There is something particularly unnerving about demon possession. It's the idea of something you can't see or control creeping into your body and taking up residence eventually obliterating all you once were and turning you into nothing more than a sack of meat to be manipulated. Then there's also the shrouded ritual around exorcisms: the Latin chants the flesh-sizzling crucifixes and the burning Holy Water. As it turns out exorcism isn't just the domain of Catholics.
The myths and legends of the Jews aren't nearly as well known but their creepy dybbuk goes toe-to-toe with anything other world religions come up with. There are various interpretations of what a dybbuk is or where it comes from — is it a ghost a demon a soul of a sinner? — but in any case it's looking for a body to hang out in for a while. Especially according to the solemn Hasidic Jews in The Possession an innocent young person and even better a young girl.
The central idea in The Possession is that a fancy-looking wooden box bought at a garage sale was specifically created to house a dybbuk that was tormenting its previous owner. Unfortunately it caught the eye of young Emily (Natasha Calis) a sensitive artistic girl who persuades her freshly divorced dad Clyde (Jeffrey Dean Morgan of Watchmen and Grey's Anatomy) to buy it for her. Never mind the odd carvings on it — that would be Hebrew — or how it's created without seams so it would be difficult to open or why it's an object of fascination for a young girl; Clyde is trying really hard to please his disaffected daughters and do the typical freshly divorced parent dance of trying to please them no matter the cost.
Soon enough the creepy voices calling to Emily from the box convince her to open it up; inside are even creepier personal objects that are just harbingers of what's to come for her her older sister Hannah (Madison Davenport) her mom Stephanie (Kyra Sedgwick) and even Stephanie's annoying new boyfriend Brett (Grant Show). Clyde and Stephanie squabble over things like pizza for dinner and try to convince each other and themselves that Emily's increasingly odd behavior is that of a troubled adolescent. It's not of course and eventually Clyde enlists the help of the son of a Hasidic rabbi a young man named Tzadok played by the former Hasidic reggae musician Matisyahu to help them perform an exorcism on Emily.
The Possession is not going to join the ranks of The Exorcist in the horror pantheon but it does do a remarkable job of making its characters intelligent and even occasionally droll and it offers up plenty of chills despite a PG-13 rating. Perhaps it's because of that rating that The Possession is so effective; the filmmakers are forced to make the benign scary. Giant moths and flying Torahs take the place of little Reagan violently masturbating with a crucifix in The Exorcist. Gagging and binging on food is also an indicator of Emily's possession — an interesting twist given the anxieties of becoming a woman a girl Emily's age would face. There is something inside her controlling her and she knows it and she is fighting it. The most impressive part of Calis's performance is how she communicates Emily's torment with a few simple tears rolling down her face as the dybbuk's control grows. The camerawork adds to the anxiety; one particularly scary scene uses ordinary glass kitchenware to great effect.
The Possession is a short 92 minutes and it does dawdle in places. It seems as though some of the scenes were juggled around to make the PG-13 cut; the moth infestation scene would have made more sense later in the movie. Some of the problems are solved too quickly or simply and yet it also takes a while for Clyde's character to get with it. Stephanie is a fairly bland character; she makes jewelry and yells at Clyde for not being present in their marriage a lot and then there's a thing with a restraining order that's pretty silly. Emily is occasionally dressed up like your typical horror movie spooky girl with shadowed eyes an over-powdered face and dark clothes; it's much more disturbing when she just looks like an ordinary though ill young girl. The scenes in the heavily Hasidic neighborhood in Brooklyn look oddly fake and while it's hard to think of who else could have played Tzadok an observant Hasidic Jew who is also an outsider willing to take risks the others will not Matisyahu is not a very good actor. Still the filmmakers should be commended for authenticity insofar as Matisyahu has studied and lived as a Hasidic Jew.
It would be cool if Lionsgate and Ghost House Pictures were to release the R-rated version of the movie on DVD. What the filmmakers have done within the confines of a PG-13 rating is creepy enough to make me curious to see the more adult version. The Possession is no horror superstar and its name is all too forgettable in a summer full of long-gestating horror movies quickly pushed out the door. It's entertaining enough and could even find a broader audience on DVD. Jeffrey Dean Morgan can read the Old Testament to me any time.
Alex Hughes (Alan Rickman) is an emotionally closed-off British ex-con who heads to Canada to visit an old lover. When he misjudges the distances between Ontario and Winnipeg he rents a car and starts driving across the snowy winter landscape. He encounters a charming young woman named Vivienne Freeman (Emily Hampshire) who hitches a ride and begins to thaw out his frozen heart but then tragedy strikes as the pair has a terrible car accident and Vivienne is killed. Alex is left with terrible guilt and so drives to the little town of Wawa to offer condolences to Vivienne’s mother Linda (Sigourney Weaver). Surprisingly Alex discovers that Linda is a high-functioning autistic and as he agrees to help her plan the funeral an unlikely friendship develops. Meanwhile Alex also meets Maggie (Carrie-Anne Moss) Linda’s beautiful next-door neighbor; his relationships with those two very different women change him very unexpected ways. Forget Ripley from the Alien flicks! With Snow Cake Sigourney Weaver gives the performance of her life. She transforms completely into Linda Freeman a middle-aged woman whose life is framed – but not controlled – by her autism. From her slightly twitchy movements to the far-off look in her eyes Weaver masterfully captures the physical elements of the disorder; add in the completely believable dialogue that reveals Linda’s inner emotional state and the portrayal is one that just might bring Weaver an Academy Award for her work. Alan Rickman is equally affecting as a man whose personal anguish threatens to shut him down completely; his emotional reawakening is so real that we can’t help but empathize and root for him. Carrie-Anne Moss is quietly effective as the sexually restless neighbor and Emily Hampshire is a beam of sunshine in her short time on the screen as Linda’s daughter a real face to watch for the future. Welsh director Mark Evans cut his teeth on British television and small films like Trauma. With Snow Cake he proves that he’s got a talent for telling emotional stories without descending into sentimentality. That’s a fine line and one that makes this film sit head and shoulders above those Lifetime channel flicks that send a chill up the spine of every red-blooded male (and many of us females too). First-time screenwriter Angela Pell should get massive credit as well. She tapped into her personal experience as the parent of an autistic boy translating that knowledge into creating a portrait of a grown woman (and mother of a normal daughter) who has successfully made her way through life despite her disability. The potent combination of those two talents united with across-the-board fine acting make Snow Cake a supremely satisfying cinematic experience. Watch for this one during awards season later this year.