The Exorcism of Emily Rose: Awake at 3 AM?

I originally saw The Exorcism of Emily Rose at a movie theater in Myrtle Beach, South Carolina. I recall it vividly because of how suggestible I apparently was.

In the film, clocks stop at 3 AM and strange events, allegedly demonic in origin, happen at this time. A priest in the movie explains that 3 AM is the Devil’s Hour, mocking the Holy Trinity. I’d never heard of this idea that a specific hour of the day was more evil than another.

The movie was based upon the true story of Anneliese Michel, a German woman who died after an exorcism in the 1970s. For me, seeing “based on a true story” usually amps up the thrills. This one was no different; The Exorcism of Emily Rose scared the bejesus out of me.

For a few months (yes, MONTHS) after watching the movie, I would wake out of a sound sleep at 3 AM. Prior to the movie, I didn’t wake at that hour, or any hour until my alarm went off. Night after night, I would wake at 3 AM and usually feel concerned that something nefarious was afoot.

One night, I realized I’d never had any concerns about waking in the night at any particular time prior to viewing this particular scary movie. I’d never had any reason to be scared when it was 3 AM. Thinking it through, I became aware that I’d taken this idea from a piece of entertainment and let it shake me up! I couldn’t believe how suggestible I was, how open to receive this movie tidbit as fact.

It was my own suggestibility that I considered when I watched The Exorcism of Emily Rose last week, and that awareness gave me a new slant on the suggestibility of the main character. Emily comes from a highly religious home and goes off to college. She goes to a dance and even canoodles a bit her boyfriend.

Imagine how seriously someone might believe they had sinned if they had come from such a devout household. How does she rationalize what she’s done? How does she come to terms with her choices when she feels such shame and guilt?

The only acceptable answer that her she and her loved ones could get onboard with: demonic influences. Emily wasn’t acting of her own freewill. She was possessed!

Could a person convince themselves that they are filled with demons? I don’t see why not. I, a typically way too logical adult, managed to be convinced for a short time that 3 AM was chock full of evil simply by watching a film. It seems reasonable that someone from a strict upbringing could convince themselves that the Devil made them dance and smooch.

I have no way of knowing if Anneliese, the woman that inspired the film, was impressionable enough to believe being possessed was the only explanation for her thoughts or behaviors. Maybe Anneliese had an untreated mental illness. Maybe Anneliese was living with the results of a traumatic brain injury. Or maybe, just maybe, she really was possessed by something otherworldly? You can text me your thoughts when you find yourself awake at 3 AM.

Stir of Echoes: thoughts on the movie

“I never wanted to be famous,” Tom tells his wife Maggie in the beginning of the film Stir of Echoes. “I just never expected to be so ordinary.”

After being hypnotized by Maggie’s sister, Tom is gifted with a psychic connection to Samantha, the ghost of a neighborhood girl gone missing. His son also has a connection to Samantha and converses with her throughout the movie.

Initially his gift and his visions distress Tom. As the story unfolds, Tom gets more obsessed with what happened to Samantha. He receives a message to dig for her.

When his wife finds Tom in their backyard digging, Maggie wants him to stop.

Tom is angry and begins shouting at her, “This is the most important thing that’s ever happened to me. This is the most important thing I have ever done in my life.”

This sense of purpose is what moves Tom forward. If a different man, a more accomplished man, has become a “receiver” of ghost noise, I’m not sure they would have tuned in and followed the leads. Furthermore, if we consider that a person with less physical strength than Tom had been the receiver of the ghost messages, they might not have been able to do the digging and demolition that went into following through with the discovery of Samantha’s corpse.

Tom is the perfect receiver, the perfect candidate, to take on this mission. It made me wonder if Samantha, our ghost girl, had tried to reach out to anyone else prior to Tom. Tom’s son Jake communicates with Samantha, but not about finding her killers or her body. Did Samantha try to find other adults that could act upon the visions she showed?

Alternatively, maybe she didn’t try to connect with other adults. Perhaps Samantha was waiting patiently to give her messages to Tom, knowing he was strong and yearning to be extraordinary. Was Samantha waiting for a bump on the head, a burning fever, or some other pivotal moment where his guard was down enough to tap into his mind?

As the film wraps, we have a moment of Jake’s perception, and he is privy to all kinds of psychic noise. It’s unclear whether Jake is only hearing ghosts or if he hears the living as well. In either case, it’s crystal clear that Jakes’s gifts stay with him.

