the Grail Quest theme, derived from Celtic mysticism and Arthurian legend, which underlie a thematically-related sequence in Boorman's early work: DELIVERANCE, ZARDOZ, EXORCIST II: THE HERETIC, Excalibur and THE EMERALD FOREST, comprising an important cinematic exploration of the Quest as Initiatory path.
In EXORCIST II: THE HERETIC, the late Father Merrin's reputation has fallen into disrepute and Father Lamont (Richard Burton), suffering a crisis of faith, is ordered by the Cardinal to investigate "the circumstances surrounding the death of Father Merrin" and the legitimacy of the exorcism before Merrin's papers (his life's work) can be released.
The title character of THE EXORCIST was that of Father Merrin (Max Von Sydow); this role then passed to the younger priest, Father Karras (Jason Miller). Just so, the heretic in EXORCIST II is initially Merrin until, through young Regan (Linda Blair), Father Lamont makes contact with the mind of Merrin and in that psychic joining shares his vision. Thus Lamont's descent into (and beyond) heresy is an initiatory quest which deepens as he goes against the Church's orders and ultimately calls upon the demon for guidance to the "evil heart" of the mystery.
In the scene at the Natural History Museum, the attentively listening viewer will discover (in the full 117-minute version) that Father Lamont tells Regan about Teilhard de Chardin and briefly explains the World Mind theory. The science-fictional device called the Synchronizer allows the World Mind concept to be expressed in cinematic images. (Among the many differences between this film and THE HERETIC is that the original's emphasis is strongly verbal whereas THE HERETIC expresses its complex ideas almost entirely in visual and symbolic terms.) A distinction is drawn between the peace and unity of the World Mind and the insanity ("evil") and corruption of its opposite, the ego: a state of separation from consciousness which mimics the One-Mindedness of God or the Universe. In THE HERETIC, this imitation or false Christ is symbolized by Pazuzu, the Babylonian genie and locust god--one of many "heathen" idols demonized in the Judeo-Christian tradition. (The demon was named in Blatty's novel but not in the original film.) Its activity of separation masked as joining is symbolized by the locust swarm which forms a single-mindlessness ("a Locust Mind, if you will") in mockery of Whole (Holy) Consciousness (Spirit). The resulting psychic fragmentation is reflected in the mirror images which permeate the film. Regan represents an evolutionary step toward the "Omega Point", the healing of the separation; a forerunner of Kubrick's Star Child.
John Boorman's film doesn't spell itself out for the viewer any more than does Kubrick's 2001: A SPACE ODYSSEY and there is no Arthur C. Clarke novel to "explain it all for us". Boorman intends THE HERETIC to stimulate intelligent and imaginative thought and speculation. Where Kubrick and Clarke's ideas (initially met with great perplexity) have long been sanctioned as worthy of consideration, Boorman's somehow flew over the heads of a viewer-ship which, threatened by the film's non-dualistic subversion of the original's simplistic "good vs. evil" formula, has for thirty years ridiculed a misunderstood artwork. The original mass audience which condemned the film on first release was fresh from making the relatively ghastly Italian EXORCIST imitation Beyond the Door a huge box office success because it gave them what they wanted and only what they wanted: puke, puke and more puke. And so like the swarming locusts, the mundane Philistine mentality endlessly repeats the hypnotic chant: "worst sequel, worst sequel, worst..." There is no actual "Director's Cut" of EXORCIST II: THE HERETIC. The 117-minute Theatrical Version is John Boorman's official cut.
During the disastrous initial release, Warner Bros. hastily issued instructions to theaters to remove specified sections of the film which had drawn audience hostility, without consulting the director. Under extreme pressure, Boorman subsequently prepared a third, more carefully edited version for the international release. The re-editing rendered a difficult and highly symbolic film incomprehensible to the horror-show expectations of the audience. The most significant deletion was the discussion of Teilhard de Chardin's World Mind theory, the central focus of the film.
This bastardized version debuted on cable in the United States and for a decade the film was available exclusively in this distorted form. The full-length version, unseen since the early weeks of the initial release, was restored in the late 1980's for home video and is currently available on DVD. Mercifully, the Butcher's Cut has been permanently withdrawn.
Given his experience with the film, it is unlikely that Boorman would involve himself in a new Director's Cut edition. Given the mindless disrespect shown the film, he seems to have washed his hands of it and its detractors.
Rating: EXTRAORDINARY.
