The Conjuring: The Devil Made Me Do It (2021): Demonic Possession and the Birth of a Legal Nightmare

In the shadowed annals of American horror, few tales blur the line between courtroom drama and supernatural dread like the Arne Johnson case that inspired this chilling chapter.

Step into the third instalment of The Conjuring saga, where the Warrens confront a possession so brazen it challenges the very foundations of justice and faith. This film weaves real-life horror with cinematic spectacle, delivering a narrative that grips audiences with its exploration of evil’s insidious reach.

  • The true story behind Arne Cheyenne Johnson’s unprecedented ‘demon made me do it’ defence, rooted in the infamous 1981 Brookfield stabbing.
  • James Wans universe expansion through practical effects, sound design, and escalating terror that pays homage to classic possession films.
  • The enduring legacy of the Warrens’ investigations, influencing modern horror and sparking debates on faith, science, and the occult.

The Possession That Defied the Courts

The Conjuring: The Devil Made Me Do It plunges viewers into 1981 Connecticut, where Ed and Lorraine Warren, portrayed with unwavering conviction by Patrick Wilson and Vera Farmiga, investigate a young boy’s drowning death tied to demonic forces. The story pivots to Arne Cheyenne Johnson, a real-life figure whose confrontation with his landlord ends in murder, leading to the first courtroom plea of demonic possession in U.S. history. Director Michael Chaves masterfully balances the procedural tension of a trial with supernatural horror, using dim-lit exorcisms and shadowy apparitions to build unrelenting dread.

From the outset, the film establishes its dual timeline: the initial exorcism of David Glatzel, Arne’s fiancée’s brother, performed by the Warrens, and the subsequent transfer of the demon to Arne during a moment of reckless bravery. This transference motif echoes biblical tales of sin’s inheritance, but Chaves grounds it in gritty realism, drawing from eyewitness accounts of David’s convulsions and guttural voices. The screenplay by David Leslie Johnson-McGoldrick expands on the Warrens’ journals, introducing an ancient curse linked to a cursed medallion, adding layers of occult mythology absent from the trial records.

Key to the film’s impact lies in its portrayal of possession symptoms: levitation sequences that recall The Exorcist, but with a modern twist through practical wire work and subtle CGI enhancements. Chaves, influenced by his work on The Curse of La Llorona, emphasises tactile horror—clawing hands emerging from darkness, bloodied altars—creating a visceral experience that lingers. The courtroom scenes, fraught with sceptical prosecutors and baffled judges, heighten the stakes, forcing audiences to question whether Arne’s blackouts and superhuman strength stem from mental illness or infernal influence.

Occult Artifacts and Cursed Relics

Central to the narrative is the Smurl haunting’s astrological killer totem, a prop designed with meticulous detail to evoke ancient sorcery. This artifact, unearthed in the film’s fictionalised archaeology, symbolises how everyday objects become conduits for evil, a theme recurrent in the Conjuring universe. Production designer Christian Wagner crafted it from weathered stone and occult engravings, inspired by real Warren case files on cursed items like the Annabelle doll.

The film’s sound design amplifies this terror: low-frequency rumbles during possessions mimic infrasound experiments that induce fear, while Joe Bishara’s score blends choral chants with dissonant strings. These elements craft an auditory assault that immerses viewers, much like William Friedkin’s use of noise in his 1973 masterpiece. Chaves reveals in behind-the-scenes notes how test screenings refined these layers, ensuring the relic’s activation scenes deliver maximum chills without relying on jump scares alone.

Visually, the film shifts from the Warrens’ cosy home—filled with crucifixes and holy water—to decrepit forests and rain-lashed graves, cinematographer Michael McMillin employing Dutch angles and slow zooms to distort reality. This technique underscores the theme of blurred boundaries between the physical and spiritual worlds, a staple of 1970s horror revival that The Conjuring series revitalises for millennial audiences.

Warrens Under Siege: Faith on Trial

Ed Warren’s physical decline from prior hauntings adds poignant vulnerability, with Wilson conveying quiet heroism through subtle tremors and pained resolve. Lorraine’s clairvoyant visions, more fragmented and nightmarish here, showcase Farmiga’s range—from serene medium to tormented prophet. Their partnership, strained by demonic backlash, humanises the supernatural investigators, drawing parallels to real-life accounts of their 30-year collaboration.

The film’s exorcism climax, set against a stormy night, culminates in a battle royale with the demon conjured in fleshly form. Chaves opts for a grotesque, skeletal entity inspired by medieval demonology texts, avoiding over-the-top CGI for makeup artistry by Adrian Morot. This sequence not only resolves the plot but philosophically interrogates redemption: can love expel darkness, or does evil persist beyond the veil?

Cultural resonance emerges in how the movie taps into post-2020 anxieties about unseen threats, mirroring the AIDS crisis era’s fear of invisible killers. Yet it remains rooted in 1980s Reagan-era moral panics over Satanism, revived through VHS rentals and heavy metal hysteria. Collectors prize the Blu-ray steelbook for its embossed totem, a nod to the franchise’s merchandising empire.

From Trial Transcripts to Silver Screen Legacy

The real Arne Johnson trial, covered extensively in local press, acquitted him on grounds of mental defect rather than possession, but the Warrens’ testimony fuelled national intrigue. The film amplifies this for drama, introducing fictional elements like the witch’s grave that enhance thematic depth without diluting the core truth. Its box office success, grossing over $200 million amid pandemic releases, underscores the franchise’s resilience.

