The Entity is a 1982 supernatural horror film based on the 1978 novel of the same name by Frank De Felitta, which in turn was based on the Doris Bither case. Bither claimed to have been repeatedly raped by a trio of spirits–two holding her down while the third raped her–over a period of many years, the assaults eventually becoming less and less frequent until, apparently, they finally stopped altogether.
The film stars Barbara Hershey as Carla Moran, who is based on Doris Bither. It also starred Ron Silver as psychiatrist Dr. Phil Sneiderman; Alex Rocco played Carla’s boyfriend, Jerry Anderson, David Labiosa plays her son, Billy, Jacqueline Brookes played parapsychologist Dr. Elizabeth Cooley, and George Coe played psychiatrist Dr. Weber.
Here are some quotes:
“Welcome home, cunt.” –The entity, to Carla
Carla Moran: I mean I’d rather be dead than living the way I’ve been living. Do you understand that?
Phil Sneiderman: Yes, I can understand that. Yes. I also understand that I care very much what happens to you. Very much. And I know that in your heart you know the difference between reality and fantasy. Carla, look at me, Carla – our reason, our intelligence: That’s the only thing that distinguishes us between any other species of animal, Carla – I care about you! Carla, don’t close yourself off now. It’s real important, real important that you maintain contact with at least one person that really cares about you.
Carla Moran: I don’t know what you’re saying.
Phil Sneiderman: I’ll tell you what I am saying! That you and I can make that contact.
Carla Moran: [softly] I don’t want to make that contact. […]
Cindy: Beautiful day outside, isn’t it? Nothing like good old southern California for lots of sunshine!
Carla Moran: I was raped.
“All right. All right, bastard. I’ve finished running. So do what you want. Take your time – buddy. Take your time. Really, I’m thankful for the, uh… rest. I’m so… tired of being scared. So it’s all right, it really is, it’s all right. You can, uh, do anything you want to me, you can, uh, torture me, kill me, anything. But you can’t have me. You cannot touch me.” –Carla
Thematically, we’re dealing with the conflict between acknowledging internal and external reality, which is symbolized by an external force–oh, so literally–coming inside Carla. What is this entity, and where did it come from? Outside of her, as seems most obvious; inside her, as the psychologists assume…or both? That is to say, is it a thrusting back and forth…”a little of the old in-out, in-out”?
On its first attack, the entity punches her in the face with an invisible fist, yet very visible blood is seen on her mouth. As it rapes her, and during its every attack, we hear this pounding music, suggestive of stabbing phallic thrusts. Then the music stops, the entity leaves her, and she’s screaming…but no man is ever seen on top of her.
The second attack involves no assault on her body, but rather on her house, which shakes as if during an earthquake. Her house thus symbolizes her internal mental world…and her vagina. The house shakes, her room shakes, the room’s walls shake…vaginal walls.
She, her son, and two daughters race out of the house and into her car. They go to the house of her friend, Cindy Nash (Maggie Blye), and sleep there for the night. Needless to say, Carla is reluctant to go back home; she’s also hesitant about seeing a psychiatrist, whose probing [!] might bring out some traumas from her past that she doesn’t want to have to deal with.
Back at home at night, finally, she and her kids hear a frightening sound, that of scraping against metal. Suspecting her invisible attacker, they search for the source of the sound, which seems to be a pipe from under the house. A pipe…how appropriately phallic.
Still, the entity seems to attack only in the yonic symbol of her internal world, her home. Then, when she’s driving, it takes control of her car; riding in her car, it rides her…and drives her crazy after making her almost crash into other cars. The entity thus no longer resides only in her internal world; it is also in her external world, though inside her car. Here we can see the dialectical tension and unity between internality and externality.
Finally, she goes to see a psychiatrist, Dr. Phil Sneiderman. He insists the whole thing is just a delusion she’s having, brought on by repressed traumas she has been trying to project onto the external world. Still, she can’t imagine how she’s been able to cause certain of her bodily injuries, which seem too inaccessible to be self-injury. It must be an external force!
Sneiderman goes into her home and looks around (since her home symbolizes her vagina, his entering has obvious sexual symbolism). He learns about her childhood, with an overzealously religious father who said “thee” and “thou” so often, she as a little girl thought his speech was modern English! He also held her inappropriately. A-ha! thinks Sneiderman.
Her later relationships with men–who, except for Billy’s father, are typically considerably older than she–have been short-lived. She seems afraid to commit to a long-term relationship; her current one with her boyfriend, Jerry, seems to be following this pattern (indeed, he’ll leave her as soon as he’s aware of the entity’s raping of her).
Sneiderman is touched by Carla, though. His countertransference, that is, his personal feelings as a therapist for his patient (as opposed to vice-versa), is going wild. She’s a beautiful woman. Now, he may be a professional therapist, but he’s also a man. He says he cares for her, but there’s surely more to his feelings for her than that.