When Blatty declined to write Warner Bros.' sequel, John Boorman and his creative associate Rospo Pallenberg developed an original script from a treatment by playwright William Goodhart, the credited screenwriter. Boorman accepted the project as a means to artistically express metaphysical ideas in which he was absorbed. The link to Teilhard De Chardin provided an ideal venue. The story of Father Lamont's spiritual odyssey is specifically a meditation on the Grail Quest theme, derived from Celtic mysticism and Arthurian legend, which underlie a thematically-related sequence in Boorman's early work: DELIVERANCE, ZARDOZ, EXORCIST II: THE HERETIC, Excalibur and THE EMERALD FOREST, comprising an important cinematic exploration of the Quest as Initiatory path.
In EXORCIST II: THE HERETIC, the late Father Merrin's reputation has fallen into disrepute and Father Lamont (Richard Burton), suffering a crisis of faith, is ordered by the Cardinal to investigate "the circumstances surrounding the death of Father Merrin" and the legitimacy of the exorcism before Merrin's papers (his life's work) can be released.
The title character of THE EXORCIST was that of Father Merrin (Max Von Sydow); this role then passed to the younger priest, Father Karras (Jason Miller). Just so, the heretic in EXORCIST II is initially Merrin until, through young Regan (Linda Blair), Father Lamont makes contact with the mind of Merrin and in that psychic joining shares his vision. Thus Lamont's descent into (and beyond) heresy is an initiatory quest which deepens as he goes against the Church's orders and ultimately calls upon the demon for guidance to the "evil heart" of the mystery.
In the scene at the Natural History Museum, the attentively listening viewer will discover (in the full 117-minute version) that Father Lamont tells Regan about Teilhard de Chardin and briefly explains the World Mind theory. The science-fictional device called the Synchronizer allows the World Mind concept to be expressed in cinematic images. (Among the many differences between this film and THE HERETIC is that the original's emphasis is strongly verbal whereas THE HERETIC expresses its complex ideas almost entirely in visual and symbolic terms.) A distinction is drawn between the peace and unity of the World Mind and the insanity ("evil") and corruption of its opposite, the ego: a state of separation from consciousness which mimics the One-Mindedness of God or the Universe. In THE HERETIC, this imitation or false Christ is symbolized by Pazuzu, the Babylonian genie and locust god--one of many "heathen" idols demonized in the Judeo-Christian tradition. (The demon was named in Blatty's novel but not in the original film.) Its activity of separation masked as joining is symbolized by the locust swarm which forms a single-mindlessness ("a Locust Mind, if you will") in mockery of Whole (Holy) Consciousness (Spirit). The resulting psychic fragmentation is reflected in the mirror images which permeate the film. Regan represents an evolutionary step toward the "Omega Point", the healing of the separation; a forerunner of Kubrick's Star Child.
John Boorman's film doesn't spell itself out for the viewer any more than does Kubrick's 2001: A SPACE ODYSSEY and there is no Arthur C. Clarke novel to "explain it all for us". Boorman intends THE HERETIC to stimulate intelligent and imaginative thought and speculation. Where Kubrick and Clarke's ideas (initially met with great perplexity) have long been sanctioned as worthy of consideration, Boorman's somehow flew over the heads of a viewer-ship which, threatened by the film's non-dualistic subversion of the original's simplistic "good vs. evil" formula, has for thirty years ridiculed a misunderstood artwork. The original mass audience which condemned the film on first release was fresh from making the relatively ghastly Italian EXORCIST imitation Beyond the Door a huge box office success because it gave them what they wanted and only what they wanted: puke, puke and more puke. And so like the swarming locusts, the mundane Philistine mentality endlessly repeats the hypnotic chant: "worst sequel, worst sequel, worst..." There is no actual "Director's Cut" of EXORCIST II: THE HERETIC. The 117-minute Theatrical Version is John Boorman's official cut.
During the disastrous initial release, Warner Bros. hastily issued instructions to theaters to remove specified sections of the film which had drawn audience hostility, without consulting the director. Under extreme pressure, Boorman subsequently prepared a third, more carefully edited version for the international release. The re-editing rendered a difficult and highly symbolic film incomprehensible to the horror-show expectations of the audience. The most significant deletion was the discussion of Teilhard de Chardin's World Mind theory, the central focus of the film.
This bastardized version debuted on cable in the United States and for a decade the film was available exclusively in this distorted form. The full-length version, unseen since the early weeks of the initial release, was restored in the late 1980's for home video and is currently available on DVD. Mercifully, the Butcher's Cut has been permanently withdrawn.
Given his experience with the film, it is unlikely that Boorman would involve himself in a new Director's Cut edition. Given the mindless disrespect shown the film, he seems to have washed his hands of it and its detractors.
Rating: EXTRAORDINARY.