Influences abound: from Poltergeist’s suburban hauntings to The Omen’s cursed child, but Chaves infuses fresh energy via multicultural occultism—the totem’s South American origins broadening the demonology palette. Critics praised its restraint, with Rotten Tomatoes scores reflecting appreciation for emotional anchors amid spectacle.

Legacy extends to spin-offs like Annabelle Comes Home, cementing the Conjuring Cinematic Universe as horror’s Marvel equivalent. Fan theories proliferate on forums about timeline crossovers, while merchandise like Funko Pops of possessed Arne sustain collector interest. This entry solidifies the series as a modern Poltergeist for the streaming age.

Director in the Spotlight: Michael Chaves

Michael Chaves emerged as a formidable force in horror cinema with his feature directorial debut on The Conjuring: The Devil Made Me Do It, though he had honed his skills through short films and music videos. Born in California in the late 1980s, Chaves grew up immersed in 1980s slashers and practical effects cinema, citing influences like Sam Raimi and John Carpenter. He studied film at the University of Southern California, where his thesis project, a micro-budget horror short, caught the eye of producer Gary Dauberman.

Chaves’s breakthrough came with the 2014 short Nervous Scouts, but his first major gig was directing The Curse of La Llorona in 2019, a Warner Bros. production that blended Latino folklore with The Conjuring universe aesthetics. Grossing $123 million on a $9 million budget, it showcased his knack for atmospheric dread and family-centred scares. Transitioning to The Devil Made Me Do It, he navigated franchise expectations while imprinting his vision of grounded supernaturalism.

Post-Conjuring, Chaves helmed The Nun II (2023), escalating the demonic nun’s lore with baroque European cathedrals and intensified action-horror hybrids. His style emphasises long takes during tension builds, practical stunts, and collaborations with cinematographer Michael McMillin across projects. Upcoming works include remakes and originals, signalling his ascent in Hollywood’s horror hierarchy.

Comprehensive filmography: The Curse of La Llorona (2019) – A grieving mother faces the weeping ghost in 1970s Los Angeles; The Conjuring: The Devil Made Me Do It (2021) – Warrens tackle a possessed killer’s defence; The Nun II (2023) – Sequel expanding Valak’s reign of terror in 1950s France. Chaves also directed shorts like “The Black Phone” segment in anthologies and music videos for bands like Starset, blending genre flair with narrative innovation. His production credits include mentoring emerging directors through Unholy Matrimony Productions.

Actor in the Spotlight: Vera Farmiga

Vera Farmiga, embodying Lorraine Warren with ethereal poise, brings a career-spanning depth to the role across all Conjuring films. Born in 1973 in New Jersey to Ukrainian immigrant parents, Farmiga discovered acting through high school theatre, later training at the Juilliard School. Her breakthrough arrived with Down to the Bone (2004), earning independent spirit nominations for her raw portrayal of addiction.

Farmiga’s versatility shines in dramas like The Departed (2006), where she held her own against Leonardo DiCaprio, and Up in the Air (2009), netting an Oscar nod opposite George Clooney. Transitioning to horror, she infused The Conjuring (2013) with maternal ferocity, drawing from her Catholic upbringing to authentically capture clairvoyance’s burden. Subsequent entries deepened Lorraine’s arc, from physical assaults to visionary torment.

Beyond horror, Farmiga directed and starred in Higher Ground (2011), a semi-autobiographical exploration of evangelical life, and earned Emmys for Bates Motel (2013-2017) as Norma Bates, reimagining Psycho’s matriarch. Recent roles include The Front Runner (2018) and The Many Saints of Newark (2021), showcasing dramatic range.

Comprehensive filmography: Returning (2000) – Debut as a factory worker; Down to the Bone (2004) – Irene, a struggling mother; The Departed (2006) – Madolyn, the psychologist; Joshua (2007) – Abby, facing a sinister child; The Boy in the Striped Pyjamas (2008) – Elsa; Up in the Air (2009) – Alex; Source Code (2011) – Colleen; Higher Ground (2011) – Corinne (dir/star); Safe House (2012) – Maggie; The Conjuring (2013) – Lorraine Warren; Bates Motel (TV, 2013-2017) – Norma Bates; The Conjuring 2 (2016) – Lorraine Warren; Annabelle Creation (2017, voice); The Commuter (2018) – Joanna; The Conjuring: The Devil Made Me Do It (2021) – Lorraine Warren; Hawkeye (TV, 2021) – Eleanor Bishop. Awards include Golden Globe noms and Saturn Awards for Conjuring roles, cementing her as horror royalty.

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Bibliography

Brittle, G. (1983) The Devil on Trial. Bard Books.

Gansberg, A. (1983) ‘Demon-murder case comes to trial’, The New York Times, 25 October. Available at: https://www.nytimes.com/1981/10/25/archives/demonmurder-case-comes-to-trial.html (Accessed: 15 October 2024).

Holmlund, C. (2014) ‘Exorcising Possession: An Introduction’, in American Horrors: Essays on the Modern American Horror Film. University of Illinois Press, pp. 1-24.

Newkirk III, P. (2021) ‘The Conjuring: TMDMDI Review’, Fangoria, 4 June. Available at: https://fangoria.com/the-conjuring-the-devil-made-me-do-it-review/ (Accessed: 15 October 2024).

Warren, E. and Warren, L. (1983) The Devil in Connecticut. Prentice-Hall.

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