In cults circles (especially among fans of Italian horror cinema in general and director Mario Bava in particular), THE HOUSE OF EXORCISM is probably the most (in)famous alternate film version in existence – a complete do-over of Bava’s excellent and ethereal LISA AND THE DEVIL (1973) with added scenes of – you guessed it! – exorcism. What may make HOUSE OF EXORCISM unique among alternate versions is that (as its producer Alfredo Leone is fond of pointing out) it actually has a separate copyright date, distinguishing HOUSE OF EXORCISM as a separate film unto itself. The irony here is that, if HOUSE OR EXORCISM holds any interest at all (a position seriously open to debate), that interest lies not on the merits of the film itself but on its relationship to LISA AND THE DEVIL.
The original is an atmospheric, ambitious work, filled with suggestion and ambiguity about a tourist named Lisa (Elke Sommer) who loses her way and ends up in a chateau with a strange family, who seem to recognize her as someone named Helena. Is she a reincarnation of a dead woman, or are these the ghosts of the past? Is Leandro (Telly Savalas) simply a butler, or is he an incarnation of the Devil, tormenting Lisa by making her relive events of her previous life over and over? In the manner of many such movies, which combine artistic aspirations with genre obligations, it’s not a fully satisfying experience in a conventional sense, and it’s sometime hard to determine whether the questions lingering over the narrative are a part of an intricate puzzle box or simply a matter of sloppy screenwriting. Fortunately, the bravura visual qualities pull you into the film’s weird world, so that any puzzling plot developments become part of the dreamlike experience.
Apparently this was too much for U.S. distributors, who passed on LISA AND THE DEVIL after it was completed in 1973. Hoping to get some return on his investment by cashing in on THE EXORCIST (1973), Leone went back and shot possession footage featuring Sommer and Robert Alda as a priest (apparently Leone directed the additions himself). The result was THE HOUSE OF EXORCISM, which was released in Italy in 1975 and in the U.S. in 1976 – a film that mimics THE EXORCIST only close enough to remind viewers how inferior the ripoff is.
HOUSE OF EXORCISM begins with a much more bombastic opening music cue, beneath a completely revised opening credits sequence, with graphics emphasizing crosses against garish red backgrounds. After that, there is some attempt to simulate the visual style of the original, and the new footage blends relatively seamlessly at first (though sharp-eyed viewers will note that Leandro is shot only from behind to disguise the absence of Savalas). In the added scenes, instead of simply losing her way and hitching a ride that takes her to the chateau, Lisa suffers some kind of fit; taken to a hospital, she exhibits signs of possession, so Father Michael (Alda) performs an exorcism, which more or less lasts the rest of the film, with footage from LISA AND THE DEVIL intercut like flashbacks or dreams.
The possession scenes pilfer THE EXORCIST’s bag of tricks (bile, vomit, profanity), adding little new and nothing worthwhile. There is some stunt work with a contortionist that’s halfway creepy and some belabored attempts to use adult nudity and innuendo show the evil spirit tormenting the priest with his guilty feelings over an affair from before he took to the cloth; a particularly risible moment occurs when Father Michael’s dead girl friend materializes to seduce him – in a room whose walls are covered in puke (it doesn’t help that the hospital set, where the exorcism takes place, looks more like a toolshed). Like almost every other film that followed in the wake of director William Friedkin’s version of William Peter Blatty’s best-seller, HOUSE OF EXORCISM eschews any attempt at grappling with its subject matter in a realistic way, instead simply serving up a bunch of recycled cliches like so many obligatory genre elements: Lisa contorts, pukes, and levitates on cue because that’s what happens in a film with “exorcism” in the title – but it’s all gratuitous mayhem, with no thematic underpinnings.
