When Faith Meets Fraud
In 2010, The Last Exorcism joined the horror genre with a seemingly familiar yet unorthodox plot. Directed by Daniel Stamm and produced by Eli Roth, the film followed Reverend Cotton Marcus, a preacher who made a living pretending to perform exorcisms, only to be made to confront what he believed was a real possession. Another hallmark of the film was its documentary style, which attempted to meld documentary footage with a performance, blurring the line between the two. However, underneath the documentry style, the screams, and the shakey camerawork, there was a profound narrative about the performative act of belief, the art of trickery, and the uncharted territory in between.
Patrick Fabian from the film’s horror mockumentary had his own set of parallels. Cotton was a man, described by Fabian in an interview, which he connected with the most, because he too was an established actor who spent much of his career in guest roles on television and as such, he understood the waning of the performance.
The Devil in the Details
In its most primitive form, The Last Exorcism entails the story of a pastor who no longer believes in exorcism, only to confront arching terror with Nell Sweetzer, a farm girl who looks like the devil possessed her. However, as many fans and critics pointed out, the story is about more than just demons. The Last Exorcism is about faith. To what extent can one believe something, and what can make a person completely forsake a belief?
The Sweetzer family house becomes a symbol for isolation and the irrational. Rural fear is belief in the devil possessed unreconstructed demons. For the audience, especially for those who grew up in the strict confines of a religious family, the repression, trauma and control in her condition was as much about demons as it was about the loss of free-will to dissent. The performance of Ashley Bell as Nell made this realization inescapable. Audiences have reason to marvel at Bell, who trained in the physically demanding disciplines of ballet and severe theater. The audience knows she performs the terrifying ballet without the stunts needing any dramatic video special effects. It is her body contorted and tortured to perform the demanding ‘stunts’ that make her the ideal actress for the role.
The Anticipation That Fueled the Anxiety
The marketing campaign for the film demonstrated the same inventiveness showcased in the film. Trailers heavily emphasized the “mockumentary” style, leading audiences to wonder if what they were about to experience was a piece of fiction or a true documentary exposé. During the “found-footage” horror craze, The Last Exorcism exploited the same voyeuristic excitement that was to be had in the horror film, The Last Exorcism.
Debate among fans in the early Internet days was largely sparked by the marketing campaign’s thinly veiled ambiguity. Was Nell really possessed, or was she a victim of grotesque abuse? Was Cotton’s arc a redemption or a punishment for his hubris? These questions and the way the marketing campaign presented them were the main reasons many people went to see the film. Critics also commented on the campaign’s cleverness in avoiding “over-sharing,” maintaining a marketing atmosphere of dread right to the end.
A Cast That Lived Their Characters
Ashley Bell’s transition into horror idol stardom was reminiscent of Nell’s transformation in the movie, from a sheltered young woman to someone confronting a frightening, otherworldly being. Bell was still building her career mostly with indie films, but her portrayal of Nell was so captivating, it was considered one of the defining aspects of the film. In interviews, Bell discussed the role’s physical challenges but also the feeling of freedom that came from her body being the main storytelling instrument. Horror enthusiasts praise her for her authenticity, horror film devotees for her acting. The role garnered a following for her.
Patrick Fabian, on the other hand, stepped into a role that shaped his career. A TV actor mostly known for light, likeable TV roles, he now had the opportunity to tap into the doubt and cynicism that drives the character, Cotton Marcus, with an unfiltered intensity. For Fabian, this film was a career-defining moment, and a turning point, as he was able to shed the public’s perception of him as ‘just a TV actor.’ Fabian’s personal struggle that he openly speaks about, in relation to the longevity of one’s career, is what Cotton’s fractured authenticity and his own faith crisis revolves around.
Even for Nell’s strict father, Louis Sweetzer, Louis Herthum brought a personal intensity into the role. Herthum grew up in Louisiana, where intense religious zeal was a part of his daily reality. This connection brought a meaningful authenticity that helped elevate the film beyond the clichés.
What the Cameras Didn’t Show
The Last Exorcism also had its challenges. With a modest budget, the film was able to forgo elaborate sets, instead capitalizing on the local authenticity Louisiana offered. Unfortunately, Louisiana’s oppressive humidity was a huge obstacle for the cast and crew, especially on long night shoots in the backcountry. Equipment failure and the challenges that come with filming outdoors added to the stress, but to Stamm’s credit, he maintained that the ‘imperfections’ added to the documentary feel.
There were artistic differences over the ending of the film that fans still find controversial. Specifically, viewers remember the shocking ending when Cotton walks into the fire and walks toward what appears to be a demonic ritual. Some producers wanted a more concrete conclusion, but Stamm was insistent that ambiguity was necessary. Stamm’s insistence culminated in an ending that sparked the most intense, and continuing, debates in the community. For years, forums and community discussions focused on questions like, “Was Cotton’s sacrifice meaningful?” “Was the ritual real, or a collective delusion?” These questions, and many others like them, kept the film relevant beyond its theatrical release.
The Last Exorcism was the first horror film to incorporate social commentary, so much so that listeners and viewers critiques the film. Cotton Marcus became a representative of obsessive figurehead authority that performative dominance, and Nell became a synonymous representation of the silenced.Personal experiences added depth to the characters. Bell’s physical sacrifices paralleled the anguish of Nell. Fabian’s struggles with his career resonated with Cotton’s faith crisis. Herthum’s background influenced his portrayal of Louis Sweetzer and religious obsession. Blending fiction with personal reality and experiences contributed to making the film more than a horror story; it became a representation of its makers.
Despite the lack of a massive franchise from which to draw investment and visibility, The Last Exorcism captured audience attention, and critical regard, with its raw and effective performances, its blend of ambiguity and strong symbolic undertones, and its originality within the exorcism sub-genre of horror. The audience confronted self-horror and self-deception in ways that were far more chilling than the exorcisms.
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