What was not made as clear to me while viewing the film was whether Tom’s ghost communication skills would continue. We see Samantha put on her coat and walk away, presumably to the afterlife, but maybe just to a more interesting house to haunt. Samantha’s murderers are identified, and her body found. Will Tom encounter other ghosts in need of a resolution in the future, especially since his son is also open to receive spirit messages?

I would like to believe now that Tom believes in ghosts, he will be more open and sensitive to spirits going forward. I want him to see ghost birds when he’s working on phone lines. I want him to be a warmer, more compassionate human because he understands even an ordinary life is still a life, a finite and lovely opportunity.

The Amityville Horror: Green Goo and Marching Bands

I am deliberately not researching the stories behind The Amityville Horror by Jay Anson. I am not going to research the DeFeo murders or the credibility of George and Kathy Lutz. I am sorely tempted to do some digging because the numerous financial concerns of George Lutz could certainly justify the creation of some elaborate haunted house story in order to skip town and maybe make some money off the tale.

The experiences of the Lutz family take place over 28 days before they evacuated their haunted house. By comparison, Ellen Mercado and her family from the book Grave’s End stayed in a haunted house for years before a cleansing stopped the chaos.

The family experienced flies, temperature anomalies, windows and doors opening on their own, green goo appearing out of nowhere, and even the sound of a marching band creating a ruckus. Daughter Missy apparently befriends a giant pig that talks to her, and her father even sees hoof prints outside the window.

As a reader, I’m left with questions after reading Anson’s book. Did the Lutz family experience all these extreme and unusual happenings because of the DeFeo murders? Were the DeFeo murders caused by similar strange happenings and the Lutz family just came in where the weirdness left off? Has the house and location always been haunted or was it only haunted because of the murders?

There was an envelope of cash that disappeared in the story. Do ghosts and ghoulies typically take large sums of money? Where did it go? Are we to think that the envelope evaporated into some other dimension or that it was hidden away somewhere on the property?

It’s mentioned in the book that when George and Kathy initially visit the home, the blinds of the neighboring houses are closed in the direction of this house. I didn’t think that was unusual. If I had known the DeFeo family and I had to continue living in my own home after the murders, I’d want to close the blinds, too. I think it’s natural to want to turn away from any memory of the horrors that happened on Ocean Avenue. Out of sight, out of mind.

One thing that stood out to me was how the Lutz family dog reacted to various areas of the house. That’s a takeaway for me: before I buy another house, I’ll walk my dogs around there first. I trust the reactions of ordinarily agreeable family pets. Fear or aggression towards the unseen is a huge warning flag to leave the area.

If the things that happened to the Lutz family are indeed true, they were brave to last there a month. I would like to think I would’ve picked up on the high weirdness before buying the property, but maybe I would’ve been distracted by the low price for a huge home with a pool and a boathouse.

Thoughts on Grave’s End by Elaine Mercado

I read Grave’s End perhaps ten years ago, picking up a copy from my local used bookstore’s paranormal section. I devoured the true story in a weekend, but then I forgot much of it.

Reading it again for a school assignment, I believe I forgot the content because Elaine Mercado makes the extraordinary completely ordinary. Elaine immerses the reader in the daily events of her family. The strange happenings take place while the family sleeps, does homework, and all manner of mundane tasks.

We aren’t swept away to an extravagant estate with a crumbling mansion. We meet a young family eager to trade their cold apartment for a house. They purchase the home largely because it’s the only one they can afford.

When mists, lights, and apparitions appear, the reader understands the unease Elaine and her children feel. More than the things that go bump in the night, Elaine helps us understand that they had to stay. Financially, it wasn’t feasible for them to move, and for much of the story, Elaine’s spouse is a non-believer.

Elaine shares how tired she is. The disturbances in the night ruin her sleep, but she has to carry on with work and life all the same. She works overnights for a while, sleeping during the day, and that choice resonated with me. Elaine is a working mother, and the spooky things are just part of their lives. She figures out ways to cope and carry on.

Grave’s End is largely a story about a family. They work, they have slumber parties, they have pets, and all the other ordinary trappings of a working-class family. It’s special how close the unexplainable experiences bring Elaine to her daughters, as none of them ran away from the unusual experiences in the home. They rallied around each other, making the best of things, and enjoying the periodic lulls in the activity in their homes.

The house is cleansed by a medium and a famous parapsychologist. The reader is treated to a pleasant ending where Elaine and her second husband largely live happily ever after.

There’s no sense of foreboding at the end, no ominous feeling that the weirdness isn’t over. Everything is tied up in a neat bow. Compared to the fiction books we’ve read about haunted houses, this non-fiction tale leaves us able to sleep soundly with all the lights off.

