The careerist and agnostic lawyer Erin Bruner accepts to represent the defense of Catholic priest Father Moore, accused of the murder of young Emily Rose, who died during an exorcism ritual. The prosecution claims that the girl suffered from psychotic epilepsy and that the exorcist's intervention, which hindered Emily's medical care, was fatal for the patient. The Archdiocese wants to silence Father Moore to avoid a scandal, but the priest wants to tell the whole truth and illustrate every step of Emily Rose's possession. Presented out of competition at the last Venice Film Festival and a great success at its U.S. box office debut, 'The Exorcism of Emily Rose' is a curious mix between the courtroom drama and demonic horror. The film is inspired by a true crime story (the phrase 'Based on a true story' is becoming increasingly frequent in the posters of recent horror films) that saw in 1976 the death of Anneliese Michel, a German girl just over twenty years old, who died during an exorcism ritual; the priest who performed the rite was accused of negligent homicide due to neglect of the patient, considered subject to epilepsy and schizophrenic problems. This cinematic transposition therefore unfolds on two very different registers: on the one hand, we have the legal thriller script, which occupies about 70% of the film; on the other, a remaining 30% entrusted to flashbacks that tell the dramatic story of the presumed demoniac, illustrated through generous and shocking horror scenes. The two film levels seem almost irreconcilable with each other, but seeing them mixed in this film, one can admit that Scott Derrickson (director and screenwriter of the film) has succeeded in the feat: the parts set in the courtroom are gripping and manage to arouse the viewer's interest; the parts concerning possession and exorcism manage to be downright chilling. In fact, one of the film's greatest merits (at least for the audience that loves the horror genre) is the impressive realism with which the story of possession was approached and shown; therefore, no green vomit, no head rotation, no levitation, but only abominable screams, nervous contractions at the limit of the human, dilated pupils and self-inflicted wounds. Realism, therefore, that leaves minimal space for special effects (there are only Emily's hallucinations that wink at the more banal horror effects from series B) and that focuses everything on the ambiguity of the story: Was Emily Rose really possessed by the devil (or rather, by 6 demons!), or was hers an authentic epilepsy that degenerated following superstitious beliefs fueled by the bigoted environment in which the girl grew up? The film does not want to give an answer to all this and rightly could not, but this is, probably, the most current and burning aspect of the film: the eternal conflict between faith and science. The film adopts a much more secular approach compared to the countless demonic horrors that preceded it, even if it concedes some deviations into the most abused clichés of the genre; we will therefore have crucifixes that turn upside down during the exorcism; the possessed girl who is tied to the bed and speaks unknown languages, animals that act as conduits for the devil, etc.; characteristics perhaps inserted to please even the most devoted horror cinema audience. The performers are of excellent level: from the brilliant Laura Linney, in the role of the protagonist lawyer, a skeptic who accepts the case only for a career boost but finds herself reviewing her relationship with faith; to Tom Wilkinson, in the role of Father Moore, a tormented but strong man; up to the impressive and convincing performance of Jennifer Carpenter in the role of Emily Rose. In conclusion, 'The Exorcism of Emily Rose' is an anomalous and original horror film, far from the frivolity of many recent splatter films (still very much appreciated!), which boasts a confident direction, a top-quality cast, and highly effective possession scenes to make your skin crawl. It can be considered a successful operation.
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