{"id":6472,"date":"2026-08-23T22:35:34","date_gmt":"2026-08-23T22:35:34","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=6472"},"modified":"2026-08-23T22:35:34","modified_gmt":"2026-08-23T22:35:34","slug":"boorman-and-the-devil-review-the-making-of-john-boormans-1977-disaster-exorcist-ii-the-heretic-becomes-a-documentary-so-unbelievable-its-funny","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=6472","title":{"rendered":"\u2018Boorman and the Devil\u2019 Review: The Making of John Boorman\u2019s 1977 Disaster \u2018Exorcist II: The Heretic\u2019 Becomes a Documentary So Unbelievable It\u2019s Funny"},"content":{"rendered":"
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\n\t\u201cBoorman and the Devil\u201d is a disaster movie that feels like a party. It\u2019s a documentary about the making of one of the worst movies of its time, and maybe of all time \u2014 \u201cExorcist II: The Heretic,\u201d the spectacularly misconceived and maladroit sequel to \u201cThe Exorcist.\u201d It was a film so singular in its awfulness that when it came out in the summer of 1977, audiences laughed at it (they literally did), and the director, John Boorman, made a frantic attempt to recut it. (He lopped off the atrocious ending for a different atrocious ending.)<\/p>\n

Read more Shelley Fabares, \u2018Coach\u2019 and \u2018The Donna Reed Show\u2019 Star, Dies at 82<\/a><\/p>\n

\n\tTalented people can make terrible movies, and the era of \u201cExorcist II,\u201d when directors still enjoyed the carte blanche that had come with the power of the New Hollywood, was littered with ambitious bombs, from Steven Spielberg\u2019s \u201c1941\u201d to Peter Bogdanovich\u2019s \u201cAt Long Last Love\u201d to the granddaddy of them all, the stiff-necked but aimless three-and-a-half-hour Marxist art Western \u201cHeaven\u2019s Gate.\u201d \u201cBoorman and the Devil,\u201d written and directed by David Kittredge, is a dishy and fascinating inside look at how one of the most legendary duds of the \u201970s came to happen.<\/p>\n

\n\tYet what lends the documentary its special, enjoyable flavor is that 50 years after \u201cExorcist II\u201d was made, a number of the people connected with it, notably Boorman himself, still don\u2019t fully grasp what the problem was. Boorman, seated in his wintry country home in County Wicklow, Ireland (he was 85 when the documentary was shot; he\u2019s now 93), narrates the making of \u201cExorcist II\u201d for us, and he still exudes a quality of shining belief in what he was doing. He made a movie so bad so that the audience felt no connection to it \u2014 but on some level of barely suppressed ego, he\u2019s still blaming the audience for it. He thinks the film contains \u201csome of the best work I\u2019ve ever done.\u201d He believes the problem is that the audience was expecting a different kind<\/em> of movie. (Yes, a scary and not deathly boring one.)<\/p>\n

\n\tYou might call Boorman\u2019s fortitude admirable, but you could also call it delusional. And it lends \u201cBoorman and the Devil\u201d the quality of a true-life Christopher Guest film. For this is the unintentionally funny story of what happens when utterly unhinged and high-minded hubris becomes your guiding light. Boorman, and others associated with \u201cExorcist II,\u201d know that they made an infamous disaster, yet the reason the film was a disaster still eludes them. The documentary is full of lines that, in context, have a double-edged drollery, as when the director Joe Dante says, \u201cMany of the techniques that he uses, I\u2019ve never seen repeated again!\u201d<\/p>\n

\n\tBoorman thinks the problem with \u201cExorcist II\u201d is that it failed to deliver the full-scale nasty horror blowout that the audience was expecting \u2014 and it\u2019s true, that was a major problem. As Boorman acknowledges, this was all by design. After his success with \u201cDeliverance\u201d in 1972, Boorman had been offered the chance to direct \u201cThe Exorcist\u201d (the original) but was repulsed by the book. \u201cIt seemed to me to be a book about torturing a child,\u201d he says. \u201cSo I declined.\u201d Three years later, when he was offered the sequel, Boorman said he wanted to make a movie that would be a mediation<\/em> on the aftermath of \u201cThe Exorcist.\u201d There\u2019s no doubt that was his first mistake. No less a figure than Stanley Kubrick told him, \u201cIf you want to do a sequel to \u2018The Exorcist,\u2019 you just get more blood and gore.\u201d This much was obvious.<\/p>\n

