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What was the point of the opening scenes in Iraq ?


The Exorcist (1973) opens with the elderly Father Merrin at an archaeological dig in Iraq. He finds a small coin like object which another archaeologist tells him is "not of the same period" of other stuff they're finding (it's never seen or mentioned again). Then he comes across a small figurine-head, the size of a golf ball, with a snarling, demonic face. This disturbs him for no adequately explained reason. Next scene he's in the office of a local scholar, who says of the head, "evil against evil." Then the clock stops, which seems to frighten Merrin. Next scene, Merrin confronts an ancient human-sized statue, out in the desert, of a four-winged god or demon with the paws of a wildcat and a face identical to the figurine-head found earlier.

All this is apparently unconnected to the rest of the story, except that Merrin is the priest who will later be called in to perform an exorcism in Washington, DC.

What is the point of this prologue? How does it relate to the rest of the story? Has digging up the figurine-head somehow liberated the demon it represents to go and possess a young girl on the other side or the world? Or is its discovery some kind of portent of what's to come? Or what?

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It connects with the rest of the story because it introduces the viewer to the theme of "the Demonic" from the first frame. Obviously Merrin's fearful reaction to the stone amulet of Pazuzu and the large Pazuzu statue on the hill describe his inner state. Since they convey fear, and produce fear, we know that there is "something special" that accrues to them which is evil. The museum curator acknowledges this when he says of the amulet, "evil against evil". As a Muslim, he believes that Paganism and its charms and idols are evil. But Merrin - as the story will let us know - is familiar with an even more universal evil, namely the demon he expelled some twelve years earlier.

The sense of evil and omen is not limited to the statuary at the dig. It's present in the over-loud street noises as Merrin takes tea; in the staring Arabs; in the nitro that we see him taking. He is old and has a bad heart. When the clock stops in the curator's office, it means more than a classic paranormal event presaging death: in a real sense, it means the stopping of Merrin's own "ticker".

Merrin also runs across human weakness and illness: he sees an Iraqi leading a blind or lame partner by the hand; he encounters a one-eyed blacksmith.

The omens and premonitions continue: on his way he is nearly run over by a droshky whose passenger is an old, sick-looking woman. Just before this, we see that he is being watched by a man in a tower. Omens and premonitions.

What had started as a standard archeological dig has now become a projection-carrier for Merrin's fears, specifically as the novel says, in the certainty that "soon he would face an ancient enemy". Iraq itself now reminds Merrin of the kinds of feelings he had in the African exorcism twelve years before.

Finally, the old priest confronts the Pazuzu statue, but not without first encountering rifle-toting guards. As he ascends the hill, the camera shows a single Arab staring at Merrin, while the soundtrack presents the sound of tumbling rocks: will Merrin "loose his footing"?

Then, as he faces the Pazuzu statue by the light of the setting sun, a demonic wind whips up to the tune of the frenzied growling of fighting dogs, while the soundtrack blends a guttural "MERRIN!" into their cacophony.

That's how Merrin and the Iraq prologue tie into the rest of the story. Once we see the old priest from the prologue walking in the woods, and then arrive at the MacNeil house, we realize that the story is coming full circle and that now Merrin will indeed face "the ancient enemy".

Has digging up the figurine-head somehow liberated the demon it represents

No. The demon is not confined to any time and place - it is a nonmaterial spirit entity not dependent on territorial or geographical roots. We know it is free to travel. Merrin first met it twelve years earlier in Africa - who knows where it had been in earlier centuries? Since its exorcism, it has been keeping tabs on Merrin, and Merrin is psychically linked to the demon. He intuits its re-emergence into the world and into his life while he's excavating. But the excavation itself is not a causal element in Regan's possession. It wanted a grudge match with Merrin because it did not like losing the time before. It has found another target in the person of Regan MacNeil. Merrin senses this, and goes back to the States where he starts writing another book. Events conspire to convey the bishop's message to Merrin, based on Damien Karras's exorcism request. We know how the story goes from there.

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No. The demon is not confined to any time and place - it is a nonmaterial spirit entity not dependent on territorial or geographical roots. We know it is free to travel. Merrin first met it twelve years earlier in Africa - who knows where it had been in earlier centuries? Since its exorcism, it has been keeping tabs on Merrin, and Merrin is psychically linked to the demon. He intuits its re-emergence into the world and into his life while he's excavating. But the excavation itself is not a causal element in Regan's possession. It wanted a grudge match with Merrin because it did not like losing the time before. It has found another target in the person of Regan MacNeil. Merrin senses this, and goes back to the States where he starts writing another book. Events conspire to convey the bishop's message to Merrin, based on Damien Karras's exorcism request. We know how the story goes from there.


You don't know that.

What do you know??

"Cobra Kai? Say it...say it...NEVER DIES!" Karate Kid III

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It's not explicit, but it is suggested.

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It's the best part of the film, imo.

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I think so, too - it has great color and scope as well as a supernatural aura.

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What is the point of this prologue? How does it relate to the rest of the story?


To show Merrin having premonitions about resuming a battle with the demon. And how this battle is an ancient, eternal one. The discovery of the artefacts, some of which are from different eras, is no coincidence in Merrin's eyes.

This is why Merrin is not interested in the "details" of the possession that Karras tries to give him.

It gives Merrin a sort of Van Helsig quality without him being too aloof or crazy and larger than life to set him apart from the other characters.

Glasgow's FOREMOST authority.

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This is why Merrin is not interested in the "details" of the possession that Karras tries to give him.

It gives Merrin a sort of Van Helsig quality without him being too aloof or crazy and larger than life to set him apart from the other characters.


A pair of very acute observations. Thanks for sharing them.

:)

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Thanks.

I like how it introduces us to Merrin toiling in a sort of primordial, hostile landscape. An expanse of wasteland. From there he travels to the benign, leafy Georgetown neighbourhood and to the confines of a child's bedroom to do battle. Merrin is a constant in either environment.

We are introduced to Karras working in the same Georgetown community but later travelling between there and his mother's home which is an a sort of urban wasteland. The dwellings like ruins. Here, Karras is made impotent and reticent. Returning to his place of work, in leafy Georgetown and vocation Karras rediscovers his faith by being able to help in a place where, sort of ironically, the expression of his faith is the ONLY thing that can possibly save a little girl.



Glasgow's FOREMOST authority.

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Couldn't agree more...and you just wrote another heckuva wonderful post!

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you still lurking here?

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Isn’t the ‘coin’ actually a holy medal? Saint Joseph, I think. Merrin ponders it in the scholar’s office. We see a similar item falling during Damien‘s dream. Then the demon pulls one off Damien‘s neck in their final struggle and Chris eventually offers it to Father Dyer.

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I haven't read the book but I used to interpret it as the actual demon being unleashed through the digging and therefore being able to possess an individual, in this case a young girl over in America. Now I've come to realise that yes, it's more an introduction to the evil that exists in the world and isn't directly related to the possession in America. It helps set the tone and it does a good job in adding depth to the movie. It definitely would lose something without it. Like someone else said, it's the best part of the movie, or at least my favourite.

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