Seemingly well-adjusted single mother, Carla Moran (Barbara Hershey), is repeatedly raped by an invisible entity. Psychologist Phil Sneiderman (Ron Silver) connects her “symptoms” to an abusive childhood and troubled relationships. But when the attacks continue and others see the events, she turns to a team of parapsychologists led by Dr. Cooley (Jacqueline Brookes).
The Entity is a horror film that can get under your skin. It never terrifies, but builds a sense of discomfort that doesn’t go away. Much of this is due to Hershey’s impressive performance in a difficult role. She creates a believable, everyday woman, who is just a little smarter, a little stronger, and a little more interesting than the people you meet on the street. And because Carla Moran is so real, and yet likeable, the film sucks you in. Since the events are so traumatic, this could be unpleasant, but the situation is interesting enough that I found myself dwelling on the possibilities instead of getting mired in the darkness.
The first half is traditional possession fare, except Moran’s not possessed. She tries to get others to believe what is happening to her, but no one does, and she has no proof. During this section, it is completely Hershey’s film, and it works because of her ability to express pain, loss, fear, and rebellion.
Then the story takes a turn as the parapsychologists appear, becoming much less personal as students and professors wire up Moran’s home with fanciful demon detecting devises. It feels so much like Poltergeist (released the following year) that it is improbable that the later film didn’t borrow a few concepts. While it may sound problematic to broaden the story, the change in tone works; there is only so long that the attacks, hopelessness, and arguments with the psychiatrist can go on before it becomes routine, and in this case, it went on about five minutes too long.
The real question behind The Entity is: what is the nature of the invisible attacker? It’s clear to the audience right from the start that something real is happening. But as the film progresses, it becomes less and less likely that a ghost or a demon is responsible. He is an attacker that only goes after a woman with a horrible past, that goes after her anywhere she goes, and only affects items external to her (windows, a block of ice) when she is present, aware, and usually looking at them. It begins to sound like an updated and more engaging Carrie. The plot sets up a dichotomy between psychology and parapsychology, but neither are completely right or wrong. And with that realization, Moran become capable of dealing with her “demon” in a powerful final scene.
For such praise, my rating may seem slightly low, but things do drag in the middle, there are too many coincidences, and the parapsychologist’s plan should be absurd to anyone thinking about it. If, as they believe, the attacker is from another realm of reality, why would extreme cold stop it? If cold, why not heat, or a gun, or an electrical shock? They are wildly guessing and stating it like fact. There is also too much time away from Moran, showing Sneiderman at the University. It doesn’t go anywhere, harms the pacing, and shifts away from the heart of the story. Those are little gripes, but enough to drop a great film to a good one.
A few lines of text at the end imply that Frank De Felitta’s screenplay, and his novel that preceded it, are based on real events. I seem to remember hearing the same about the The Amityville Horror, which has since been revealed to have been a hoax. We’re in the same country here, but don’t let that effect your enjoyment of the film.