\n\tBut the problem with \u201cExorcist II: The Heretic\u201d wasn\u2019t simply<\/em> that it failed to reconjure the primal terror and gruesome gross-out shock value of \u201cThe Exorcist.\u201d It\u2019s that the movie Boorman made instead was at once lifeless and preposterous. Boorman, who came up through the British new wave of the \u201960s, had made several gripping thrillers that are recognized as classics \u2014 the tight, mean revenge noir \u201cPoint Blank\u201d (1967) and then, of course, \u201cDeliverance\u201d (1972), the middle-class-friends-in-the-hillbilly-wilds thriller that established him as an A-list force in Hollywood. But Boorman, gifted as he was, had a flaky pretentious indulgent side; he was in thrall to third-rate \u201cmythic\u201d ideas. (He has remained so to this day.) Boorman passed on \u201cThe Exorcist\u201d to make \u201cZardoz\u201d (1974), a dystopian mess of spaced-out Jungian sci-fi, with Sean Connery running around in a Chippendale\u2019s version of a bullet bandolier.<\/p>\n

\n\tIt was this side of Boorman, the glittery-eyed \u201cvisionary\u201d pedant, that enabled \u201cThe Heretic.\u201d The inspiration for the movie came the French theologian Pierre Teilhard de Chardin, who believed that the human race was getting ready to come together into a kind of cosmic telepathic hive mind. \u201cThat piqued my interest,\u201d says Boorman. \u201cIt was an opportunity to make a film about, really, metaphysics,\u201d as well as \u201cthe next phase of human evolution.\u201d \u201cThe Heretic,\u201d Boorman decided, would be a movie about synchronized hypnosis, with Linda Blair\u2019s Regan trying to deal with the trauma of having had the devil inside her by sharing the experience with her therapist, Dr. Tuskin (Louise Fletcher), and with Father Philip Lamont (Richard Burton), the priest assigned by the Vatican to investigate what happened to Father Merrin.<\/p>\n

\n\tHere\u2019s the thing about synchronized hypnosis. It\u2019s one of those fruit-loop 1970s ideas \u2014 but more than that, it proved to be uniquely static as drama. \u201cExorcist II\u201d turned out to be a movie about people sitting in a room staring at each other with wiry metal headbands on.<\/p>\n

Read more Mark Ruffalo Called Out Over \u2018Extremist and Antisemitic Messaging\u2019 by Simon Wiesenthal Center, Creative Communities For Peace<\/a><\/p>\n

\n\tThe film\u2019s folly extended to the one-note stentorian badness of Richard Burton\u2019s performance, as he intoned such classy lines as \u201cE<\/em>-vil\u2026is a spiritual being.\u201d It extended to the ruinously expensive but still fakey-looking re-creation of Ethiopia on a soundstage, with piles of dirt being blown around by wind machines, enough arc lights to threaten to set the place on fire, and boulders that looked like they were made of Styrofoam. And it extended to the film\u2019s weirdly abstract portrait of the devil, which would now be embodied by\u2026locusts! Great teeming swarms of them, with an occasional locust seen in big buggy close-up, and shots of flying from a locust\u2019s-eye view (the Steadicam had just been invented). It all looked like a cheesy disaster movie called \u201cAttack of the Locusts\u201d (in fact, a killer-bee movie called \u201cThe Swarm\u201d came out a year later. Coincidence? Maybe not). James Earl Jones, as the African scientist Kokumo, donned a giant locust head like a Halloween costume and for some reason spit a whole tomato out of his mouth. Even the film\u2019s name for the demon was ridiculous: Pazuzu. Every time you heard it, the more it sounded like baby talk.<\/p>\n

\n\tI saw \u201cExorcist II: The Heretic\u201d the week it came out, and from the moment Linda Blair appeared, doing a smiley tap-dance for no good reason, through the orgy-of-destruction climax in what looked like a discotheque from hell, the film was staggering in its ineptitude. I left the theater shaking my head in disbelief. I had never seen it again until a year ago, and was unsurprised to discover that time had not been kind to it.<\/p>\n

\n\tYet even as \u201cBoorman and the Devil\u201d gets you chortling at how the bad decisions piled up, the movie also sells the idea that Boorman was working on the high wire, and that \u201cExorcist II\u201d was a folly with shades of greatness in it. Several notable critics are interviewed (they include Bilge Ebiri, Joseph McBride, and my friend Stephanie Zacharek), and they all testify to the idea that there\u2019s some sort of loopy grandeur to what Boorman achieved. With all due respect, I think this is a complete fantasy, but it takes off from what Pauline Kael said about the movie at the time \u2014 that its imagery had a crazy spellbinding quality. Kael had hated \u201cThe Exorcist\u201d (her despairing review of it is one of her greatest pieces \u2014 an example of how she could be a peerless critic even when you disagreed with her), and her kind comments about \u201cExorcist II\u201d fit a pattern of hers where she would pan a film that became incredibly popular, then go on to embrace the far inferior sequel, almost as if it was her way of getting back in the loop. (She did this with \u201cExorcist II,\u201d \u201cGhostbusters II,\u201d and \u201cIndiana Jones and the Temple of Doom.\u201d)<\/p>\n

