L'Emprise

THE ENTITY

Aspect ratio: 2.39:1 (Panavision)

Sound format: 6-track Dolby Stereo

(35mm and 70mm release prints)

A busy single mother (Barbara Hershey) is inexplicably targeted by a monstrous, invisible 'entity' which emerges from nowhere and begins to assault her on a regular basis.

Based on events recounted in Frank DeFelitta's bestselling book, Sidney J. Furie's compelling shocker takes all the dramatic liberties one might expect of a Hollywood production, though DeFelitta's script manages to establish a genuine conflict between intractable science (spearheaded by Ron Silver as Hershey's disbelieving psychiatrist) and open-minded parapsychology (led by warm-hearted Jacqueline Brookes). Furie uses dutch angles and vivid closeups to emphasize the human tragedy at the heart of the story, as Hershey struggles to come to terms with her fantastical situation, only to be torn between Silver's increasingly ludicrous 'rationalizations' (he concludes that her experiences amount to little more than a sublimated incestuous crush on her handsome teenage son, played by David Labiosa!) and the day-to-day reality of her encounters with paranormal forces. Thankfully, despite suggestions of Silver's romantic attraction to Hershey, director and screenwriter keep a tight rein on proceedings, stripping all non-essential business from the central narrative.

Giving one of her best performances, Hershey is deeply affecting as the simple woman caught up in extraordinary circumstances beyond her control, and Furie stages the various supernatural assaults with frightening intensity, underlined by Charles Bernstein's pounding music score which elevates proceedings to a whole new level of horror. Despite the sexual nature of the attacks, Furie resists an urge to indulge the audience's voyeurism, and aside from one brief nude scene (employing a fairly obvious body double) and a full-body appliance (courtesy of Stan Winston) to depict invisible fingers manipulating Hershey's torso, the film is quite restrained in its portrayal of this sensitive material. The climactic visual effects - supervised by William Cruse - are remarkably poor, but this minor blemish isn't enough to weaken the film's cumulative impact. Listen out for the entity's only line of 'dialogue', as creepy as it is obscene.

I remember seeing this movie for the first time when I was 12 years old and being scarred wittless. While wandering through the video store recently I decided to rewatch this movie, to see if the intervening years had dulled the edge on this movie. Not only was I surprised that I still liked this movie, I was more surprised at how effective the film is on so many different levels. "The Entity" works as a horror film - no question. But, it's one of the rare instances in horror where you actually feel the anguish the main character is going through and truly care about the outcome of the character, not just when is "it" going to strike again. For anyone that wants to see a great horror movie that is usually overlooked in the "best of" lists, this is definitely it.

Hershey is doing some truly amazing/insane acting. I mean... just watch. I can't think of too many actors that COULD or even would be wiling to ATTEMPT to pull what she's doing off. They would feel too silly.

Again... just watch if you can get your hands on a copy of this. It's very difficult to find.

Actually, "The Entity" isn't a haunted house movie as much as it is a haunted person movie since the ghost or "the entity" only follows the main character around. What makes this movie darker than say "Poltergeist" is that we hardly ever see the demon that causes all the trouble. We only see what it does and that's raping its poor victim without remorse.

A story such as this could easily have become campy, especially since it was made in 1981. Surprisingly, "The Entity" still holds up very well. The performances are convincing, the characters are believable and the special effects are reduced to a minimum. The whole script comes dangerously close to losing its balance when in the last third of the movie a team of parapsychologists turns up and has some "really rad ideas" on how to destroy The Entity. However, thankfully the movie doesn't go too much over the top.

The weak points of "The Entity" are that it's not too scary and too long, both for the sake of maintaining veracity since this is supposedly based on a true story. As a horror movie it could have used better pacing and some jump scenes. The score is minimalist in that it's only a thunderous beat that kicks in as soon as The Entity turns up. What worked well in "The Thing" is a bit too little here. The same can be said about the ending. An open ending can be a good thing, but there should at least come a satisfying climax before it and at the end the main character's situation should have changed for better or for worse. "The Entity" kind of just stops without the heroine achieving anything.

A remake by Hideo Nakata is in the works and it seems to be a good idea to hand the project to an Asian director as the rawness of the story would probably get lost in the hands of an American. Here's one original movie that can be bettered as much as it could be worsened. We'll see what happens.

I never heard about the case before (and I'm too lazy to do further research) but if this story, like it claims, is indeed based on factual events, then it really is one of the greatest supernatural mysteries in the history of mankind! Barbara Hershey stars, in what unquestionably is the role of her life, as the struggling mother of three children who gets (sexually) assaulted – repeatedly – by an invisible spirit everywhere she goes. The inexplicable attacks naturally affect Carla's social life and pretty soon her sanity as well. When seeking for help, Carla becomes the desired study-object of scientists in several different branches, but none of them really cares for the woman's growing agony, since they're all defending their own obnoxious "theories". The theme and background of this remarkable film are a bit similar to Steven Spielberg's blockbuster "Poltergeist", but that's pretty much where the comparison stops. The supernatural "horror" in Poltergeist is childish nonsense compared to the genuinely devastating and often disturbing footage featuring in this film by Sidney J. Furie. The scenes in which Hershey's character is defenselessly thrown around the room are truly rough and the sight of her being raped by something you cannot see makes you feel very, VERY uncomfortable. Despite the sleazy-sounding premise that, in the hands of other directors, easily could have resulted in an overly exploitative and graphic picture, "The Entity" is very suspenseful and compelling. I'm not even sure this movie fully qualifies as horror, as it feels a lot more like psychological drama and – at times – even like a portrait of pure feminist power. Carla Moran is such a strong woman and determined to survive this nightmare, whereas all the male characters in the story are either stubborn egoists or insensitive bastards. Their insufferable personalities are brilliantly illustrated by the camera's reluctance to picture them! The male characters in "The Entity" are often just voices off the screen or partial faces in sequences dominated by Barbara Hershey's image, which is a really efficient trick actually. You can't possibly develop sympathy or respect for someone you can't initially see and, by the time they fully appear on screen, it's too late already. The film delivers great shocks, surprises, uncanny music and special effects and the wholesome is overall very tense. Whether truthful or not, the screenplay approaches the bizarre supernatural events with great respect and inserts absolutely no humorist situations or satirical disbelief. It's a little hard to stomach sometimes and two hours of intense substance like this perhaps is too long, still, it's an impressive piece of 80's cinema.