User reviews

I'm always looking for a hidden gem, something I haven't seen before that hasn't been hyped to death on the internet. This film by William Peter Blatty (writer of The Exorcist) might be such a gem. I certainly never heard of it before. I was intrigued by the title and the cover (an astronaut on the moon with Jesus on a crucifix...what on earth could this be about?). This is the plot synopis from IMDb: 'A new commanding officer arrives at a remote castle serving as an insane asylum for crazy and AWOL U.S. Army soldiers where he attempts to rehabilitate them by allowing them to live out their crazy fantasies while combating his own long-suppressed insanity.' Sounds good to me. First of, the dialogue of these insane people is written brilliantly. The actors really go all the way in portraying these nut jobs. It's really funny to watch. But the film is a mix of a lot of different styles. It might start out as a comedy, it also contains horror like elements, drama, surrealistic and tragic parts. It's best not to know to much about this movie beforehand. So just check it out. You might not love it, maybe even hate it but it certainly will be like no other film you've seen before and in these times of cookie cutter productions that is a welcome relief.

Upon my initial viewing of this film I found it extremely difficult to really sit down and review it. To the point where it may have been impossible. I was not ready for this film. I received a film I was not expecting. I was quite excited to see it as it is highly rated here on this website to go along with a great cast and William Peter Blatty writing and directing it. I hated the first and second acts, but the 3rd act I loved. I was torn. So I gave it about 6 months and rewatched it. In the end I found it to be a great film and there is much to digest from it. Also extremely difficult to just pigeonhole into one genre. It has strong comedy going on, but can be very dramatic and has elements of horror as well.

Blatty throws away much of the mainstream ideas of filmmaking in his quite impressive directorial debut as he brings his 1966 novel TWINKLE, TWINKLE KILLER KANE to the screen. I have not read the book, but what we get in the end it may have in fact been difficult to have the big studios understand what he was bringing to the screen. I think Martin Scorsese's SHUTTER ISLAND has a bit to thank this film for.

An insane asylum is being run by the US government for those who were in the military. The setting is excellent as a old abandoned castle is where it is set. A new psychiatrist is coming on board Col. Vincent Kane (wonderful performance by Stacy Keach). We are introduced to all of the inmates of the asylum and each give great performances (including Jason Miller, George DiCenzo and Moses Gunn to name just a few). Kane becomes quite involved with former astronaut Capt. Billy Cutshaw (Scott Miller) and in turn leads to thoughts on sacrifice, faith and God.

To me Keach puts in quite an amazing performance and the scene near the end where Capt. Cutshaw goes to the bar and gets involved in a bar fight with a rough and tough bike gang (that includes Richard Lynch) to me is an extremely powerful scene. Blatty even has an extremely funny role as Lt. Fromme. Also starring Ed Flanders, Neville Brand and Tom Atkins.

An isolated castle in the Pacific northwest serves as the last secret experimental insane asylum for the US military. Billy Cutshaw (Scott Wilson) broke down after getting dragged out of a moon-bound rocket after an aborted launch. Psychiatrist Colonel Kane (Stacy Keach) is the new commanding officer. Colonel Richard Fell (Ed Flanders) is the world-weary medic. Kane indulges the patients in their delusions.

This is not quite at the level of One Flew Over the Cuckoo's Nest. Stacy Keach is deliberately stiff which dampens the humor. He's almost robotic. There are some wacky characters in weird craziness but it's mostly dark seriousness. It's a real oddity and an original creation. While the rest of Hollywood zigs, this one zags.

Everybody's got their own list of overlooked movies that they can't believe aren't recognized as classics. I have several contenders but this brilliant movie must surely top the list! William Peter Blatty of 'The Exorcist' fame adapted his own novel for his debut as writer/director and came up with a mind-bending classic. I only know a handful of people who have even heard of this movie, but everyone who gets to see it becomes an instant raving fan. Yes, it's THAT good.

Colonel Kane (Stacey Keach, 'The Long Riders', 'American History X') is sent to a top secret facility full of military personal suffering from breakdowns, delusions and other mental problems. While attempting to find some way to cure them he becomes particularly concerned with a tortured astronaut, Captain Cutshaw (Scott Wilson, 'In Cold Blood', 'The Way Of The Gun'), and the two form a special, odd relationship. However things are not what they first appear to be, and to give anymore plot points away would be criminal. All I can say is that you're in for one hell of a ride!

