Review of Dominion: Prequel to The Exorcist (2005) by Bartholomew P — 23 May 2005

May 20, 2005.

[b][size=5][color=#990000]L[/color][/size][/b][color=#fffacd]ast summer, Warner Bros. released Renny Harlin's version of a prequel to "The Exorcist" called "Exorcist: The Beginning." That movie was grotesque and trifling; it relied on sensationalism and shabby special effects that didn't do their job. While it opened atop the boxoffice, the movie quickly faded and the scathing reviews seeled its fate to many critics' worst-of-the-year lists, including mine. Now comes Paul Schrader's "Dominion: Prequel to the Exorcist," the original filmed version of the prequel. Right away, this film supports the old saying, "If it ain't broke, don't fix it."[/color].

[color=#fffacd]"Dominion" concentrates on Father Lankester Marrin's faith and inner guilt. At the beginning of the film, he stands amongst a crowd of prisoners in Nazi-occupied Germany. A soldier demands Marrin point out conspirators since it is he whom the people come to and confess their sins and secrets. The choice Marrin makes and the result serve as strong dramatic elements. Marrin is played by Stellan Skarsgard in both versions, but here he's put to better use because we delve into his character at this specific point in his life. He's full-fledged and, unlike Harlin's film, "Dominion" doesn't bother to make it painstakingly clear that Marrin will be the exorcist in the 1973 classic. Moviegoers could watch this movie without having any knowlegde of later events in the series. The conflict here is focused and makes for a film all its own.[/color].

[color=#fffacd]After the war, Marrin travels to British East Africa to conduct archaelogical hunts. His loyalty to the Church is questionable. One of the film's best qualities lies within the screenplay and how it takes time to analyze Marrin from a human point of view. Consider the scene where he walks out of a bar and clumsily hits his head on a hanging sign; or the high-angle shots of him sleeping in multiple positions; or the slow dolly-in that dissolves to an even closer shot of Marrin's face. Also take into account that Marrin is always clean-shaven, unlike in the other version. Shrader uses carefully orchestrated subtleties as these to make Marrin real. We get to know and care about him.[/color].

[color=#fffacd]The plot, which almost becomes secondary, involves Marrin discovering a buried temple. Father Francis (Gabriel Mann), who's traveled to Africa to teach, sends for more British soldiers to watch over the place of worship, which appears curiously new. After two soldiers attempt to steal jewels from its sacred shrine, their bodies are found in such a way that leads Major Granville (Julian Wadham) to suspect the local tribes of ritualistic murder. But Marrin wonders about Cheche (Billy Crawford), a mysterious limping outsider desperately in need of medical attention. Something has obviously been awakened since the discovery of the temple and I'll not reveal what behavior or events carry out as a result.[/color].

[color=#fffacd]What makes "Dominion" a good film, and superior to "The Beginning," is its pacing. Shrader takes just the right amount of time to build tension and patiently releases it at times that work for the story, not the audience. Father Marrin's confrontation with you know who and the opportunity he's given are not over-the-top, but feel more grounded in reality. This is not a scarefest picture, but a solemn meditation on what this priest is willing to bear to retain his faith and committment. [/color].

[color=#fffacd]Warner Bros. executives admitted they didn't think Shrader's version would cater to summer audiences because it was too deep and serious. They underestimated moviegoers by thinking all we want to experience is shock, not thought. "Dominion" is a worthy prequel to "The Exorcist" because, now when I watch the original again, I'll feel I know more about the titular character.[/color].