Point of View Is Everything in The Others

Anne, one of the children in The Others, sees ghosts…or does she? Point of view is everything in this ghostly film!

Anne tells her brother Nicholas that it is Victor that opens their bedroom curtains in the night over and over. Anne closes them, and moments later, they are closed again. Victor is to blame, Anne explains, and doesn’t Nicholas see Victor over there?

It’s not clear if Nicholas actually glimpses Victor or if poor Nicholas is just scared out of his wits by his sister’s stories. Anne claims to see ghosts throughout the film, but only at the end of the film does the audience learn that Anne is a ghost.

In fact (huge spoiler alert), Anne, Nicholas, and their mother Grace are all ghosts haunting that house. The hired help is also deceased, but continue to do yardwork even in the afterlife.
Victor is alive and the other members of his family are as well. Anne is not the girl seeing the ghost; she is the ghost seeing a living boy in the same house where she died.

Thinking back over the movie, Anne and Nicholas being ghost kids might have been hinted at in a Bible study scene. They talk about the “four Hells,” one of which is Children’s Limbo. In hindsight, perhaps they were in Children’s Limbo all along.

Having the ghosts as the main characters and experiencing things through their senses is what makes the movie special. If we’d seen it through the eyes of the living family inhabiting the house, it would have been just another haunted house tale.

Finding out that the mother smothered her children with a pillow and then shot herself, leaving them all trapped at this property, was an amazing twist. The clues and hints might have been there all along, but I didn’t guess that they were the ghosts. I was surprised, and it’s rare that a film twist catches me so off-guard.

Notice the Names in Nightmare House

Nightmare House by Douglas Clegg is a haunted house tale published in 2012. I learned from Amazon’s website that this book is one in a series that revolves around the house. The books can be read out of sequence.

The names in Nightmare House are what most stood out to me. Let’s start with the house and estate named Harrow. From Google’s dictionary, a quick search yielded the definition of “harrow:”

noun

an implement consisting of a heavy frame set with teeth or tines which is dragged over plowed land to break up clods, remove weeds, and cover seed.

verb

1.draw a harrow over (land).

“they ploughed and harrowed the heavy clay”

cause distress to.

By name of the house alone, the reader can decide about the sturdy farming implications of the word…or they can notice the “cause distress to” nuances of a potentially harrowing tale ahead. Calling it Harrow was a stroke of genius on the author’s part.

Ethan Gravesend is the grandson the reader meets as he inherits Harrow. “Gravesend” = graves end. What a delightfully creepy surname! If one’s last name is Gravesend and one has inherited a property called Harrow, spooky shenanigans are bound to follow.

Police chief and supporting character Pocket is another powerful name choice. As a name, “Pocket” feels like tucked away secrets, events hidden carefully away and kept safe.

“He sacrificed his daughter’s happiness to it,” Pocket said to Ethan. Again, another brilliant word choice. “Sacrificed” as in gave up something of tremendous value, but also “sacrificed” as in giving a life to feed the evil.

Nightmare House is a satisfyingly haunted read, but my takeaway that I can apply in my own writing is the power of deliberate word choices. By careful selection of names, the author reinforced the tone of his haunted tale.

Ghost Story is My Literary Lloyd Dobler

Lloyd Dobler ruined me. He wasn’t always the best at speaking his feelings, but that evening, he made them so clear. Standing outside his beloved’s home, he held the boombox high and played her a love song.

Lloyd is a character in the movie Say Anything. If you aren’t familiar, you can check out a clip here: https://youtu.be/S5Y8tFQ01OY

Lloyd’s heart is on his sleeve and blasting out of his boombox. Every boyfriend I’ve ever had has been measured on my secret Lloyd Dobler scale. What is the likelihood that this boyfriend would stand outside and play me a love song, unashamed to woo me?

Ghost Story is the book equivalent of Lloyd Dobler for me. I’ve measured far too many books against Ghost Story and many, perhaps most, have failed miserably.

I first read Ghost Story in middle school, around 6^th or 7^th grade. I liked long books in the horror genre, like The Stand by Stephen King and Baal by Robert McCammon. I wanted a long and well-woven story as a reader, even at that age.

Ghost Story blew my mind. It might have been the first book I’d read that was a story about stories or many stories within one overarching plotline. Reading it again, it still blows my mind, maybe even more so now that I’m trying to write stories myself.