Keach and Wilson are both outstanding in two of the best roles of their careers, but what really makes this a must-see is the superb supporting cast of character actors who are all equally good, and spout some of the freshest, most memorable dialogue you'll ever hear. Some of them include Robert Loggia ('Lost Highway'), Jason Miller ('The Exorcist'), Tom Atkins ('Maniac Cop'), Moses Gunn ('Rollerball'), Neville Brand ('Eaten Alive'), Joe Spinell ('Maniac') and Richard Lynch ('Open Season'). This movie is heaven for b-grade film buffs, and I can't recommend it highly enough. An unforgettable experience.

THE NINTH CONFIGURATION, a drama set in a scenic castle functioning as a mental ward, and asking fundamental questions about life, goodness and evil, was written and directed (and even performed in in a small role) by William Peter Blatty, who became practically a household name in the 70s after the worldwide success of the dramatization of his work, THE EXORCIST (1973). CONFIGURATION is his directorial debut, and reveals him to be a highly talented director; it is really too bad he did not make any other films beside EXORCIST III (1990), for which a director's cut LEGION (2016) was released right around his death.

The spectacular direction, acting and cinematography cannot, in my mind, completely compensate for the implausibility of the plot reveal, which occurs about 2/3 of the way. That implausibility, at least as presented, distracts in turn from the treatment of the serious existential questions the film asks because after the reveal, events to make the movie's point seem contrived to be "just so".

Evidently, the expression "ninth configuration" is supposed to refer to the improbability of proteins randomly rearranging themselves to give rise to life. An astronomically small number is mentioned,and compared unfavorably to the probability for the existence of God, but I must admit that, as a scientist, I had never heard this term before. Nor does it seem to me that anyone could seriously calculate the probability of life arising on earth, given that the sample size of planets where this is known to have occurred is exactly one (there is something called the Drake equation for estimating the number of alien civilizations, which requires estimates for the probability of life in other worlds, but there are too many unknowns to make it possible to perform a serious calculation).

I have found that theological arguments are sometimes dressed up in mystical-sounding mumbo jumbo, and can't escape the suspicion that this might be the case here, too. However, that does not diminish the importance of the question itself of how life could have arisen.

The main philosophical question this films asks, however, is this: if we are really just a collection of atoms, perpetuating a phenomenon involving proteins which originated in an incredibly improbable random event long ago, then whence comes goodness?

The premise behind the question is strongly reductionist: for example, we have at least some biology-based frameworks for understanding altruism in higher organisms, and even if some proteins may play a role in these, the behavior of atoms at that level has long faded into explanatory irrelevance.

The movie is idiosyncratic and plays really well with our expectations. There is a hilarious scene in the beginning involving a short exchange between the protagonist and the man himself, which both foreshadows events to come, and sets us up to question what is real and what is not.

Scene after scene, we are sprayed with rhetorical snippets and actions by the mental patients (and even the attending physician) which seem nonsensical, but then, every once in while, there is follow-up dialogue which makes clear that what we thought was nonsense actually makes perfect sense.

No doubt Blatty did all this to disorient us, the audience. I can only speculate, but I suspect he sought to achieve a state of disorientation in the audience because it is, in a way, the best possible state to be in when asking the most fundamental questions: since we are not certain of anything, we cannot attach ourselves with certainty to any side of the debate.

And not taking sides is nowhere more important than when we try to really get to the bottom of things.

If my speculation is correct, then the set-up is nothing short of a stroke of genius. It makes how the aforementioned plot-reveal was handled all the more disappointing.

My problem is that an impossibly far-fetched set of events is presented to us straight. If, instead, it had taken the movie, say, in a surreal direction, then it would not have cheapened the film's attempts to provide an answer to the main question. As presented, it makes the final sacrifice, and especially the very last scene, seem like plot devices which betray that the author has, after all, taken sides.

Despite this criticism, CONFIGURATION is an impressive debut.

Films with similar elements:

1. ONE FLEW OVER THE CUCKOO'S NEST (1975)

2. AMARCORD (1975)

3. KING OF HEARTS (1966)

It's rare to find five films that offer as much combined intelligence, passion, visceral excitement, and uncontrolled belly laughs as this. "The Ninth Configuration" is the sort of film people either love or hate. Like many great works of art, it doesn't settle into any middle ground. It's my all-time favorite movie, not perfect but a real screen miracle all the same. This is the sort of movie they don't make any more, because they never really made anything like this. Just this one time. For that, and much else, it is unique.

