The thought of an exorcism film that could even touch the terrifying and iconic The Exorcist in this day and age is a tall feat. But news of one that’s inspired by ‘true events’, as documented in journalist Matt Baglio’s book, The Rite: The Making of a Modern Exorcist, where Baglio effectively followed a priest on his demon-banishing duties, always sparks curiosity, especially one starring Anthony Hopkins.
In this supernatural thriller, seminary student Michael Kovak (played by Irish newcomer Colin O’Donoghue) is sent to study exorcism at one of the holiest places on Earth, the Vatican, despite having doubts about the controversial practice and his own faith. Kovak believes psychiatry could answer many of the mysteries of possession, and even several sessions with the unorthodox Father Lucas (Hopkins) – a legendary priest who has performed thousands of exorcisms – fails to convince him otherwise. But things begin to get more sinister, and Kovak feels like he is losing his own mind, forcing him to question everything he thinks he believes in, and coming facet-to-face with pure evil.
The initial problem with such a film, regardless of the abilities of its director and cast, is we are fascinated with the idea that possession could exist, but showing it in a feature film nowadays just isn’t scary any more. We’re past the Linda Blair, pea-spewing stage – as cynically stated by Father Lucas in this film, and have seen so many ‘possessed’ characters wriggling and writhing around on the floor and talking in growling tongues that we’ve become quite desensitised. It’s become almost comical in a sense, and the only people possibly affected by the visuals and the ideas in The Rite have a faith to lose. It seems that the ‘scare factor’ has been stepped up too many notches, and needs to be delivered in the form of more ‘realistic’, CCTV-style footage, like that of Paranormal Activity – even last year’s The Last Exorcism got mixed reviews.
Another problem is the debates in The Rite of good v evil, atheism v religion, possession v mental illness have been peddled out in so many such films, regardless of whether the film-makers claim that The Rite tackles these subjects in a different light. Perhaps, the only difference we could detect is how the film tries to deal with whether possession is the cause or effect of mental illness, through following the ‘self-discovery’ journey to the Vatican of troubled Kovak. However, whether it’s O’Donoghue’s stoic performance or the wordy script in parts, your interest in this intriguing debate starts to wane, meaning you are left to the theatrics, which provoke a sense of déjà vu, anyway. But Hopkins is as enjoyable as ever to watch, even if he feels like he’s over-compensating for the film’s more mundane moments.
In fact, director Mikael Håfström’s film is so beautifully crafted – as are most of his films (1408, for example) in a solid and methodical fashion, especially the cinematography in this, that coupled with some of the ornate Italian scenery, you feel as though you are watching Hopkins on stage, delivering his renowned Hannibal Lecter spectacle in a dog collar. That said there are some engaging moments between Hopkins’s familiar troupe and the fledging abilities of O’Donoghue who is only beginning in this game, and has the arduous task of carrying most of the scenes, as well as playing opposite one of cinema’s finest talents in this theatrical debut. For this reason, O’Donoghue poses a compelling developing talent to watch.
Sadly, both Predators actress Alice Braga who is like a female Baglio in this, playing journalist Angeline, but merely reduced to Kovak’s uninspiring love interest, and Rutger Hauer as Pa Kovak, the creepy undertaker obsessed with nail hygiene, are both under-utilised. Oh, and there’s a demonic, red-eyed ass in the film, too, in some of the most confusing and unexplained scenes the film has to offer, considering its obvious enthusiasm for on-screen debate. Naturally, faith comes to the rescue at the last minute, banging the drum for religion, and reinforcing the dominance of Catholicism, in particular.
OVERALL SUMMARY
If all this faith-restoring mumbo-jumbo leaves you impartial, even atheists are not off the hook. In fact, this film is almost aimed at their ‘belief system’. As Father Lucas explains: “Choosing not to believe in the Devil won’t protect you from him” – but it may protect you from wanting to see The Rite, so someone is looking out for you, hey? In all seriousness, though – as the film wants to be portrayed, The Rite isn’t a bad addition to the exorcism film list; it’s just been seen and done (to death) before, and doesn’t really offer any new conclusions to the psychological argument it’s keen to fuel, restorting to cinematic theatrics in the end. Possession, it seems, still remains an unanswered question.
