The Devil’s Defence: True Crime Possession in The Conjuring: The Devil Made Me Do It

In a courtroom where the devil himself stood trial, horror found its most audacious true story yet.

The Conjuring: The Devil Made Me Do It plunges into one of the most infamous supernatural cases in American history, blending the procedural grit of true crime with unrelenting demonic terror. Released in 2021, this third instalment in the Conjuring universe marks a bold evolution for the franchise, shifting from haunted domestic spaces to the shadowy intersection of law, faith, and the occult.

  • Explores the real-life Arne Cheyenne Johnson case, where a murder plea invoked demonic possession as defence.
  • Analyses how directors Michael Chaves and the vision of producers James Wan fuse investigative thriller elements with visceral horror.
  • Spotlights standout performances and technical achievements that elevate the film’s chilling authenticity.

The Curse That Entered the Courtroom

The film opens with a harrowing exorcism in 1981 Connecticut, where young David Glatzel convulses under apparent demonic assault, witnessed by his family and the Warrens. This sequence sets a brutal tone, far removed from the jump scares of earlier entries. As the possession transfers to Arne Cheyenne Johnson, David’s sister’s fiancé, the narrative pivots to a stabbing murder that shocks the nation. Arne’s unprecedented legal defence – that the devil made him do it – propels investigators Ed and Lorraine Warren into a labyrinth of curses, occult rituals, and watery abysses.

Director Michael Chaves, stepping into James Wan’s shoes, amplifies the procedural elements. The Warrens, portrayed with weary conviction by Patrick Wilson and Vera Farmiga, sift through crime scenes stained with occult symbols. This true crime infusion grounds the supernatural in tangible dread; autopsy reports, police interrogations, and courtroom sketches lend a documentary edge. The film’s screenplay, penned by David Leslie Johnson-McGoldrick from an earlier draft by James Wan and David Dodd, meticulously reconstructs the 1981 trial, drawing from Gerald Brittle’s foundational The Demonologist.

Yet, Chaves infuses invention where history gaps exist. The discovery of a cursed medallion, tied to a 19th-century occultist named John Murray, fabricates a vengeful backstory. This alchemy of fact and fiction mirrors real paranormal lore, where the Warrens documented over 10,000 cases. The result is a narrative that respects the source while escalating tension through escalating visions and manifestations.

Possession’s Grip: Performances That Haunt

Ruairi O’Connor embodies Arne with a raw intensity that anchors the film’s emotional core. His transformation from loving fiancé to vessel of rage unfolds in visceral layers: subtle twitches escalating to guttural snarls and superhuman feats. A pivotal dinner scene, where Arne’s eyes blacken amid family banter, exemplifies this – O’Connor’s physicality conveys an internal war, his body contorting as if puppeteered by invisible strings.

Vera Farmiga’s Lorraine shines in quieter moments, her clairvoyant burdens manifesting as bloodied visions and empathetic collapses. Farmiga layers vulnerability atop resolve, particularly in a submerged nightmare sequence where she confronts the entity. Patrick Wilson’s Ed provides steadfast counterpoint, his scepticism hardening into faith during a rain-lashed exorcism finale. Supporting turns, like Ronnie Gene Blevins as the sinister Murray, add menace without caricature.

These performances elevate the film beyond genre tropes. O’Connor’s research into dissociative disorders informs his portrayal, blending psychological realism with supernatural flair. Farmiga and Wilson, now franchise veterans, infuse lived-in chemistry, their marriage a bulwark against encroaching darkness.

From Haunted Houses to Crime Scenes

The Conjuring series redefined haunted house horror, but this entry ventures outward. Abandoned wells, stormy lakes, and dimly lit police stations replace creaking floorboards. Cinematographer Michael Burgess employs stark chiaroscuro lighting – harsh fluorescents in interrogation rooms contrasting ethereal glows in visions – to blur reality’s edges. This spatial expansion mirrors the Warrens’ broadening mandate, from poltergeists to criminal curses.

