“Dominion: Prequel to The Exorcist” is a thrilling horror flick that tells the story of a young priest’s struggle with his faith amidst the chaos and evil that surrounds him. Set in Africa during World War II, the movie follows Father Merrin as he battles demons, Nazis, and his own inner demons. With stunning visuals and heart-pumping action, “Dominion” is a must-see for fans of supernatural horror.
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Review
“Doublethink and the Demon Possessed: Dominion and its Eerie Prequel to The Exorcist”
It is difficult to imagine a film whose predecessor has become a household name and cinematic legend, as The Exorcist has. But even more unimaginable is the possibility of a prequel that could surpass or at least match its impact. The 2005 movie Dominion: Prequel to The Exorcist, however, manages to not only provide an intriguing storyline but also offers a commentary on human nature, politics, and religion that often complements the Orwellian themes of doublethink in his masterpiece 1984.
The plot of Dominion revolves around Father Lankester Merrin (played by Stellan Skarsgård), an archaeologist priest who searches for an ancient demonic entity unleashed by British soldiers during World War II in colonial Kenya. Alongside a team of fellow academics, clergymen, and locals affected by the evil presence, Merrin conducts excavations while battling both his own trauma from witnessing atrocities in Europe and the manifestation of evil that haunts him.
One particular aspect that stands out is the contrast between the beauty of the African landscape and the lurking darkness beneath it. Orwell himself was fascinated with different cultures, writing about them extensively in Burmese Days and A Passage to India. In Dominion, this fascination becomes both a reconstruction of colonial history and an examination of how power structures intersect with religious dogma.
The performance by Skarsgård is noteworthy as well. He brings gravitas to the role previously defined by Max von Sydow in The Exorcist with his grave voice, nuanced facial expressions, and methodical acting style. Indeed, each character has their own personality quirks or emotional baggage that add layers to the story’s human element.
Despite its parallels to other horror films like Poltergeist (as discussed in many reviews), Dominion’s political commentary provides perhaps the most significant departure from the genre’s norms. The subtext of imperialism and its legacy is ever-present, as well as the idea that Western rationality can never fully comprehend foreign customs or belief systems. This idea aligns with Orwell’s belief that colonialism is based on a racist presumption that one culture is superior to another.
One quote that speaks to this point comes from Father Francis (Gabriel Mann), who says, “Indigenous people do not need you to tell them what they believe”. It’s a statement that resonates long after the movie ends, as it is not only about religion but also about the notions of authority, power, and perspective.
The production of Dominion was no less controversial than its themes. It underwent several changes before its release, including being re-cut after director Paul Schrader was fired due to executive dissatisfaction with his original vision. Despite this setback, Schrader was given another opportunity to direct a version of his own in 2019 and is considered by many fans to be superior to the final product released in 2005.
The musical score by Trevor Rabin sets an eerie tone from the outset — a score so often integral to horror films but rarely gets attention for how it complements plot and character development. Rabin’s music conveys both suspense and melancholy, with heavy use of choir arrangements. This quality is present throughout Dominion — perhaps because many scenes rely on character interaction rather than jump scares.
While it didn’t break any box office records or win any major awards, Dominion leaves viewers plenty to ponder not only about spirituality but also humanity itself. In essence, Dominion uses religious horror as a tool for grappling with weighty existential questions such as morality and redemption — themes that strongly mirror those of George Orwell’s dystopian works: Animal Farm and Nineteen Eighty-Four.
In conclusion, Dominion: Prequel to The Exorcist isn’t your typical horror flick. It’s a movie that challenges viewers to ask themselves what they believe and why. It’s a movie that forces us to see the world from different perspectives and consider how our actions impact those around us. And it’s a movie that reminds us that sometimes, the greatest monsters aren’t supernatural beings but rather our fellow human beings. Perhaps, in this sense, Dominion is the perfect film for our modern Orwellian age: a cautionary tale of doublethink and the demon possessed disguised as an entertaining horror flick.
Technical Data
- Release : 2005-05-20
- Runtime : 117
- Genre : Horror
- Cast : Stellan Skarsgård as Father Lankester Merrin, Gabriel Mann as Father Francis, Clara Bellar as Rachel Lesno, Billy Crawford as Cheche, Ralph Brown as Sergeant Major
- Crew : Vittorio Storaro as Director of Photography, Trevor Rabin as Original Music Composer, Paul Schrader as Director, William Wisher as Writer, James G. Robinson as Producer
- Revenue : $251,495
- Budget : $30,000,000
- Company : Morgan Creek
- Popularity : 17.213
- Summary : Haunted by terrible acts the Nazis forced him to participate in, the disenchanted Father Lankester Merrin focuses his energies on helping with an archaeological dig in the northern part of Kenya. There, the crew uncovers a church that predates Christian missions into the area, but the discovery also causes strange events to start occurring — including physical changes to a young, disabled boy, whom Merrin grows to suspect has been possessed by a demon.
- Tagline : Go back before the beginning, to the place where evil was born.
