Comedic Horror

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Spoofs can be a great way of preventing us from taking ourselves too seriously.  Extra Ordinary is a film I’d completely missed until my wife made a gift of it.  We weren’t quite sure if it was a horror film or a comedy, and genres aren’t always helpful here.  I would call it a spoof on possession movies, something of particular interest after writing Nightmares with the Bible.  Apart from being a bit of much-needed silliness after a terribly serious year, it’s also a demonstration of how genre can be helpful in knowing how to interpret what we see.  Not knowing anything about the film, it begins with the statement that it’s based on a true story.  There’s an interesting history behind that phrase, but when it comes with a spoof it only adds to the fun.

Extra Ordinary follows the adventures of Rose Dooley, a driving instructor who was raised by a ghost-hunting father.  Blaming herself for her father’s death, she’s taken on an anodyne career that she feels is safer.  A particularly desperate widower whose daughter is targeted by a hapless Satanist, brings her back to her true calling.  Although there are some horror-comedy scenes (that’s an entire sub-genre often eschewed by horror fans who don’t like to laugh at themselves) the witty dialogue and crude jokes make it fun rather than anything to be worried about.  Possession occurs in a specific way to move the plot along—Rose has to have a partner (the widower Martin Martin) accept possession by the ghost in order to send it to the beyond.  Although there are clever takeoffs from The Exorcist, the idea of possession is much different.

What is evil?  The film asks the question directly (if comedically).  Although washed-up rock star Christian Winter has become a Satanist, the demon in the film is Astaroth, a later development from the pre-biblical goddess Astarte.  As discussed in Nightmares with the Bible (for which this film could’ve been profitably discussed), there’s a confusion among demons.  (Beelzebub is also mentioned by name.)  The element that ties them together with the human condition is clearly sex.  The frantic search for a virgin, and the communal shaming of unwed mothers makes that obvious.  Although deliberately campy, Extra Ordinary answers the question of evil by noting that it is a person using their powers (magical, in this case) for their own benefit rather than for the good of others.  There is a moral to it, after all.  And if we can’t laugh about the human condition once in a while, we deserve to be spoofed.

Exiting Amityville

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Okay, I confess. I watched Amityville 3-D. One of the standard features of horror, you see, is the sequel. As a rule the members of the franchise degenerate until they don’t earn enough money to keep Hollywood’s attention. In the case of The Amityville Horror, the story only made it three deep. I’m no film critic, but with missteps at almost every turn, Amityville 3-D almost made a farce of itself and horror fans take that as an insult. (Good horror comedy is an exception, of course.) The original story is well known: the Lutz family moved into the DeFeo murder house and moved out again just over a month and a half later. The tale has been considered both a hoax and a legitimate haunting, but subsequent families haven’t reported supernatural happenings on the property.

I had some hopes for this installment, as it was also known as Amityville III: The Demon. The second feature film was part of my viewing late last year, and it was okay. I never thought the original was that good, in any case. As I watched III I realized something was missing. Religion. Any sign of it. No priests were involved—this was the fear vector for the first two films of the series. Although John Baxter moves into the house knowing the history, he’s a skeptic and seems not even to believe as the house blows up in a silly finale before his very eyes. When the flies start buzzing around everywhere he thinks they’re just pests, not making the connection with the original account. The entire series is, of course, an extension of the Beelzebub—“Lord of the flies”—myth. That’s what gives it its demonic thrust.

When it finally comes time to wrap things up, and no priest has been called, and no religious imagery has been shown, there’s nothing here to scare but cheap startles. Eliot West, the leader of the cadre of paranormal investigators, attempts to free Baxter’s drowned daughter from the turquoise, boiling well that was dubbed “the gate to Hell,” a demon pops up and grabs him. There’s no explanation of who or what the demon is. Like everything else here it’s secular to a fault. And though it may startle, it can’t scare.

Not all horror uses religion, of course. Even some movies about demons avoid it and manage to be scary. If the premise, however, rests on religion gone awry—as in the first two films of the franchise—exorcising it completely is asking for trouble. Even if the telephone number for the realtor at the start of the film does begin with a secular 666.