“What follows is inspired by true events,” the opening credits tell us, and then, minutes later, “suggested by the by book by Matt Baglio.” That’s the biggest problem with Mikael Håfström’s The Rite, an exorcist drama with some strong thematic elements; the basis of something real, thought-provoking, and discussion-worthy is here, but it has only been used to inspire/suggest a conventional Hollywood product.
Looking to get away from his mortician father (Rutger Hauer) and the family business, young Michael Kovak (Colin O’Donoghue ) turns to the seminary, despite a lack of faith or even, it sometimes seems, a belief in God.
After completing his education, he turns in a letter of resignation. “You could have run in any direction,” Father Matthew (Toby Jones) tells him, unwilling to lose this student, “but you ran here. Why?”
Under the threat of converting his scholarship into a student loan, Matthew sends Michael to Rome to study exorcism under Father Xavier (Ciarán Hinds). Yeah, exorcism; possession is apparently making a comeback, and every diocese needs an exorcist.
In Rome, Xavier notes Michael’s lack of faith as well, and sends him to see Father Lucas (Anthony Hopkins), an actual exorcist who is currently treating a young pregnant woman possessed by the devil.
Now, Michael doesn’t believe in any of this stuff; despite some pretty convincing possession experiences, he also finds ways of explaining things away. But for a commendable length of time the film doesn’t take any sides; this ambiguity is the best thing The Rite has to offer, and for a good three-quarters of the way it’s moody and atmospheric, and tackles the controversial subject with surprising intellect.
By the end, however, it’s all for naught: with all the cards out on the table, the film coarsely hammers home its message as it devolves into a generic thrill fest. Aside from the conventionality, it also rings false, with violently external forces replacing all ambiguity and demanding what should have been a quiet, reflective internal change.
Hopkins just about saves the film with a florid and even funny performance; anything but the typical priest, he’s curt and witty and even answers his mobile in the middle of an exorcism. Relative newcomer O’Donoghue is bland, but likable, in the lead.
The supporting cast, which includes Alice Braga as a reporter trying to get an interview with the Father, has little to do, but Marta Gastini is extremely effective as the possessed young girl.
Director Håfström’s previous film was the legitimately scary 1408; this one has been miscategorized as a horror film – it’s more of a slow-burn that effectively builds a sense of dread.
It’s occasionally creepy stuff, with evocative cinematography by Ben Davis, but the scare elements have been haphazardly tacked on, and include the usual boo! moments and the it-was-only-a-cat reprieve.