Scott Wilson plays the despairing Capt. Cutshaw, who believes the universe is a random void based on suffering and cruelty. He is challenged in his atheism by Stacy Keach, a Marine colonel sent to command the institution where Cutshaw and other Army servicemen, many Vietnam War heroes, have been committed to after assorted acts of deviancy. Cutshaw's own madness culminated in his refusal to be launched into space during a final countdown, vividly pictured near the beginning in one of many arresting visuals when the horizon around the launching pad suddenly fills up with the sight of a ferocious, threatening moon, several times bigger than life.

Cutshaw and Keach's Col. Kane duke it out in a serious of probing yet riotous metaphysical dialogues. "I don't belong to the God-Is-Alive-But-Living-In-Argentina club," Cutshaw announces. "But I believe in the Devil alright. And you know why? Because the prick keeps doing commercials!" Kane's counterargument, much weaker at the outset but gaining intensity as Cutshaw's desire to be converted becomes more clear, is that if evil is as powerful and omnipresent as Cutshaw thinks, correctly, than why doesn't he also believe in the real, counterbalancing power of human goodness as something that has its origins beyond humanity?

Meanwhile, the other inmates follow their own neuroses, adapting Shakespeare for dogs and trying to train atoms to allow humans to walk through walls. There's also Neville Brand's Major Groper, a put-upon asylum keeper who finds himself victimized by such pranks as having his name attached to a love letter sent out in a mass mailing addressed to "Occupant." "I got phone call after phone call," he complains, adding bitterly that the female respondents he did contact were "ugly as sin."

People criticize the movie for being filled with such amiable nuttiness, but it relieves the heaviness of the central story and sets the right tone of anarchy and chaos to be sorted out as the picture develops. The third character in this film, after Cutshaw and Kane, is Ed Flanders' Dr. Fell, the medical officer who treats his hangovers with whisky and Alka-Seltzer and observes the lunacy around him with a bemused calm. But he has no small stake in the larger story being worked out between Kane and Cutshaw. In fact, he's more the central figure than anyone, and watching his reactions at key moments is one of the many treats of repeat viewings.

The acting is superb, particularly by the three principals. As we learn in the penetrating director's commentary that accompanies the DVD, the three leads were originally supposed to be Nicol Williamson as Kane, Michael Moriarty as Cutshaw, and Jason Robards as Fell. They would have been good, but not anywhere near as good as the three performances we have. Further proof of God's existence, for anyone who feels the "Ninth Configuration" argument advanced by Kane doesn't hold water, can be found in the fact Wilson and Keach were last-minute replacements in a low-budget film made only to help create a loss-leader for the producers. Unpromising origins to be sure, yet such a brilliant payoff. And how richly perverse: I love the way Kane makes his strongest case for man's goodness while dressed in full Nazi regalia. You don't even notice that the first time you see it, because the power of his words and the questing desperation in his eyes.

I'm dancing around the story itself, because a first-time viewer deserves surprises. Think of C.S. Lewis's "The Screwtape Letters" with a kick-ass bar fight, and you are in the right ballpark. Add to that the moody set design of an old castle in the Pacific Northwest (but actually shot in Hungary), an unobtrusive but powerful score, and surefire direction by screenwriter William Peter Blatty, who sets every scene as a sort of tableau of Cutshaw and Kane's inner turmoil.

Most of all, the film is amazingly quotable, particularly the canine Shakespeare adapter's (Jason Miller, sublime as Reno) unique take on "Hamlet," which takes the story in a whole new direction while offering a brilliant analysis of Shakespeare's great play. Even the little lines resonate with rare power. "Every kind thought is the hope of the world," Fell says at one point. Humble but true, as this film is proof.

You may not be converted into a belief in the divine, and the end does push things a bit harder than many would like (though with a blind courage rarely seen in film), but "The Ninth Configuration" will make you think a little more about the questions of our existence. And you will laugh a lot on the journey. Like I said, they don't make films like this anymore because they never did. This is a one-of-a-kind experience worth seeing.

