When I mentioned my book Holy Horror to someone recently, she asked “Have you seen Hereditary?”I had to allow as I hadn’t.I have to struggle to find time to watch movies, and I’m generally a couple of years behind.Surprisingly, Hereditary was available for free on Amazon Prime, and I finally had the chance to terrify myself with it.Perhaps it didn’t help that I’d been reading a book on schizophrenia at the time (as will be explained in due course).Hereditary is one of those movies that is impossibly scary, up until the final moments when it suddenly seems unlikely.In this respect it reminded me of Lovely Molly and Insidious.All three also feature demons.Using a child to accommodate the coming of a demon king brought in Rosemary’s Baby and the Paranormal Activity franchise.(The genre is notoriously intertextual.)
While demons can make movies scary, what really worked in Hereditary was the sense of mental instability and the lack of a reliable character to believe.The Graham family is deeply dysfunctional.Mix in elements of the occult and dream sequences and you’re never certain what, or whom, to believe.As with many of the films I examine in Holy Horror, the realms of religion and fear are interbred. While the Bible plays no part in Hereditary, the matriarch’s “rituals” pervade the family following her death.In a family of females, where a male demon seeks expression through possession, an obviously challenging dynamic is set up.It works out through a series of disturbing images and manipulations.
Watching the family disintegrate becomes the basis of the horror.Then possession comes into play.As in most films concerning possession, deception and misdirection are used.A demon named Paimon is seeking to take over the one male heir.This ties the movie to The Last Exorcism, where the same demon under a different name seeks to propagate through Nell Sweetzer.Unlike many possession movies, the suggestion that possession is actually involved comes late in the script.This revelation underscores the the misdirection of attention that focuses on Annie Graham’s struggle to cope with reality.Her sleepwalking and threats to her own children as well as the suggestion that they are but miniatures being manipulated by a larger, more powerful entity, keep the viewer off balance throughout the story.Intelligent and provocative, Hereditary assures me that tying to analyze such films, while perhaps a fool’s errand, is an enterprise unlikely to be soon exhausted.
Although released in April, Insidious is a film for the long nights of winter. At least with my schedule of keeping up with a culture that is moving too fast, this feels like a reasonable rationale for having just watched it. I tried not to read reviews of the movie when it came out since I prefer to experience the thrills first hand when I watch a film. Like many horror movies, Insidious revolves around the supernatural. Specifically, Insidious takes on the specter of the afterlife. Unlike The Exorcist, the demon in Insidious is not expelled by a priest, but by a psychic, borrowing a few celluloid feet from Poltergeist. Adding a couple of ghost hunters to the plot reinforces the idea of the secular demon that so often appears in the learned discussions of the TAPS team as they tilt with unseen entities on SyFy.
In an increasingly secular society, the fear of the dead is very much alive. Even a casual stroll through Barnes & Noble (the only show in town now) will demonstrate the popularity of the paranormal. Somehow sitting in pews listening to a sweaty orator go on about what he (sometimes she) thinks God is wanting us to do has disconnected us from the realm of the dead. Paul Tillich famously declared that God is a person’s “ultimate concern.” In an age when technology is hovering on the edge of keeping consciousness alive forever, people wonder what happens to the self when the body dies. Call it soul, consciousness, mind, or personality, we can’t deny—no matter how secular—that something inside makes each of us unique. The myth of flying about with angels playing harps doesn’t match everyone’s expectation of an afterlife any more. At least some of us hope for electric guitars.
Insidious opts for a realm like Limbo known as “the Further.” This is a place we have been before. The hopelessly corny The Seventh Sign gave us “the Guf” as a now empty federal reserve of souls. The Greeks gave us Tartarus and the Zoroastrians “the place of worst existence.” No matter what we call it, our brains like to believe there is some place out there that we go when the biomass we drive each day finally hits the wall. Increasingly it has become a negative place where darkness reigns. Insidious’s “the Further” is a hopeless realm of the dead, acting out their evil intent. There are no angels, but demons abide. It seems that we’ve outgrown the concept that angels are watching over us, but we can’t escape the creeping sensation that diabolical entities are peering at us from the shadows. During these long nights of winter, Insidious invites us to take a journey to where there is no heaven, but hell is surely not hard to find. All we have to do is close our eyes.