Somewhere on the downbeat in The Heretic’s “Magic and Ecstasy” are the ghost notes that the film’s teenage Regan must find alarming, like a Trashmen record played at the wrong speed. One of the coverable tracks on the album, the song tries very little to scare its listeners in the way they may have expected after hearing either incarnation of “Regan’s Theme”. Instead, a drum kit cobbles through a Voodoo Child rock beat, accompanying a fuzzed-out bassline that leads us into Hell.
“Magic and Ecstasy’s” psychedelic tendencies aren’t at all at odds with The Heretic’s imagery. In fact, if one were to excerpt the film’s African possession scenes (yes, Exorcist II has plenty of strange scenes set in an Ethiopian dreamworld, from the perspective of a third-person psy-locust controlled by Linda Blair’s thoughts—see what I’m getting at here?) and contrast them with those of a bandanna-clad Band of Gypsies, add a few wavering King Crimson solos, and, well—I think Ennio Morricone had it right here. At its most interesting moments, The Heretic is fairly entertaining, and mainly during its dreamworld sidebar. We see stampeding wildebeest, red rocky caverns, perspective-skewed savannah after grassland after dark reddened riverscape. James Earl Jones shows up as an entomologist. At one moment, Blair’s Regan tells us commandingly as she flies in locust-form: “Come; fly the teeth of the wind. Share my wings”. All of this Morricone watched in a mixing room as he wrote “Magic and Ecstasy”.