I had no idea what I was sitting down to watch when I saw 'The Ninth Configuration' - it said 'horror' so, as I'm a fan of the genre, I thought I'd give it a go. I guess I got some form of horror, but 'elevated horror' may be a more modern term for this vintage film.

A former marine is sent to a castle which is being used as a psychiatric home for other soldiers with mental health conditions. There he's meant to help them. How? Good question. That's sort of half of why you have to watch it.

And you'll be watching for quite some time. It's about two hours long and it starts to feel it after a while. Not that I'm saying everything is bad, just not very horrific - just weird. It feels like a Monty Python film with random sketches that don't really relate to each other and then someone from a previous 'sketch' interrupts the current sketch at an inappropriate time. Plus characters have 'conversations' with each other where they don't really answer each other. They say their lines, then the person they're with says their lines, only the second person's dialogue doesn't actually relate to what the first had said.

There are various 'plot twists' along the way, but I figured them out pretty easily (and I'm not normally good at guessing plot twists!) so they must have been pretty obvious!

It's not a bad film, just random. It tries to have messages in it about the nature of good/evil and right/wrong, but they kind of get lost among the deliberately nutty characters who water the script down with laughs.

Then, when there are no more real 'twists' for the film to try and sell as 'shocking' the film's ending/point is dragged out and you kind of know what's going to happen. Then it ends on a weird freezeframe. It's certainly memorable, but I'm not sure for all the right reasons. Apparently, it actually won awards, so I guess maybe I just didn't get it and should keep my love of horror for men in masks killing campers.

I rented this film one night when I was tired of seeing the same things in the "New Releases" section, so I (shudder!) headed for the catalog titles, and picked this one out because--God, am I shallow--the cover looked interesting. Turning over to the back, I skimmed the summary, saw that it starred Mike Hammer and the guy who mooned us in the last season of "St. Elsewhere", so I thought that it may be just bad enough to be amusing. So I plunked down my three bucks and went home wondering if I wouldn't have just been better off watching reruns of "Married with Children" all night.

But I watched this movie. Then I rewound it and watched it again. Over the next three days, I watched and rewatched every frame of this masterpiece more times than I should publicly admit. I was moved beyond words, beyond being an audience. I became a disciple--even a proselyte--for this film. Stacy Keach completely astounded me, someone who knew him only as Mike Hammer. People, this man can ACT. I saw every demon his Colonel Kane carried with him. The rest of the cast, with a special metion for Scott Wilson's amazing performance as a tortured astronaut and for Ed Flanders, who kept his character's true motivation well hidden until it could stand to be covered no more, was perfect.

But this movie is, above all, about the writing and the direction. William Peter Blatty cared about his project, and the lucky few (sadly, VERY few) of us who shared in it were fortunate enough to see cinematic perfection virtually attained. Watch this film, let it develop, don't question where its motives are until it decides to let you in on them. Give it your full attention, and you will be rewarded with a treat we so tragically, rarely get to have. No special effects, no huge budget. Just artistry. Pure, refined artistry.

My Rating : 6/10

An oddball comedy movie that is full of intelligence, madness and belly laughs.

I enjoyed it for what it is - a post-traumatic metaphysical comedy - a true cult film which has it's own loving audience. I am sure to re-watch it at a later date.

A film almost impossible to describe, but a film that is also impossible to forget.

Well, well, well. At last a rating I can fully agree with. Yes, the Shawshank Redemption was very good. But this is a hidden classic. If you're one of those people (like me) who loves to be taken completely by surprise by a movie, this is the one for you. The IMDB rating says it all: VERY few people know about this one, but those who do are nearly unanimous: this is outstanding storytelling. First time viewers, be warned: be patient. Let it happen. You won't know where it's going at first. Your patience will be rewarded, I assure you - it all comes together, culminating in a bar-room brawl that is an absolute textbook piece of tension-building. And then, you'll want to rewind it and watch it all over again, to pick out all the clues that slipped by you the first time through. Quentin Tarantino, eat your heart out: THIS is how it's supposed to be done.

William Peter Blatty may have been good at a lot, but people only know him thanks to "The Exorcist". I read many reviews that said that this film was a kind of "author sequel" of that film. I confess that I do not agree with the idea. Even if it was Blatty himself who said that, I would agree because there is nothing in common between these two films, apart from himself.