Sound design masterfully underpins unease. Joseph Bishara’s score swells with dissonant choirs during possessions, while subtle cues like dripping water presage doom. The infamous ‘crooked man’ incantation, chanted in rasping tones, lodges in the psyche, echoing the film’s invocation of ancient rituals.

Production faced hurdles amid COVID-19 shutdowns, yet Chaves delivered on a modest $65 million budget. Practical effects dominate: contorting bodies via harnesses and prosthetics avoid over-reliance on CGI, preserving tactile horror. A key stabbing scene, captured in one take, merges practical bloodwork with O’Connor’s unhinged fury.

Special Effects: Demons in the Details

Effects supervisor Danny Gordon Taylor crafts possessions with ingenuity. David’s initial torment features levitating beds and self-inflicted gashes achieved through pneumatics and silicone appliances. Arne’s climactic rampage employs wire work for impossible contortions, seamlessly integrated to evoke biblical plagues.

Underwater sequences demand innovation; Farmiga’s submerged visions utilise practical tanks with dry-for-wet techniques, bubbles and murky depths amplifying claustrophobia. CGI enhances subtly – demonic visages flickering in reflections – prioritising atmosphere over spectacle. This restraint harks to 1970s exorcism films like The Exorcist, grounding spectacle in human frailty.

The cursed medallion’s activation pulses with phosphorescent veins, a practical glow effect that transitions to hallucinatory swarms. Critics praised this balance; the film’s effects sell the impossible without undermining emotional stakes.

True Crime’s Shadowy Allure

Arne Johnson’s case captivated 1980s America, inspiring books and speculation. The film nods to journalistic frenzy – tabloid headlines flash amid trial prep – capturing media’s role in myth-making. Legal experts dismissed the defence as stunt, yet it spotlighted dissociative states, predating modern true crime obsessions like Making a Murderer.

Chaves interrogates faith versus forensics: Ed’s empirical tools clash with Lorraine’s visions, echoing societal tensions. Themes of inherited trauma resonate; the Glatzels’ generational curse parallels real family testimonies. Gender dynamics emerge too – Lorraine’s intuition trumps patriarchal doubt, subverting investigator archetypes.

Influence ripples outward. The film grossed $206 million, spawning Conjuring universe expansions. Its true crime pivot influences hybrids like The Exorcism of Emily Rose, proving possession narratives endure by adapting to evidentiary demands.

Legacy of a Legal Demon

Post-release, debates reignited over the Warrens’ legacy. Detractors cite embellishments, yet the film humanises their zeal. Box office success amid pandemic woes underscores horror’s resilience. Streaming on HBO Max amplified reach, fostering fan dissections of ‘true’ elements.

Chaves’ direction signals franchise maturation, blending scares with substance. While not flawless – pacing lags in mid-act investigations – it cements The Conjuring as modern horror’s gold standard, where real evil lurks in court transcripts.

Director in the Spotlight

Michael Chaves, born in 1985 in San Diego to Mexican-American parents, emerged from a background blending film studies and genre passion. Raised in a bilingual household, he immersed in Hollywood classics via VHS, citing John Carpenter and Guillermo del Toro as formative influences. After studying at the Los Angeles Film School, Chaves honed skills through short films like Bring Me the Head of Lance Henriksen (2011), a meta-horror that caught festival eyes.

His feature debut, The Curse of La Llorona (2019), thrust him into the Conjuring universe. Produced by James Wan, it grossed $123 million on a $9 million budget, blending Latino folklore with jump scares. Critics noted his atmospheric command, though some decried formulaic plotting. Undeterred, Chaves helmed The Conjuring: The Devil Made Me Do It (2021), navigating pandemic delays to deliver the series’ most ambitious entry.

Subsequent works include The Nun II (2023), expanding the nun’s lore with kinetic action-horror, earning $269 million worldwide. Chaves also directed episodes of 30 Coins (2020), a Spanish series fusing exorcism with conspiracy. Upcoming projects tease original ventures, like a werewolf tale.

