the groundhog day project

Clover (1992) argues, Certainly, the novelist's (and filmmaker's) target is not the female body, but the transformation that body prompts in the male psyche. Enmeshed from the outset in Karras's spiritual crisis are issues of intimacy and sexuality. Again, Regan provides the palpable field: she stabs a cross in and out of her vagina, speaks incessantly and crudely of sexual matters, is suspected of desecrating the statue of the Virgin Mary, and so on. ...however, it appears to be Karras's own anxieties that are at stake. The nature of those anxieties is hinted at in an early scene [in Blatty's novel] in which Karras is approached for comfort by a young and lonely priest: Of all the anxieties that Karras encountered among the community, this one had lately become the most prevalent. Cut off from their families as well as from women, many of the Jesuits were also fearful of expressing affection for fellow priests; of forming deep and loving friendships. "Lik...

For some reason, every time I watch The Exorcist , I forget that it starts with that sequence at the excavation in Iraq. Of course, the movie is not called The Possessed (though I am pretty sure that I have seen more than one movie with that title); it is not about Regan (Linda Blair) but about Father Merrin (Max von Sydow) and, even moreso, Father Karras (Jason Miller). Something Clover (1992) tries to explain "this gendered division of narrative labor--to understand what it is about the male crisis that needs harnessing to a narrative of female hysteria or indeed psychosis" (p. 70). While Regan's story drives the narrative, the narrative belongs to those two men (and primarily Karras). Man versus the devil. The girl is just their battleground. But, what kind of battleground is she? Kinder and Houston (1987) write about the "psychological interpretation" presented in the film to explain Regan's initial extraordinary behaviour--her parents' divorce ...

The Omen again. That whole parenting thing--leave that to the side for the moment. But, not too far to the side. The changeling child idea--central to the premise of the film-- does tie back into the parenting. But it also suggests a larger notion of fear of the unknown, specifically fear of foreign unknowns, of foreign influence. I mean, this film puts us in the realm of international politics at the start. Robert Thorn is made the American ambassador to the UK not long after he and his wife get Damien in their lives. Father Brennan points Thorn and Jennings to Italy and then Israel to find, far from the modern trappings of the Thorns' life in England. Seriously, compare the excess of Damien's fifth birthday party to the ruins seen in Israel later in the film. But, the real danger here is in the child influenced by... maybe it's foreign powers, maybe just belief systems to which we do not subscribe ourselves. I was wondering why certain religious themes were promine...