Not only was there a masterful blending of stories, but there are passages and phrases that are absolutely beautiful to me. It was my first time really considering that there could still be lovely prose in a story that was meant to have tension or scares.

In my copy of Ghost Story, this dialogue takes place on pages 376 and 377:

“We were in a sort of sexless, pre-Freudian paradise,” Ricky finally said. “In an enchantment. Sometimes we even danced with her, but even holding her, watching her move, we never thought about sex. Not consciously. Not to admit. Well, paradise died in October, 1929, shortly after the stock market and Stringer Dedham.”

“Paradise died,” Sears echoed, “and we looked into the devil’s face.”

There is so much there to unpack! Memories of youth labeled as paradise read to me as idyllic, and I found myself immersed in a vision of what it must’ve been like and felt like to be dancing with Eva, spinning around, laughing and carefree. The turn of the scene with the phrase “paradise died” left me eager for what catastrophe must be next, artfully moving me from the dance floor into the “cyclone of hate” that unfolds on page 379.

Straub is a master of painting a mood for the reader and doing it quickly. On page 217, Don and Alma are staying at David’s vacation home.

Thus, there we are, mornings and afternoons in David’s house while the gray fog slides past the windows and the noise of waves slapping the beach far down suggests that any minute water will begin to come in through the bottom of the door.

For me, that short passage gives me the mood, dark and somber, as well as the distinct feeling that something bad or weird (or both) is about to happen.

Ghost Story is amazing. It is my literary Lloyd Dobler, a measure of a well done tale. Oh, you say you wrote a haunting novel? Well, how does it compare to Straub’s Ghost Story?

Paranormal Activity Still Holds Up

Sometimes when I watch a movie again years after it was released, it doesn’t always stand the test of time. The special effects might appear hokey, or it might be a storyline that would be crushed with a tool as simple as a mobile phone.

Maybe I’m alone in my thinking, but I felt like Paranormal Activity is still full of fun scares. It’s similar to Blair Witch Project in that we, the viewers, are supposed to believe we’re watching found film footage, not a scripted movie. Because it’s in this niche of found footage, I believe that gives Paranormal Activity staying power.

In Paranormal Activity, Katie and Micah are experiencing what might be a haunting in their townhouse. Katie explains that this has been happening for as long as she can remember, that the haunting follows her. Micah is a little annoyed that she didn’t mention the bit about being a ghost magnet before they started living together.

They decide to film what’s happening day to day and even record in the bedroom while they sleep. This approach works well to build up tension because there are sounds, for example, that take place well off camera. That’s a terrific plan for a tight movie-making budget since you don’t have to show anything scary for most of the film.

Noises, footprints, and even a photo found in the attic build up the creepy layers, but we haven’t seen the ghost or poltergeist or whatever might be haunting Katie and the home she shares with Micah. For me, this works well in the same way that the movie Jaws created tension. It’s allowing the viewer’s imagination to fill in the blanks. Perhaps that fails with folks who have no imagination, but for my whirling scary-go-round brain, filling in my own blanks is a major scare.

As a fan of scary movies, I was absolutely livid that Micah wanted to use a Ouija board. Has he really never seen any scary movies? This NEVER works out well, and it doesn’t work out well for Katie and Micah either.

Random side note: I was irritated by the pronunciation of “Micah” as “Meeka” instead of with a long “I” sound. I listened to several recordings of how to pronounce the name in English, and they all had the long i. Picky? Maybe, but it’s one of those pesky things that will break my interest in a movie. All they had to do was give him a name like “Scott” and there would have been no problem!

The big ending (spoilers!) mostly happens off camera. Again, this works because we believe that this is found footage. Micah’s body is thrown at the camera, knocking the camera down. We’re treated, at long last, to a glimpse of the demon, now making itself comfy in Katie. Totally scary when demon-possessed Katie screams and lunges at the camera to end the movie.

Paranormal Activity still holds up. The timing of the thumps, bumps, footsteps, and so on just builds and builds until it explodes into a demonic possession. Is it a profound artistic masterpiece? No way, but it’s still a reliable movie for startling scares without gore or crazy effects.

Ghost Makes Women Touch Their Own Cleavage (my summary of Hell House)

Hell House by Richard Matheson was intended to frighten the reader. Four people enter a haunted house in Maine to find proof that there is life after death. Their time in the house corrupts their behavior. Not all the investigators survive the investigation. Scary stuff, right?

Unfortunately, I fell out of the hypnotic trance of a good spooky book with scenes that are now laughable. When the two women are possessed by a spirit, they suddenly become nymphomaniacs, eager for sexual delights.