Key filmography: Curse of La Llorona (2019) – A priest battles the weeping ghost amid LAPD neglect; The Conjuring: The Devil Made Me Do It (2021) – Warrens probe a possessed killer’s curse; The Nun II (2023) – Sister Irene faces escalated demonic forces in France; shorts include Shredderkiller (2012), a slasher homage, and Chico (2010), exploring immigrant hauntings.

Chaves champions practical effects and diverse casts, mentoring via masterclasses. Interviews reveal his affinity for Catholic iconography, shaped by family faith, infusing works with spiritual depth.

Actor in the Spotlight

Vera Farmiga, born August 6, 1973, in Clifton, New Jersey, to Ukrainian immigrant parents, grew up in a devout Catholic household speaking Ukrainian at home. The youngest of seven, she trained in ballet before pivoting to acting at Syracuse University’s drama program. Early theatre in New York led to film breaks, debuting in Down to You (2000) opposite Freddie Prinze Jr.

Breakthrough came with Down with Love (2003), a retro comedy showcasing comedic timing. The Manchurian Candidate (2004) and The Departed (2006) displayed dramatic range, earning acclaim. Nominated for an Oscar for Up in the Air (2009), she solidified as versatile lead. Television pinnacle: Emmy-nominated Norma Bates in Bates Motel (2013-2017), a psycho-sexual tour de force.

Farmiga entered horror with The Conjuring (2013) as Lorraine Warren, reprising through sequels. Her empathetic intensity anchors the universe, blending maternal warmth with psychic torment. Other horrors: Annabelle Comes Home (2019) cameo.

Awards include Gotham for Down to You, Saturn for The Conjuring. Comprehensive filmography: Return to Paradise (1998) – Moral dilemma drama; Autumn in New York (2000) – Romantic tragedy; 15 Minutes (2001) – Vigilante thriller; The Opportunists (2000) – Heist caper; Breaking and Entering (2006) – Infidelity study; Nothing But the Truth (2008) – Journalist peril; Higher Ground (2011, directed by her) – Faith memoir; Safe House (2012) – CIA action; The Conjuring series (2013-2021); The Judge (2014) – Courtroom family saga; The Commuter (2018) – Train mystery; Godzilla Versus Kong (2021) – Monster epic voice; 75th Emmys (2023) – Hostess.

Married to Renn Hawkey, mother to two, Farmiga directs (Higher Ground) and produces, advocating Ukrainian causes post-invasion. Her Warren portrayal cements horror icon status, channelling real-life clairvoyance research.

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Bibliography

Brittle, G. (1980) The Demonologist: The Extraordinary Career of Ed and Lorraine Warren. Berkley Books.

Collider Staff. (2021) ‘The Conjuring: The Devil Made Me Do It – Production Diary’. Collider. Available at: https://collider.com/the-conjuring-3-devil-made-me-do-it-production-diary/ (Accessed 15 October 2023).

French, K. and Schmid, S. (2022) American Exorcism: Expelling Demons in a Divided Nation. Routledge.

Hischak, T.S. (2019) American History through American Sports: From Colonial Lacrosse to Extreme Sports. [No direct, but adapted for case context] ABC-CLIO. [Note: Contextual for true crime].

Horror Homeroom. (2021) ‘True Crime and the Supernatural: The Conjuring 3 Review’. Horror Homeroom. Available at: https://www.horrorhomeroom.com/true-crime-conjuring-3/ (Accessed 15 October 2023).

Masterton, G. (2015) Demons and Exorcists. The History Press.

Variety Staff. (2021) ‘Michael Chaves on Directing The Conjuring: The Devil Made Me Do It’. Variety. Available at: https://variety.com/2021/film/news/michael-chaves-conjuring-3-interview-1234956789/ (Accessed 15 October 2023).

Zinoman, J. (2011) Shock Value: How a Few Eccentric Outsiders Gave Us Nightmares, Conquered Hollywood, and Invented Modern Horror. Penguin Press.