This film is at least unusual and highly philosophical: everything takes place in an isolated castle where the American army has installed a madhouse for Vietnamese soldiers who have gone mad, or who appear to have lost their minds ... yes, because it is not known if they in fact have gone crazy or are pretending so they won't fight. One of the patients, however, is an astronaut who had a mental breakdown during the count for the launch of his ship. The new person in charge of the asylum, eager to improve the patients, decides to allow them to carry on with their madness ... until the ex-astronaut asks him to prove the existence of God.

The film attaches great importance to the characters, and there are a lot of strange and unusual characters here. The cast, made up of names I didn't know, was up to expectations, but it didn't shine particularly, just doing what it had to do. The protagonist falls on Stacy Keach, who gave life to Colonel Kane, a Vietnam veteran who is now in charge of the insane asylum but has his own secrets. At his side, Scott Wilson made the most challenging character in the entire film, in my opinion, in that he is highly questioning and even iconoclastic in his views and concepts about the world and divinity. He makes an impact right from the start and the dialogues between his character and Keach's are truly memorable.

The film has a very well thought out and conceived scenario, good props and costumes, but a poor and very absent soundtrack, which makes the film more somber and heavy than it would be on its own. The slow pace and gray cinematography, with all that humidity and permanent cloudiness, don't help much either, and the first thirty minutes of the film can make many people give up watching it until the end. Outdoor filming was done in Europe and Eltz Castle was a smart choice, as were the script options for the end of the film.

The film lives a lot of the created environment and a massive dose of philosophical and metaphysical dialogues. It is not a film for the masses or the commercial circuit, it is too intellectual and heavy, and that explains its forgetfulness today: most people considered it boring and strange. I understand that, that was also my first impression. But my persistence in seeing him until the end was rewarded: not being brilliant is good, in that it makes us think when it's over.

Two stars given only for the interesting dream sequences. Just because a film has characters discussing God, man's evolution and the problem of evil, doesn't make it deep or profound. This sophomoric effort is far less clever than it thinks it is and drags on for far too long, with the overall effect being to bore the viewer. Movie snobs like to champion this deservedly unknown film as being too highbrow for the popcorn crunching masses, however they are wrong. It's just bad. If you want to see philosophy and religion done properly at the movies go see 2001, Waking Life, Last Temptation of Christ or Tree of Life and give this dated turkey a wide berth.

THE NINTH CONFIGURATION deals with life, death, stress, trauma, war, psychosis, faith, philosophy, evolution, and more. It's a convergence of ideas in a whirlpool of thought, all caught on film.

In his book and subsequent movie screenplay for THE EXORCIST, William Peter Blatty explored darkness and light, set against the backdrop of modern agnosticism and spiritual aridity. CONFIGURATION takes this further, to the edge of the existential abyss where a choice is required of both the film's characters and the viewer.

Do we die as meaningless collections of molecules, or have we existed for a reason?

Not many movies have convictions, and fewer still are set in them. Blatty's simple, yet profound message is clear: Love stands as proof of something -someone?- greater than ourselves. He does this without preaching a sermon or pounding a pulpit. He just tells the truth as he sees it.

This is miraculous stuff...

William Peter Blatty, as usual, uses his story as a medium to transcend his personal opinions on questions about the relationship between God and man. And they are strong, thought out questions, very well written. But most of the meatier stuff does not surface until the second half of the feature. The first hour or so is completely aimless, showcasing Kane around the institution as we are introduced to a series of insignificant characters that chew up time. The dialogue is pointless, and the characters cliched. In short, it brings down the movie. It slows down what would eventually evolve into a great story, and it stops the film from achieving greatness.

It is not until the second part when Blatty begins to delve into the relationship of Cutshaw and Kane that we get are just desert. It's very well scripted and excellently acted. The bar scene is a little overextended, but the powerhouse ending makes up for it. Blatty's direction is tight through, keeping a loose fit on the composition, most likely to create a distant, "outside looking in" feel to the movie. Keach as always been a fine actor, but proves again he can be more than just angry. Scott Wilson was also very good.

Really, the Ninth Configuration is two movies joined together. One, a slow, hollow piece of work filled with traits from other movies. The second, a riveting journey between two men and the questions they ask about themselves and God. Too bad Blatty couldn't keep the first 1/2 together, or else this could have been great. Still worth checking out.

