Book Reviews: Carole - Cusack@ Sydney - Edu.au
Book Reviews: Carole - Cusack@ Sydney - Edu.au
Book Reviews: Carole - Cusack@ Sydney - Edu.au
1 (2013) 283–285
ISSN 2041-9511 (print) ISSN 2041-952X (online)
doi:10.1558/ijsnr.v4i1.283
Book Reviews
Cinema of the Occult: New Age, Satanism, Wicca, and Spiritualism in Film,
by Carrol L. Fry. Bethlehem. Lehigh University Press, 2008. 301pp., hb.,
$62.50/ £39.95. ISBN-13: 9780934223959.
© Equinox Publishing Ltd. 2013, Unit S3, Kelham House, 3 Lancaster Street, Sheffied S3 8AF
284 Book Reviews
hand (in this case, the New Age), then the bulk of the chapter consists of
plot summaries of films, with certain motifs highlighted and linked back to
the scholarship in a general fashion. Films described in this chapter include
George Lucas’ Star Wars trilogy, unorthodox Christian examples like Dogma
(1999) and Stigmata (1999), reincarnation films like On a Clear Day (1970)
and Birth (2004), films featuring clairvoyants and psychics, like Powder
(1995) and The Gift (2000), films with themes of nature veneration like Nell
(1994) and Princess Mononoke (1997), and a raft of films featuring angels,
chiefly Wim Wenders’ Wings of Desire (1987). The plots are passed over in
near-breathless haste, which renders the analysis superficial.
Chapter 3, “Sign, Symbol and Primal Fears in the Satanic Film,” proceeds
in a similar fashion. Satanism is set in the context of the Biblical religions,
described as an aristocratic pastime in the eighteenth and nineteenth cen-
turies, and the founding of Anton La Vey’s New Church of Satan in the
1960s is described. The Black Mass, conservative Christian denunciations of
Satanism, and the palpable lack of physical evidence for Satanic abuse of any
kind are sketched. The clutch of films that Fry labels “Satanic” are of varying
quality, and grouped under a number of rubrics. These include “The Devil’s
Advocates,” “The Antichrist in Film,” “Possession and Exorcism Themes,”
“The Faust Story in Film,” and “Crises of Belief in the Satanic Film.” The
films discussed are a motley bunch, from the early Satanic “cult” film The
Black Cat (1934), through Roman Polanski’s stylish The Ninth Gate (1999),
to classic treatments such as Rosemary’s Baby (1968), also by Roman Polanski,
the quartet of films that commenced with Robert Donner’s The Omen (1976),
and the equally famous quartet that commenced with William Friedkin’s The
Exorcist (1973). The description of the films is occasionally insightful, and
considers issues such as the portrayal of secret Satanic groups in modern cul-
ture, and the question of whether such films are “true horror films” (144),
an accolade that Fry accords Alan Parker’s Angel Heart (1987). There is some
consideration of the comic devil in films, and more general horror films, such
as the Hallowe’en and Nightmare on Elm Street franchises.
Chapter 3, “Season of the Witch,” considers Wicca in film, presenting a
reasonably accurate profile of the religion, then surveying witches in film
from The Crucible (1996), the film version of Arthur Miller’s celebrated play
about the seventeenth century Salem witch trials to various demonic and
misogynist portrayals of witches, like Dario Argento’s Suspiria (1977) and
Inferno (1980). Possibly the best and most detailed section of the book is the
extended discussion of Robin Hardy’s The Wicker Man (1973) and George A.
Romero’s Season of the Witch (1972), two films that have been well-received