By: debbie lynn elias
Debuting at the AFI Film Festival in November 2005, “An American Haunting” was at the top of my list for films to screen at the Festival. Based on Brent Monahan’s novel, The Bell Witch, this is the story of the only documented instance in the history of the United States where the government has acknowledged, admitted and attributed crimes, “terrorism” and murder to the supernatural. (Sorry Fox Mulder!)
The time is 1818. The place – rural Tennessee. John and Lucy Bell are pillars of the community. Living in peace and harmony with their children Betsy and John Jr., they are God-fearing people, making their way by farming the land, putting their hands to good use according to the Good Book. (After all, idle hands are the Devil’s workshop). But, this idyllic life is soon turned upside down when the church elders accuse John of the heinous sin of usury, which in 1818 had a slightly different connotation than today. Taking the word of Kate Batts, a suspected witch, the church admonishes the Bells. Bets , however, not satisfied with a theological slap on the wrist, stands on the church steps vowing vengeance against John and his family.
It’s not long before strange things start happening to the Bells. Perhaps coincidental, perhaps not. Initially, the events are merely annoying – some scratching in the attic at night, a few noises. Could be rats and the wind. But then yellow-eyed wolves stalk young John in daylight while Betsy begins to see faint images of a young girl who she sees as a friend. Apparitions or is the sun playing tricks on Betsy’s eyes? As the occurrences turn more sinister and violent, it seems clear to John Sr. that it is the curse of Kate Batts behind the torment. Begging her forgiveness and pleading for her to remove the curse, Batts merely bats an eye and says “what curse?”
Shaken, the family soon finds themselves victims of demonic torment. Perhaps the most vivid example being the direct attack on Betsy who, despite her 14 years is and always will be Daddy’s Little Girl. With unseen forces locking the family from Betsy’s room, we see Betsy yanked from her bed by her hair, spun around in mid-air, hurled around, tossed about, slapped and drug across a splintery hardwood floor and all the while Betsy’s screams are heard piercing the air. Determined to free his family and his beloved daughter from this living hell, John sets out to exorcise the demon and restore his good name in the community. What happens next is for you to see for yourselves.
Donald Sutherland and Sissy Spacek star as John and Lucy Bell and are superb. Sissy Spacek, well beyond her “Carrie” years, is still the epitome of doe-eyed desperation and terror. Her maturity only adds to the essence of Lucy, adding unseen layers and veneers of wisdom and emotion that peel away as the fear and terror intensify, only to reveal a surprising and welcome strength of character as one would expect from a God-fearing woman. Donald Sutherland channels an intensity and furor into John Sr., that is a thrill to watch. Maybe a bit over the top with his Bible thumping, arms thrown wide to the sky, mane of hair flowing, he is still captivatingly formidable. And as excellent as Sutherland and Spacek are, it is Rachel Hurd-Ward who carries the film as Betsy. With a role that teeters between terror and parody, Hurd-Ward stays grounded, effective and sincerely believable to the point that any doubts one may have as to the government’s official findings that the supernatural committed the acts hereinalleged, are all put to rest.
Written, directed and produced by Courtney Solomon, this is one of the finest screamers to hit the screen in a long time. Rooted deep in American history and the ongoing battle of good versus evil, God versus Satan, witches, curses, ghosts, Bible thumping settlers, etc., even I found myself jumping in my seat watching this one. Simplistic and basic in the telling of this tale, the script is short on dialogue that fleshes out the characters pre-poltergeist, yet stays bold and fulfilling. Listen closely (and I do mean listen closely as whispers contain clues) and read between the lines, rely on the atmosphere, the ambient setting and the actions of the actors themselves and you will also find some great reveals that only add to what one soon realizes is a multi-dimensional story premised on horrific actual events in US history. Unnecessary, however, is a concurrent side story narrative set in present day where a young girl suffering from nightmares is reading Lucy Bell’s diary which she found in the attic of her home. While one will understand why Solomon added this aspect to the film once viewed in its entirety, it is nevertheless inexpedient and detracts from the terror and historical events themselves. (NOTE – Rumor has it that after the AFI and other screenings, Solomon was leaning toward cutting this from the US theatrical release.)
Technically, the film is polished and well done in every aspect. With a seamless meld of computer generated and old-fashioned man made effects, the visuals are effectively stunning and when appropriate, terrifying. However, the real mastery in this film goes to the sound department, helmed by Michel Bordeleau. Key to this film, their work is outstanding. Special note must also be made to Production Designer Humphrey Jaeger who not only worked wonders making Romania look like 19th Century Tennessee but who gave cinematographer Adrian Biddle the necessary elements to have one sitting on the edge of the seat white knuckling the arm rests (or your date’s leg) for almost the entire film.
Preying on the subconscious, Courtney Solomon provides us with a piece of cinematic excellence – a psychological supernatural thriller filled with terror, some surprisingly shocking twists and turns, all premised on actual historical events. Guaranteed to keep you up at night with every light in the house on, “An American Haunting” is the best haunt we’ve had in a long time.
John Bell: Donald Sutherland Lucy Bell: Sissy Spacek Betsy Bell: Rachel Hurd-Ward
Written and directed by Courtney Solomon. Based on the novel, The Bell Witch, by Brent Monahan. Rated PG-13.
Photos © 2006 – All Rights Reserved