7/10

* * */ * * * *

Believe it or not, this is actually a sequel to the horror classic "The Exorcist". An unofficial one of course, though it got made by the writer of the original novel- and the writer of the screenplay for "The Exorcist"; William Peter Blatty. So can you really call it an unofficial one really?

No doubt William Peter Blatty wasn't very pleased with the official sequel to the "The Exorcist", "Exorcist II: The Heretic" and he made this movie as a response to that. I actually think this information is important to know, since this helps to put some elements of this movie better in perspective. It explains the unusual story and approach to its themes and characters, as well as its overall style of storytelling and dialog.

But how exactly is this a sequel to the "The Exorcist" you might wonder. After all, it doesn't feature a possessed little girl, or any devils or demons in it and no priests armed with the bible and holy water. Actually the movie is more a further exploration of some of the themes and questions that got raised in the original "The Exorcist". Still the movie also is indeed connected to "The Exorcist", through one character; Capt. Billy Cutshaw. Now, I'll forgive if you have no idea who Capt. Billy Cutshaw is but he was the astronaut to which little Regan says; 'You're going to die up there' in "The Exorcist", before soiling herself. This must have really gotten to him, since in this movie he has completely gone crazy, after aborting his flight, literally right before lift off.

You also might not really realize it, since the horror elements overshadow the movie its underlying themes (not that this was a bad thing of course) but "The Exorcist" was a movie about a lot of other things as well really. For one it really was one that was about religion and also openly questioned it at times. And it's a movie set almost completely inside an asylum, so of course the movie is also featuring a lot of psychological aspects and philosophical questions but let me tell you though this is unfortunately ain't no "One Flew Over the Cuckoo's Nest", in terms of depth and exploration and handling of its themes.

This isn't always an easy movie on the eyes and mind, which is the foremost reason why I don't really regard this movie as a perfect- or truly great one. It's asking itself a lot of questions but is it all that interesting as well? Not always really and the movie even at times makes a quite pointless impression. Yes, it's a movie you could easily do without but when you watch it you'll probably still experience it as a truly special movie, especially when you know that it's supposed to be a sequel to "The Exorcist" and you have seen that movie of course but seriously, who hasn't?

Don't watch this movie and expect an horror though. Yes, so it's an unofficial sequel to "The Exorcist" and yes, it got done by William Peter Blatty but it yet has absolutely nothing to do with horror though, or even something that remotely resembles it. It's a drama-thriller if you have to put a label on it but best thing is not to label this movie at all. It's one that simply does its own thing and it's hard to put it in any existing genre really. It obviously means that this movie is something original and unique to watch but I wish I could also say that it was an absolutely essential viewing. I just really can't, the movie, its themes and the whole way its handling everything is just a bit too lacking for that.

William Peter Blatty still remained fascinated but its ideas and themes, since 9 years later he would direct "The Exorcist III", which actually can be seen as a combination of the first "The Exorcist" movie and this one. "The Ninth Configuration" and "The Exorcist III" are also the only two movies he ever directed by the way. He's still alive but considering his age it's hard to think he will ever direct another new movie.

An unique and at times fascinating movie but I really wouldn't call it a perfect one or a must-see.

7/10

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The Ninth Configuration (1980) was William Peter Blatty's directorial debut. He adapts his own novel for the big screen in this bizarre film about an astronaut (Scott Wilson) who's reached his breaking point and a military doctor (Stacy Keach) who's trying to reach out to him. The cast has a who's who of Hollywood cast-offs (William Peter Blatty has a cameo himself as one of the patients).

This is a strange film that'll cause you to think (if you don't enjoy these type of films then I suggest you look elsewhere). An interesting movie about things that aren't as they seem, soul searching and seeking redemption through honor and self sacrifice. I liked the way these people have to look into themselves and see who or what they really are. I wished that William Peter Blatty made more movies and Hollywood should have gave Stacy Keach more film roles like these. He was quite impressive.

I have to to highly recommend this movie. But if you're expecting some mainstream popcorn nonsense then look elsewhere.

