Horror Unleashed in 'The Exorcist' and 'The Ring'

Alfred Hitchcock once said, "The only way to get rid of my fears is to make films about them" (Alfred Hitchcock Quotes). For me, though not a horror filmmaker, immersing myself in horror films is my way of facing fears. Do you associate horror films with your fears? Personally, demonophobia (fear of evil spirits) and taphephobia (fear of being buried alive) are deeply rooted fears I grapple with (Phobia Lists). These fears significantly influenced my decision to delve into a comparative analysis of what, in my opinion, are the two scariest movies of all time: The Exorcist and The Ring.

Similarities in Evil Entities

The Exorcist and The Ring, despite their narrative differences, share a fundamental similarity – the presence of malevolent entities instigating terror. However, their means of making contact with our world differ substantially: through a human body and technology – a television. Let's delve into what I perceive as the primary similarity between the two films: both feature evil entities utilizing their powers to sow horror and death.

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In The Exorcist, a demon claiming to be Satan has taken possession of a young girl named Regan McNeil, gradually inflicting fatal harm by instilling immense fear and anguish in Regan's soul (The Exorcist). Conversely, in The Ring, the spirit of a vengeful young girl named Samara Morgan employs her powers, fueled by a profound lust for revenge, to terrify and ultimately claim the life of a young journalist named Rachel Keller. Rachel's assignment to investigate unexplained deaths tied to a mysterious videotape becomes a focal point in the narrative (The Ring).

Both malevolent beings seek to showcase their dominance over their victims.

Common Ending

A striking parallel between The Exorcist and The Ring lies in their endings. In both narratives, the evil spirits, despite facing impediments in their mission to destroy their victims, persist to confront another day. In The Exorcist, the demon, after its plans are foiled by an exorcism performed by a priest, transfers itself into the body of the priest. The demon attempts suicide to rid itself of the priest's body, yet it survives, preventing the priest's demise – an ominous cliffhanger left for another tale to unfold.

Similarly, in The Ring, Samara's pursuit of Rachel is thwarted, but she endures. Rachel discovers the futility of attempting to end Samara's reign of terror. Unable to stop Samara, Rachel resorts to passing on the malevolence by creating a copy of the ominous videotape and duping someone else into watching it within the seven-day timeframe. While the spirits in both films aim for similar outcomes, their methodologies differ significantly.

Divergent Methods of Achieving Goals

The demon in The Exorcist seeks to demise Regan by gradually causing her body to wither away, ensnared in a web of fear and pain. Witnessing Regan's transformation from a beautiful young girl to a hideous, unrecognizable monster becomes a chilling spectacle by the film's end. In contrast, Samara in The Ring achieves her sinister goal by forewarning her victim's demise via a telephone call seven days before their death. This subjects the victim to an entire week of existential dread, believing death is inevitable. On the seventh day, Samara materializes, utilizing the victim's television as a conduit for her wrath, leaving behind nothing but a shriveled, lifeless corpse.

The malevolence in each film is believed to emanate from the netherworld. However, the nature of the depicted evil differs. Pazuzu, the ancient evil in The Exorcist that possesses Regan, is believed to have existed since the time before Christ – an ancient malevolence and servant of the devil (Bronze head of Pazuzu). On the contrary, Samara, the vengeful spirit in The Ring, originated from an innocent young girl. Samara's mother attempted to murder her by pushing her into a well and sealing the opening, falsely believing her daughter was dead. Samara endured a slow, agonizing death for seven days, culminating in a vengeful afterlife fueled by the desire for retribution for her mother's actions.

Realism in Fiction-Based Movies

Remarkably, both films inject a sense of realism into what are ostensibly fiction-based narratives. Associating evil with plausible occurrences, such as the discovery of artifacts in Iraq or a mother murdering her daughter and burying her alive, heightens the illusion that everything depicted could be plausible. The resonance of these narratives lies in their ability to tether the supernatural to elements that evoke a chilling sense of possibility. The terror portrayed transcends mere fiction, creating an immersive experience that lingers with the audience.

Conclusion

Ultimately, The Exorcist and The Ring emerge as the pinnacles of horror, occupying the top spots on my list of the scariest movies ever. For aficionados of horror, these films offer an unparalleled cinematic experience. Through a comparative analysis, these narratives not only entertain but also invite contemplation on the nature of fear, evil, and the thin line between the supernatural and the conceivable.