I don’t mean to suggest that his feelings for her are merely physical. His countertransference is causing him to make wild speculations about her unconscious motives for having her “delusions” of being raped by a trio of incubi (i.e., the two “smaller” entities holding her down…her daughters, as Sneiderman would have it?–and the big one raping her…Billy, as Sneiderman thinks…or the ghost of her dead father, or of Billy’s father, as I speculate?); but he’s no creep. Her beauty, combined with her vulnerability and pain, with which he empathizes, are the roots of his desire for her, which he suppresses and rationalizes as concern for her well-being.
Nonetheless, his overemphasis on her problem as being internal is what turns her away from him. During her sleep one night, the entity has her, its invisible fingers pressing against her breasts (a prosthetic body was created for Hershey to achieve the invisible rape effect). It causes her to enjoy an erotic dream, causing her to orgasm. Her unconscious likes the sex!
When she wakes up, she’s so ashamed of the pleasure she’s been manipulated to feel that she smashes all the mirrors in her room. She’d hate to think the woman she sees in the reflection is the real her, so alienated does she feel from the image, especially as against her own body, which she feels herself to have so little control over. The last thing a rape victim wants is to be made to feel that she “wanted it.”
In this connection, the evident phoniness of the prosthetic body–however painstakingly the special effects technicians worked to make it look real–seems symbolically appropriate: is this the real her, or is it a fake her?–ditto for the woman in the reflection. Which is her reality–inner, or outer?
Along with this observation, there’s another interesting image to compare the prosthetic nude body to: earlier, in the scene where she’s raped in the bathroom, we see her undress through two mirror reflections, with real breasts and buttocks exposed. If the mirror reflects an outwardly projected reality, an external reality, while her actual body being raped is shown with the prosthetic body, representing her internal reality, what does this say about which is real–the internal, or the external? Her, or what’s projected?
She tells Sneiderman how ashamed she feels about having orgasmed during the dream; he tells her his Freudian interpretation, that she’s afraid of her desires. This interpretation offends her, especially when he carries it to the extreme of suggesting she has incestuous desires for her handsome son, Billy, who’s the “spitting image” of his “exciting” father. Thus, she stops the treatment with the psychiatrist.
(It should be noted that her dream, as it was in the novel, was supposed to be of her having committed incest with Bill; this was removed from the film for fear that the controversial content would have been fiercely objected to. In other words, Sneiderman’s interpretation isn’t as outrageous as it seems. I wonder if the entity is Billy’s father, the drunk, dope fiend who died in a motorcycle accident, for which she “thanked God.” If so, is the entity raping her in revenge for her being glad he died? Is it tormenting her by tricking her into thinking the dream was a wish-fulfillment?)
She sleeps over at her friend Cindy’s home again; the entity attacks the house, soon enough after Cindy and her husband leave, that they notice the attack and return. Carla has tears of joy in her eyes when Cindy confirms that the attack was real. This is what trauma victims so desperately need–validation, not being told “it’s all in your head.” The attacks of the entity, external ones, symbolize the real traumatic events that have occurred to cause the victim to relive her internal mental hell, over and over again.
Another thing has been noted, first when Billy tries to get the invisible rapist off of her, then when the parapsychologists do tests in her home: the entity shoots electricity and laser-like lights in the air. It’s like the hurling of lightning bolts. This leads us to a discussion of Zeus symbolism.
In Greek myth, Zeus–hurler of lightning bolts–used to prey sexually on pretty maidens, his ravishing of them eerily similar to what the entity is doing to Carla. His Roman name, Jupiter, is a derivation from Dieus Pater, or ‘day/sky-father‘ (outside, in the sky). Here, we can see a symbolic link between the entity and Carla’s lecherous father, who I assume is dead by the time the story begins, thus making it possible his ghost is the entity.
Now, the fact that, on the one hand, she calls the entity (i.e., ‘Jupiter’) a “bastard,” while also thanking God–another sky-father–for the parapsychologists’ protecting of her from the entity (she also thanked God for the death of Billy’s father, recall), suggests the splitting of ‘Father’ into absolute good and bad objects. (I’m also reminded of the last line in Sylvia Plath’s poem, “Daddy“: “Daddy, daddy, you bastard, I’m through.”)
So, anyway, we now go from investigating Carla’s problem from the internal perspective (Sneiderman) to the external one (Dr. Cooley and her associates, who are as careful as possible in their assessment of Carla’s story, trying to be scientific about it). Sneiderman dismisses them as superstitious “schmucks,” though some today regard his Freudian analysis as being the superstition. Sneiderman does all he can to thwart the parapsychologists, imagining he’s the one who has the scientific authority to deal with Carla’s problem properly, when really it’s just a matter of his sexual jealousy.
Her boyfriend, Jerry, goes to her home one night, only to find her being raped by the entity. Again, we see that prosthetic body being felt up. It’s interesting to note that the prosthetic is used only later in the film, when she is doubting Sneiderman’s notion that her problem is internal, or ‘all in her head.’ As I said above, the unreality of the prosthetic body can be seen to symbolize the perceived falseness of the internality interpretation.