\n\tMore to the point, in Kael\u2019s comments on \u201cExorcist II,\u201d you can hear the early stirrings of what would become Movie Disaster Rehabilitation Culture, which is now an industry among hipster cinephiles. Thus, the arid and didactic \u201cHeaven\u2019s Gate\u201d has been elevated to the level of a masterpiece. \u201cEyes Wide Shut,\u201d which should<\/em> have been about pedophilia (not aging swingers in masks), is now top-drawer Kubrick. And \u201cExorcist II\u201d is a wacked but misunderstood grand folly. I passionately disagree with all three of those reassessments, and I think they\u2019re all rooted in a certain impulse toward viewing movies in a postmodern way \u2014 as endlessly malleable texts<\/em> rather than as stories that require an emotional logic and coherence that none of those films have. Wait long enough and even the worst movie, if it possesses enough shoot-the-works ambition, can be \u201creframed.\u201d<\/p>\n

\n\t\u201cBoorman and the Devil\u201d honors John Boorman\u2019s ambition, but it also cuts him slack, notably when he\u2019s saying things like, \u201cIn my experience, successful movies have one thing in common, and that\u2019s luck.\u201d What a load! What successful movies have in common \u2014 along with luck \u2014 is artists who know what they\u2019re doing, and are rooted in the real world, and are working at the top of their game.<\/p>\n

\n\tThat said, the making of \u201cExorcist II: The Heretic\u201d was beset by a litany of bad decisions and<\/em> bad luck, which piled up sky-high. Boorman got seriously ill with valley fever (from inhaling the imported dirt on set), and after he was hospitalized the production shut down for five weeks. The budget ballooned from $10 million to $15 million, making it the most expensive movie Warner Bros. had ever produced. Boorman and Rospo Pallenberg kept rewriting the script (because no one really knew what the movie was about), and Richard Burton was too dour and old and hungover. There was even an air of mishap surrounding the one sequence in the movie that\u2019s truly effective \u2014\u00a0the dreamy moment where Regan balances on the edge of a rooftop with no railing. Boorman now acknowledges that the way they shot that scene (on the roof of the Warner Bros. building in New York), something could have gone very wrong.<\/p>\n

\n\tThe story of the film\u2019s first sneak preview, at a theater in Pasadena, with the Warner Bros. executives sitting nervously in the back of the theater, is a hilarious parable of the chickens coming home to roost. The audience sat there, dumbfounded at first, and then you started to hear the giggles; midway through, a man stood up and threatened the people who made the film, at which point they escaped. \u201cExorcist II\u201d had been booked into 700 theaters for 12 weeks (a nearly unprecedented wide release at the time), but the attendance declined by 50 percent in the second weekend. The word had gotten out. All the recutting in the world couldn\u2019t save it. \u201cBoorman and the Devil,\u201d in its amused way, does try to save \u201cExorcist II: The Heretic\u201d by treating it as an insane work of artistic daring. But I\u2019m sorry, that\u2019s just a pile of Pazuzu.<\/p>\n

Read more Katseye Earns First No. 1 on Albums Chart; Phoebe Bridgers Debuts at No. 2<\/a><\/p>\n<\/div>\n<\/div>\n

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\t\t\u2018Boorman and the Devil\u2019 Review: The Making of John Boorman\u2019s 1977 Disaster \u2018Exorcist II: The Heretic\u2019 Becomes a Documentary So Unbelievable It\u2019s Funny<\/p>\n<\/h2>\n

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\t\tReviewed online, Aug. 21, 2026. Running time: 112 MIN.<\/p>\n<\/h2>\n

    \n
  • \nProduction:<\/strong>
    \nA Yellow Veil Pictures release of a Triple Fire Productions production, in association with Snowfort Pictures, Milton Ventures Media. Producers: Travis Stevens, Jim Fall, David Kittredge.\t\t\t<\/li>\n
  • \nCrew:<\/strong>
    \nDirector: David Kittredge. Camera: Seamus Deasy, Tom Guiney, Ed Herrera, Alan Jacobsen, Elle Schneider. Editor: David Kittredge. Music: Eduardo Daniel Victoria.\t\t\t<\/li>\n
  • \nWith:<\/strong>
    \nJohn Boorman, Linda Blair, Louise Fletcher, Rospo Pallenberg, Joe Dante, Karyn Kusama, Mike Flanagan, Stephanie Zacharek, Bilge Ebiri, Joseph McBride, Victor Hsu. \t\t\t<\/li>\n<\/ul>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

    John Boorman admits that his “Exorcist” sequel is one of the most infamous debacles of the ’70s. 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