MovieChat Forums > The Exorcist III (1990) Discussion > Father Morning memories

Father Morning memories

posted 8 years ago by strangenstein
1 reply | jump to latest

Hi all,

My wife and I saw EXORCIST III (in the theater) on a sunny, Sunday afternoon in Bakersfield, California. We both walked out of the theater spooked out of our minds. The film definitely has a way of getting under your skin.

Recently, I had the opportunity to view the fanedit of E-III. The biggest change is the removal all the Fr. Morning scenes (and any dialogue that references him). I really liked the fanedit, but must admit I did miss the scenes with Fr. Morning. I know the backstory of studio interference with E-III, but I think Blatty did a good job filming new scenes and incorporating them into the theatrical version. The exorcism doesn't hurt the movie; it's the added gore that hits a false note.

As I think back to my initial viewing of the film, I recall feeling a sense of comfort and strength whenever Fr. Morning was on-screen. The creeping dread is VERY strong with this movie, so having someone who is so stalwart in their faith, particularly in the face of true evil, was reassuring. I wouldn't swear to this, but my memory tells me there was an audible response when the door to the disturbed ward opened and Fr. Morning was standing there. I think people clapped or cheered, and several audience members responded with a rousing "Yes!" when he appeared.

So, there you have it. I'm probably in the minority, but I liked - and still like - Fr. Morning. With or without him, there are few movies that are more frightening than Exorcist III.

[–] bastasch8647 8 years ago

Totally agree. Morning, in some ways, really made the film for me (and I think that some people object to the exorcism's sfx more than the exorcism itself, as you indicated). **

Morning is introduced in an eloquently silent scene, where he goes to check on a suddenly quieted, injured bird that he has been attending; the camera follows his shadow from behind, reminiscent of Friedkin's camera following Merrin from behind as he approaches the one-eyed blacksmith; during this scene a wall plaque is shown that reads "What we give to the poor is what we take with us when we die", words that also appeared on a holy card carried in Damien Karras' wallet in the first novel; Morning sees that the bird has died; his crucifix falls off the wall "for no reason" - he checks it and finds it to be oozing blood; then the sky and the room go dark, while the "demon wind" blows through it as Morning is transfixed in dread. All this transpires wordlessly.

Later, Merrin murmurs a solitary prayer in the chapel, but his words are not his own, but rather a formal prayer that ends with a supplication for "my life...my life..." Even in the exorcism, Morning has nothing personal to say to the Gemini or the demon. He sticks solely to the Roman Ritual - but what passion he puts into the recitation! We know that here is a man who is as experienced, courageous, and saintly as the original Merrin. All these are great touches, cleverly created by Blatty and masterfully acted by Nicol Williamson.

** I think that another problem some viewers might have with the exorcism is that, unlike Friedkin's version, which, except for the "mini-earthquake", the appearance of the Pazuzu statue, and the full head-spin, was filmed as a literal depiction of real physical events. So - perhaps - some viewers are put off by Exorcist III's lightning bolts, which broke open the floor, the snakes, the flames, the crucified Karras rising up through the shattered floor, etc., because they may be thinking that these were real physical events happening in the external world, instead of metaphorical/symbolic visionary and psychological expressions-and-impressions of the demon's power and sadism. They were clearly illusions staged for, meant for, and experienced by Kinderman's "benefit". The only actual physical components were the sudden blast of wind that strips Morning of his surplice; the spontaneous combustion that chars his copy of the Ritusl (which Kinderman soon discovers lying on the floor); and the telekinetic "wall-pasting" of Morning and shortly after that, Kinderman. The rest is allegory expressed through imposed visions. Once that is understood, the exorcism and its surrounding phenomena appear much less over the top than they do from a literalistic perspective.