Now, it’s the parapsychologists’ turn to prove the externality thesis, being the negation of the internality thesis. They plan to prove that the entity has mass by freezing it in liquid helium. If they can capture the entity, they’ll prove its physicality and show it isn’t just a “psychic projection.”
The dialectical battle between the internality thesis and the externality negation of Sneiderman’s interpretation is symbolized by his struggle to convince Carla to give up on her reliance on Dr. Cooley et al. He fears the parapsychologists are indulging her delusions, making them worse. While his countertransference is clouding his judgement, though, there is a legitimate argument to be made that Cooley is exploiting Carla in order to promote and validate parapsychology.
The entity appears in the parapsychologists’ controlled environment, made to look like Carla’s home. In this place, Carla is being used as bait to lure the entity into being frozen in the liquid helium. They capture it in a mountain of ice, awing every observer; but the entity breaks free, depriving them of their coveted proof. Though Sneiderman’s associate, Dr. Weber, witnesses the phenomenon, he refuses to admit that it’s explicit proof of paranormal activity, which angers Cooley. (Technically, other explanations are possible.)
So, neither the internality thesis of the psychoanalysts nor the externality antithesis of the parapsychologists have demonstrated conclusive proof of their theories; both, however, have presented persuasive cases, to at least a large extent. So, what shall be our conclusion?
A sublation of the internality/externality contradiction seems the best answer. The entity symbolizes an externally-produced trauma introjected into the victim. Thus, Carla’s trauma is in her head, but not born there.
The worst thing anyone can say to a trauma victim is, “It’s all in your head. Get over it!” No: something real and evil was imposed on the victim, though most of us can’t see the cause, which is symbolized in the movie by the invisible entity raping Carla. A study of object relations theory can reveal how we all internalize imagos of our parents; these internal objects become blueprints, as it were, for all of our subsequent relationships.
The abuse Carla suffered from her father became a blueprint for all her future failed relationships: her teen husband and father of Bill; the father of her daughters, the man who left her; and Jerry, who couldn’t tolerate living with a woman being repeatedly raped by an incubus. The entity can represent any, or all, of these men as her internalized objects.
The best way to understand the human personality is not as one isolated from the world, but as one related to other people, with whom we all project and introject positive and negative energy and influences. Thus, what we are is both internal and external energy flowing into and out of us, over and over again throughout our lives. This passing of energy in and out of us, back and forth between people, is well expressed in Bion‘s elaborations on projective identification, what he called container and contained. The container receives projections, which are the contained.
The weeping, frustrated infant projects its hostility onto its patient and loving mother, who receives its energy while soothing it. Bion called this attitude of the mother a state of reverie; in taking the baby’s negative energy and transforming it into good, the baby can then receive it back and find peace. Similarly, a therapist can be a container for a psychotic patient, receiving and tolerating his hostility and attacks, helping him to be calm.
Appropriately, the container is the feminine symbol, the yoni, and the contained is a phallic, masculine symbol. Thus, the entity’s rapes of Carla are a vivid symbol of a violently extreme version of this movement from the external to the internal. The transference and countertransference between Carla and Sneiderman also reflect container/contained, especially since his desire for her makes him yet another entity to be feared by her.
As her therapist, he should be her container, receiving and accepting all of her projections, anxieties, and frustrations. He should be patient and forbearing, so all that fear and frustration can be transformed, tamed, and returned to her, healing her. Instead, he lets his countertransference interfere with his capacity to help her effectively, thus exacerbating her problem and alienating her from him. She doesn’t need to hear classical Freudian hooey…she needs his empathy, to have her experiences validated.
Sneiderman won’t be her container, but the parapsychologists all too eagerly want to be the entity’s container…though the aggressiveness with which they go about it causes them to lose it. Carla touches on a possible solution when she’s arguing with Sneiderman about whether or not to be committed to a mental hospital: she says she’ll cooperate with the entity.
Now, obviously, cooperating with a rapist is never defensible; but if we see the rapes as symbolic of the container/contained relationship between inner and outer reality, between subject and object, self and other, we can begin to understand why, after the movie ends, the attacks on Carla become fewer and fewer. By containing the entity’s projective identifications, by tolerating them, she can tame them and return its hostile energy back to it, calming it.
So at the end of the movie, when she walks into her house and hears the entity say, “Welcome home, cunt” (note the juxtaposition of its last two words, as indicating the house as a symbolic yoni), we see a look of resigned acceptance on her face. She knows that the only way to defeat the entity is to play its game, with a dynamic interplay of container/contained, a shifting back and forth between internality and externality (symbolized by her entry into the house, then exiting it soon after).
She can have victory only through surrender–winning through losing. As with the mother and her bawling baby, Carla must be in a state of reverie, as when she orgasmed during her erotic dream, to calm the rage of the entity. Her submission to a spectral rapist, though, is what gives The Entity such a frightening ending; for what woman in her right mind would ever be willing to submit to such traumatic horror?