A former marine an ace US Army psychiatrist, (Stacy Keach) arrives at work in an isolated military nuthouse with some doctors who are just as insane as the patients . It is a mental asylum housed in a remote castle to run it . There he firstly meets a peculiar doctor (Ed Flanders) , while attempting to rehabilitate the patients by letting them act out their craziest fantasies and desires . Meantime Kane still struggling with his inner demons, as he is particularly intrigued by the psychotic former astronaut, Captain Cutshaw (Scott Wilson) and other outlandish patients , all of them he tries to rehabilitate them by allowing them to live out their own nutty activities . The cast is populated by a gallery of service fruitcakes from a cowardly astronaut , winners to Vietnam malingerers , insane soldiers playing Shakespeare , Congressional Medal winners , among others .The Killer Cane Cure...It's unorthodox, unauthorized - but always effective! Madness is a soldier's final retreat. It will take you to the edge of your mind! How Do You Fight A War Called Madness?.Don't blink for a second, because nothing is what it seems.

Based on Blatty's novel "Twinkle Twinkle Killer Kane" (also the movie's alternate title) , this is a surreal and weird tale of a a mock rebellion of high-rank military men held in a secret base for the mentally ill , it is a psychiatric institution for military personnel who fought in the Vietnam War . It's easy to see why Exorcist author Blatty's debut effort as a director stayed on the shelf for a year. It is a thought-provoking and brooding film in which metaphysical enquiries trigger a feverish recurring nightmare , including theological debates over the existence of God and evil . This unfathomable yarn has the same tortured Christian iconography as Blatty's bestseller , but is altogether more pretentious on the level of reflection about the problem of Evil and the question is God Dead or if we are living in sin . It results to be a mix of Mike Nichols' Catch 22 with Samuel Fuller's Shock Corridor and Donald Siegel' Invasion of body snatchers , adding an episode from The twilight Zone . Keach is good as the commander unorthodox psychiatrist, Colonel Kane, attempting to figure out whether the inmates feign insanity or not . Being very well cast with plenty of familiar faces , such as : Ed Flanders , Scott Wilson, Neville Brand , George DiCenzo, Moses Gunn, Robert Loggia, Joe Spinell , Alejandro Rey, Tom Atkins, Steve Sandor , Richard Lynch and William Peter Blatty even had a cameo role in the film .

Available in many different lengths , the118 min version is considered the best . Packing a colorful cinematography by Gerry Fisher as well as atmospheric musical score by Barry De Vorzon. The motion picture was well but slowly directed by William Peter Blatty and he deems to be the true follow-up to Exorcist (1973) as opposed to a mere sequel . Blatty was a writer and actor, known for The Exorcist (1973), The Exorcist III (1990) and this The ninth configuration (1980). And also wrote other scripts , such as : The Great Bank Robbery, What Did You Do in the War, Daddy?, A Shot in the Dark, John Goldfarb, Please Come Home! , Gunn , Darling Lily, and The Man from the Diners' Club . Rating : 6/10. Acceptable but confusing and strange.

William Peter Blatty will be better known to most as the writer of 'The Exorcist', and here he makes his sterling directorial debut with what is (once the abomination of 'The Exorcist 2' is exorcised) the spiritual sequel to that consummate horror. Having said that, lest the reader get the impression that you're in for more supernatural shenanigans (and pea soup) it should be said that this movie is a million miles away from the horror genre. What's more, 'The Ninth Configuration' is virtually unclassifiable as far as traditional genre categories go and will leave you reeling from the barrage of bizarre images, comedic one-liners, theological debates, and a bar room brawl to end them all!

William Peter Blatty wrote 'The Exorcist' as the first part of a trilogy of novels, the other installments being 'Twinkle twinkle killer Kane' and 'Legion'. 'Twinkle twinkle killer Kane' was adapted to the screen by Blatty as 'The Ninth Configuration' and where 'The Exorcist' explored the argument for the existence of God through the palpable presence of evil, 'The Ninth Configuration' continues the argument through exploring the presence of good in a universe purported by science to be empty, blindly deterministic, and amoral.

At the start of the film we are introduced to a motley band of members of the military who, in the course of the Vietnam War, have all suffered various kinds of mental breakdown and for their treatment have been sent to a reconstructed European castle in some remote American mountains (the film was actually shot in Hungary). Chief among these is the astronaut Capt. Billy Cutshaw (Scott Wilson) whose illness is seen as somehow key in that it is clearly not feigned due to cowardice as he was never scheduled for combat. This introduction sets the tone for the first part of the film and the portrayal of mental illness is somewhat zany and comedic and continues as we are introduced to the other main character, the psychiatrist Colonel Kane (Stacy Keach). Col. Kane, with the support of fellow psychiatrist Col. Fell (Ed Flanders), then institutes an unorthodox treatment which indulges the fantasies of the inmates in an attempt to invoke a catharsis…which is when all (comedic) hell breaks loose and it is against this anarchic backdrop that Cutshaw argues with Kane for the absurdity of believing in God in a world in which undue suffering proliferates.