Edith attempts to engage in a naughty tryst in the sauna with her husband. He responds with horror, as the only way his wife would behave in such a saucy manner is if Edith were being manipulated by an evil spirit.

Really? The only way a woman might want to have sexy time in the sauna with her husband is if her freewill has been seized; clearly, that’s the only explanation. I had to stop reading to roll my eyes.

Overcome by wanton lust, Florence strips and straddles Edith, trying to get Edith to touch her bare breasts. Florence announces that they are both “that way.” Florence would only feel free to waggle her bosoms at Edith when possessed by a wicked ghost, as a proper woman would do no such thing.

This book was published in 1971. Perhaps the author was shocked by the sexual liberation of the 1960s and the new freedoms for women with the availability of birth control pills. Clearly, Richard Matheson wasn’t a fan of women being forthright in their pursuit of sexual pleasure.

It also felt to me that Matheson was homophobic, referring to the character of Edith as a “lesbian bitch.” One might argue that a fictional character made that comment to another fictional character in the context of a story, so maybe it isn’t a reflection of Matheson’s world views. I believe his characters didn’t need to have such a conversation at all, so his choice of words is telling.

The sexual scenes weren’t shocking or frightening to me. I found them ridiculous and foolish, the ramblings of a boring old fart. Fifty years after the publication of Hell House, the world has changed enough that what was appalling to a reader of that era is not even a little scary today. Those aspects of the story didn’t age well.

The concept of a house haunted by an evil ghost stands the test of time. When the group arrives and finds the windows of the house have been bricked over, I felt their dread. The reader is treated to the full experience of a creepy abandoned home, and I enjoyed being introduced to the house.

As soon as a ghost fondles Florence’s derriere roughly seventy pages into the book, I was pulled out of the spooky ambiance. A spectral butt grabber is rude, but Florence seems amused by it. Again, this is something that didn’t stand the test of time. A female character today would have been angered by such an action rather than thinking it clever or rambunctious.

Clearly, I was not a fan of this particular book, but I understand that I, with my modern opinions and healthy libido, was never its intended audience.

The Haunting of Hill House versus The Real World

Shirley Jackson’s book The Haunting of Hill House might be the literary version of MTV’s The Real World. The premise of The Real World television show was putting strangers in a house together and following what happens “when people stop being polite and start being real.”

Our characters in The Haunting of Hill House are strangers, brought together when Dr. Montague seeks to document the allegedly haunted house. Theodora and Eleanor are brought in to assist the doctor in his summer of research. Luke is a member of the family that owns the home, and the family will only allow Dr. Montague to rent the home with Luke there. Four strangers find themselves living together for the sake of paranormal research, so what could possibly go wrong?

Just like every season of The Real World, it seems in the beginning as though everyone will get along and have a lovely time. They take meals together and relax with chess and brandy.

Hill House is full of things that go bump in the night, which was their reason to be there in the first place. Like The Real World, it’s not enough to live together without taking sides and ostracizing someone.

Eleanor wants so badly to belong somewhere and fit in to a group. That desperate longing to be included is part of what brought her to Hill House. Eleanor tries to get close to Theodora, even offering to follow Theo home after their research is done, but Theo is having none of that. Eleanor sets her sights on a grand romance with Luke, and that effort goes nowhere. Theodora won’t have her, and Luke won’t have her. All that’s left to do is lose what few marbles she has and give herself over to the house.

Eleanor feels a sense of belonging in the house and she opens herself to the house and its spirits. She feels at home there, the only time in her life she’s felt that sense of being part of something large and important.

Eleanor wakes everyone as she runs through the house, hearing what she believes to be her mother beckoning her. Eleanor ends up in the library at the top of a rickety staircase, trying to climb out to the turret. Luke plays the hero and gets her down from the stairs.

In the morning, everyone is insisting that Eleanor leave. This is another great parallel to The Real World, where every season someone is bullied to the breaking point and the others all victim-blame. Instead of being excited that the house is just strange enough to have shattered Eleanor’s fragile mind and digging into what happened, they want her to leave. They have decided that they are done with Eleanor, and she needs to go. Eleanor, of course, doesn’t want to leave but they have made up their minds.

They pack her in her car and insist she skedaddle. They underestimated Eleanor’s commitment to give herself over to the house. Instead of driving away from Hill House, Eleanor drives into a tree, committing suicide to avoid leaving the place she thinks of as her only true home.

Eleanor’s death ruined the whole summer research shindig for the remaining group, and they all went their separate ways.

Kat Craig

Writer