There are a few transitional bits to visually justify cross-cutting between the two narrative threads (i.e., as Lisa wanders lost in a scene from the original, the camera zooms in on a broken pocket watch, before cutting to a closeup of someone looking at his wrist watch in the hospital to which Lisa has been taken in the new footage). However, the logical connection between the two threads remains elusive. In one early addition, a repairman, working on a mannequin for Leandro, notes that Lisa looks exactly like Helena, suggesting that Leandro plans to “use” her tonight, instead of Helena – presumably in the drama about to unfold at the chateau. Later in the hospital, the possessed Lisa declares to no one in particular, “You won’t use me in your games tonight!” The implication seems to be that the scenes in the chateau represent events that the spirit of Helena is somehow avoiding by possessing the body of Lisa. Or something like that…
What is mildly interesting is that the film eventually feels some obligation to spell out, however incoherently, what is happening. In between hurling profanity and invective at Father Michael (“Don’t break my balls, priest!”), Helena (speaking through Lisa) offers a sort of running commentary on the events in the chateau, spelling out not only what is happening but also why. In a sense, she becomes the Greek Chorus, explaining the story to the audience.
The completely unexpected result of this is that HOUSE OR EXORCISM emerges feeling less like a ripoff of THE EXORCIST and more like DAUGHTER OF HORROR, the re-release version of DEMENTIA (1955), which added narration to clarify a nightmarish scenario that was originally intended to perplex audiences with its dreamlike surrealism. Is this enough to make HOUSE OF EXORCISM interesting, even if not worthwhile? Not really. The explanation proffered by HOUSE OF EXORCISM makes little sense. Unlike DAUGHTER OF HORROR, whose narration may actually have enhanced the movie, providing answers that did not feel tiresome or trite, HOUSE OF EXORCISM does not emerge as an intriguing alternate version; its exposition simply reminds us that we would have been better off watching LISA AND THE DEVIL and figuring things out for ourselves.
In HOUSE OF EXORCISM, Helena is speaking in the past tense about things she has experienced, but she also insists that these events at the chateau are taking place again tonight, though it is not completely clear how that could be possible without her participation. Are we to assume that Helena and Lisa’s spirit have traded places and that Lisa is now in Helena’s place, trapped in some kind of limbo where the events of the past repeat endlessly? If so, the explanation is unsatisfying – why should Lisa suffer for Helena’s sins? As elusive as the original film was, the implication ultimately was that Lisa and Helena were the same, and the events in the chateau represented her past – perhaps another lifetime – catching up with her.
With this element obliterated, the ending pushes Lisa aside to focus on Father Michael after he leaves Lisa in the hospital and travels to the chateau to exorcise the house itself. Why? No particular reason, except perhaps that placing this new character in the setting from the old footage would forge a slightly stronger link between the film’s two narrative threads. This leads to a relatively uneventful climax in which the priest wanders around the building, assaulted by wind and threatened by snakes, while shouting to cast out the devil. An abruptly edited flash of lightening seems to show him going up in a puff of smoke. Perhaps this was intended as a shocking triumph of the Power of Evil, but it’s arbitrary and haphazard in execution, and in any case by this time viewers are past caring. (The film itself is certainly past caring about what happens to the possessed Lisa after Father Michael’s failure; the camera simply freeze-frames and lets the credits role without bothering to clarify her fate.)
HOUSE OF EXORCISM is, top put it bluntly, an abomination. Back in 1975, when there was no other way for U.S. viewers to see LISA AND THE DEVIL in any form, there may have been some justification for the existence of HOUSE OF EXORCISM; now, however, the film is nothing more than a historical footnote, a curiosity for Bava fans who want to see their idol’s masterpiece bastardized into one in a long line of EXORCIST ripoffs. As understandable as producer Leone’s intentions were (was it better to leave the film unseen in a vault or get it on the screen in some form?), HOUSE OF EXORCISM takes Bava’s intriguing original and spoils it with crude vulgarity. If you really want to see a marriage of LISA AND THE DEVIL and THE EXORCIST, rent both of them and watch them back to back.
THE HOUSE OF EXORCISM (1975). Produced by Alfredo Leone. Directed by Mario Bava and Alfredo Leone (as Mickey Lion). Written by Mario Bava, Alberto Cittini, Alfred Leone, Giorgio Maulini, Romano Migliorini, Roberto natale, Francesca Rusishka. Cast: Telly Savalas, Elke Sommer, Sylva Koscina, Alessio Orano, Gabriele Tinit, Kathy Leone, Eduardo Fajardo, Carmen Silva, Franz Von Treuberg, Espartaco Santoni, Alida Valli, Robert Alda. Rated R. 92 minutes.