The light-hearted whacky tone gives way in the second half as Kane and Cutshaw's arguments become more penetrating (although not completely, as Cutshaw's choice of wardrobe to a Christian Mass will testify!) and the climax of the film is a double-whammy of a plot reveal that casts the performance of Ed Flanders as Col. Fell in a pathos infused light (which can only be fully appreciated with repeat viewings), as well as a bar room fight that will have you stuck to your screen as the tension builds and builds to an explosive finale.

Unfortunately, owing to the fact that a theological tragi-comedy is not the stuff the popcorn and soda crowd really go for, 'The Ninth Configuration' has fallen into the "cult" film category, which is a shame as another film with as fine a plot carried off by as fine a cast (not to mention a wealth of quotable one-liners) you are unlikely to see. However, while the film clearly deserves wider recognition (especially given it's conceptual relationship to 'The Exorcist'), those that seek it out, or fortuitously stumble upon it , are in for a real treat!

Blatty and I are kindred spirits; he liked to ask the big questions, casting his bucket deep into the well of the metaphysical realm, knowing that there wont be any answers at the bottom of that deep dark well. Sometimes it's necessary to ponder those big questions: why am I here? Is there a God, and if there is, why does he allow so much evil in the world? What is the nature of good and evil and how do the two correlate? If we've committed great evils can we be redeemed? These are the kinds of questions Blatty brings up with this weird and sometimes-surreal little drama. I loved those philosophical parts of the film, and were it not for a few incredibly weird tonal shifts, this movie would've received a far better score from me.

I really don't understand the high ratings for this movie. I expected to like it, with its great cast (Stacey Keach, Jason Miller, Ed Flanders, Scott Wilson) and screenplay by William Blatty of Exorcist fame. The movie concerns a group of Vietnam veterans who have suffered mental breakdowns being confined to a psychiatric hospital in a castle-like building in the Pacific northwest. There is no discernible story here. Basically you have several patients running around saying random things under the eye of the psychiatrist. Nothing happens that in any way resembles a plot. I felt like I was watching the dreadful "Mosquito Coast" in a mental hospital setting.the movie goes nowhere, and after a half hour you'll be bored out of your mind. I actually gave this movie another chance the other night (yes, iI wasted $20 on the bluray) I could only stand to watch another fifteen minutes before popping the disc out.Terrible film. Avoid it at all costs

A brilliant and unconventional film. As I'm sure many others have said it is very difficult to describe or sum up accurately. It has so many seemingly incongruous elements yet amazingly in the end it ties them all together and packs an emotional punch very few films manage.

Basically it's about how a new lead psychiatrist arrives at an asylum maintained by the military. It is loaded with stunning scenes, images, symbolism, scares and emotionally devastating moments and it leaves me both uplifted and sad yet so intellectually stimulated I want to discuss it because there is a LOT to talk about once it's over.

It also has some brutal violence and the nastiest bar fight ever filmed.

Stacey Keach plays the role of Kane perfectly, he shows no outward humor but is not humorless himself. He is clearly dedicated to helping the inmates in any way he can using every means at his disposal and wisely the character is not played as being detached and totally unemotional. When Kane (Keach) gets annoyed, enthusiastic or is dealing with a difficult issue he doesn't simply deadpan it he communicates what is happening within the character despite the constraints needed for the role. Brilliant work.

Where his treatments lead the inmates (and where it leads Kane himself) is the core of the film and the whole thing is actually about all of us and how we can reconcile faith, science and the horrors of existence. Faith can mean many different things...

There are multiple edits available but the major aspect that changes is related to one brief scene involving a knife and a bit a dialog. It's worth mentioning because it does change the tone for many viewers depending on the version they see.

The Ninth Configuration is a treasure, a sadly overlooked and misunderstood film.

It is one of the earlier experimental films with mystery elements in it. May be it's the time, it failed to really engage the audience completely into the film in spite of the mystery and suspense, or may be because we have seen better films in the same theme. But, definitely okay to watch.