‘Eli Roth’s History of Horror’ Recap: ‘The Demons Inside’

Written by John Edward Betancourt

Thus far, our journey through the rich and winding history of the horror genre by way of Eli Roth’s History of Horror, has provided us with some incredible insight on how the genre has learned how to adapt with the times in order to stay relevant and successful. But while that particular exploration has been quite fascinating in its own right, it would be quite boring if this series only focused upon that evolution on a consistent basis. Because we want to learn everything that we possibly can about this genre and what it has to offer us and that’s why it is a wonderful thing that the next chapter in this phenomenal series, ‘The Demons Inside’, took the time to avoid discussions of evolution to instead focus upon how horror movies dissect and explore our greatest fears.

Which is something we don’t really think about all often when we watch these movies, since we lose ourselves within the story. But the fact of the matter is, horror is quite good at taking our deepest fears and putting them on display and one particular style of horror films that do a phenomenal job of that… are possession themed stories. Because tales where demons enter one’s body, prey upon one of our greatest worries; losing control of our mind and our body. A fear that stems from some of the illnesses that plague mankind and well, what makes these films so effective when it comes to the scares, is the sheer fact that they hold nothing back in their presentation and for proof; then look no further than the two films that helped to give life to the genre, Rosemary’s Baby and The Exorcist.

For both of these motion pictures force us to watch Rosemary and Regan lose their grip on their sanity and reality in a slow and methodical fashion. Which is something that makes the audience quite uncomfortable and that makes the actual horrific moments embedded in the script all the more powerful when they arrive. Because at that point the audience is vulnerable and vested and that allows for them to go on an emotional ride, one that leaves their heart racing and their mind begging for safety and that really does make these movies quite special for certain. Since they genuinely pull upon something primal in our souls and these stories did such a phenomenal job of putting our fears on display and tugging upon them that future filmmakers made sure to inject this particular element into their own possession stories, in a subtle and genius manner.

Take The Evil Dead for instance. Since this film is often viewed as a gory indie experience that wears its audience down with gore and an assault on one’s senses. When in reality, it offers the viewer a sense of outright helplessness as they watch Ashley J. Williams’ friends succumb to Kandarian evil, which pulls at our own fears of watching our loved ones and friends lose themselves to both physical and mental illness and what’s truly impressive about possession films is that they’ve even been able to reflect upon more modern societal fears and problems in recent years. For Jennifer’s Body was able to offer up a grandiose examination of how women are viewed in the modern world and the lack of control they have over their bodies and of course… Get Out was able to offer up an incredible examination of the lack of control that African Americans have when it comes to their safety and their lives.

But while it is wonderful to know that possession films offer far more than unsettling moments and stunning scares, what this particular episode really did a phenomenal job of putting on display, is how possession stories manage to do something that few horror stories can. In that, they have figured out how to make us afraid of death. For these movies pose the theory that evil is doing just fine on the other side, and that it is eager to cause trouble on every plane of existence and that really does reinvigorate our fear of death, since it removes the peace and comfort we expect to find within it when our time has come, and it makes these stories poignant and powerful. Since they also toy with notions of faith, something that is paramount to so many people. But what matters most, is that this particular chapter in this fascinating documentary reinforces the fact that is going to leave no stone unturned in its exploration of what makes this genre so great, since it provided us with incredible insight on a sub-genre of horror that we don't discuss enough. Until next time.  

---