When Hollywood’s Biggest Failures Become Its Most Fascinating Case Studies
Let’s talk about Exorcist II: The Heretic—the film that nearly ruined John Boorman, baffled audiences, and became a cautionary tale of ambition run wild. Now, decades later, a documentary about its disastrous making is getting a theatrical release. Boorman and the Devil isn’t just a behind-the-scenes autopsy; it’s a mirror held up to Hollywood’s obsession with both risk-taking and redemption arcs. Personally, I think there’s something deeply human about our urge to revisit cinematic “failures” and reframe them as misunderstood art. Why? Because in doing so, we’re really asking: What if we’ve been wrong all along?
The Director Who Dared to Swing Big—and Missed Spectacularly
John Boorman wasn’t some hack handed a sequel by studio executives. He was coming off Point Blank and Deliverance, films that etched his name into the pantheon of daring auteurs. When Warner Bros. handed him the keys to Exorcist II, he didn’t just want to make a horror movie—he wanted to create a metaphysical poem about good and evil. The result? A film so visually audacious and narratively convoluted that it alienated audiences and critics alike. What many people don’t realize is that Boorman’s downfall wasn’t just a matter of poor execution; it was a clash between his artistic ego and the commercial machinery of Hollywood. This wasn’t a director making a sequel; it was a philosopher-king trying to bend a franchise to his will.
Why We Keep Going Back to the Train Wreck
Documentaries like Boorman and the Devil tap into a cultural itch we can’t scratch: the fascination with artistic hubris. We love stories where creators gamble everything and lose, precisely because they reveal the fragility of genius. In my opinion, this isn’t just about nostalgia or schadenfreude. It’s about confronting an uncomfortable truth: the line between visionary and fool is drawn in hindsight. Take a step back and think about it—how many modern directors are even allowed to fail this spectacularly? Today’s franchise-driven studios don’t greenlight bold experiments; they demand algorithmic safety. Boorman’s swing-for-the-fences approach feels almost radical in 2023.
The Secret Hero of This Story: The Filmmakers Who Admit They Care
What makes this documentary’s release particularly fascinating is the roster of talking heads defending Boorman’s legacy—Karyn Kusama, Mike Flanagan, and others who’ve navigated their own battles with studio interference. Their participation isn’t just a nod to Boorman; it’s a quiet rebellion against the industry’s risk-averse culture. One thing that immediately stands out is how these directors frame The Heretic not as a failure, but as a relic of a bygone era when filmmakers were trusted to innovate. In an age where every sequel is focus-grouped into oblivion, their admiration for Boorman’s chutzpah feels like a manifesto.
The Bigger Picture: Why Ambition Deserves a Second Look
Let’s zoom out. The resurgence of interest in Exorcist II isn’t isolated—it’s part of a broader trend where audiences and critics alike are reevaluating maligned works through a lens of empathy and context. Think of The Room, Heaven’s Gate, or even Blonde. These aren’t just “so bad they’re good” renaissances; they’re collective reckonings with the messiness of creation. What this really suggests is that we’re craving stories about human fallibility in an era of polished, algorithm-driven content. Boorman’s film, with its glorious missteps, becomes a Rorschach test: Do you see incompetence or courage?
Final Thoughts: Should We Celebrate the Swing or the Strikeout?
Here’s the paradox: Exorcist II flopped because it was too strange, too ambitious, too Boorman. Yet today, those same qualities are its saving grace. This raises a deeper question—should we applaud artists for their intent, regardless of outcome? From my perspective, the answer is yes. The documentary’s arrival isn’t just a win for Boorman enthusiasts; it’s a reminder that cinema’s soul lies in its capacity to surprise, alienate, and provoke. As streaming homogenizes our cultural diet, let’s hope Boorman and the Devil isn’t just a eulogy for risk-takers past, but a rallying cry for the ones still fighting to swing big.
