Once more I dive into the deep chasm that is filled with contemporary, independent exorcism films. Reading the title, An Irish Exorcism, what can be expected of this film? I was hoping for the film to bring focus to what it means for an exorcism to be “Irish.” Do Irish Catholics perform exorcisms differently than other Catholics? Is there a world-famous exorcist who travels to Ireland in order to succeed in saving a child’s life, where countless priests have failed? Wherever your imagination takes you after reading the title is a step toward a more creative film. The only thing that sets An Irish Exorcism apart from other cookie-cutter exorcism films is that it is set in Ireland. 

An Irish Exorcism tells the story of Lisa (Anna Davis), a college student researching exorcisms, as she pieces together video interviews and other evidence for her final class project. Father Quinn (Paddy C. Courtney), a more progressive priest, helps Lisa get in touch with the more traditional Father Byrne (Brian Fortune) for her project. Father Byrne is reluctant to help, but allows Lisa to document the possession and subsequent exorcism of a local girl in order to finish her project. As you may have guessed, the film is presented to us as “found footage,” complete with an introductory disclaimer stating the “credibility” of the images that follow.

If you were around in 1972, television was a very different place. By midnight most stations were shutting down to the tune of the national anthem. After that there was a test pattern and a high-pitched ring that would fill your screen until dawn when programming would resume. Of course, there were also only three networks, and, if you were lucky enough to live in a large market, a handful of local stations. All good people were expected to be safely tucked into their beds long before 1:00 AM. It was a very different world from today when we get 24-hour programming on over 200 stations or more. Oh, and there was no home video, in case you thought you could just pop in a movie for your late-night viewing pleasure. Video games? Forget it. In just a couple of years, you were going to get Pong.

The music business was also very different in 1972. It was the age of the singer-songwriter and rock bands who actually played instruments. Music was sold on vinyl record albums, and there was no MTV or VH1. If you wanted to see your favorite band perform, you went to a concert. There were dance shows that went all the way back to the 50's with Dick Clark's American Bandstand or Soul Train. But these shows featured performances that were lip-synched to the familiar recordings. These were almost never live performances. If you were lucky, your favorite band might show up on Johnny Carson or Ed Sullivan before that. Downloading music meant you worked at a record store, and you were unloading boxes of albums from the back of a delivery truck. Even the Walkman was a decade in the future. Bands just didn't have access to the fans the way they do today. All of that started to change on August 19, 1972. That was the day The Midnight Special arrived, and things would never be the same again.

"If you can dream it, we can build it."

That's the motto of Wayde King and Brett Raymer of Acrylic Tank Manufacturing (ATM). They are two guys from Brooklyn who moved to Vegas where they started ATM. Why they couldn't do it in Brooklyn isn't ever mentioned. Must be the high taxes. The duo claim that they are the number one tank aquarium manufacturers in the United States. That likely doesn't include the mass-produce guys like All-Glass. Still, from what I've seen here, there's no question these guys are good.