For aficionados of the horror genre, The Exorcist (1973), directed by William Friedkin, stands as a cinematic landmark. Based on William Peter Blatty’s novel, this film has captivated and terrified audiences for decades. While researching collections for updates at the Women and Leadership Archives (WLA) website, a remarkable discovery was made: the archives housed the collection of one of the film’s most impactful, yet often unseen, stars.
Figure 1. Mercedes McCambridge portrait from the Mercedes McCambridge Collection, a timeless black and white photograph showcasing the actress’s classic Hollywood elegance.
Mercedes McCambridge, affectionately known as Mercy, holds the distinction of being Mundelein College’s most celebrated alumna. Countless students now attend classes within the Mundelein skyscraper, unaware of the pivotal role its auditorium played in shaping the career of an Academy Award-winning actress. Previously, a WLA blog post, “Acting Up: Mercedes McCambridge and Sister Mary Leola Oliver,” explored the profound influence of Mundelein College on McCambridge’s trajectory. At the WLA, McCambridge’s 1949 Best Supporting Actress Oscar for All the King’s Men is frequently discussed and even handled for research purposes, its surprising weight always making an impression. However, it was a recent viewing of The Exorcist that triggered a realization: Mercy’s distinctive voice had been encountered long before any familiarity with the WLA. This revelation ignited a journey into the extraordinary life of Mercedes McCambridge.
From Mundelein College to Radio Star and Oscar Glory
Born in Joliet, Illinois, in 1916, Mercedes McCambridge’s early education was rooted in faith, attending St. Thomas Apostle School run by the Dominican Sisters. She initially enrolled at Rosary College, another Dominican institution, before transferring to Mundelein College after a significant meeting with Sister Mary Leola Oliver, B.V.M. Sister Mary Leola became a transformative figure in McCambridge’s life, providing guidance that led to her first professional performing contract. Post-graduation, McCambridge rapidly ascended in the world of radio acting, establishing herself before her groundbreaking, Oscar-winning performance in All the King’s Men. The subsequent two decades saw her collaborate with legendary figures like Joan Crawford, Elizabeth Taylor, Rock Hudson, Katharine Hepburn, and Orson Welles, who lauded McCambridge as “the world’s greatest living radio actress” [1].
Figure 2. Mercedes McCambridge in The Mundelein Verse-Speaking Choir, a vintage photograph from 1936 showing the young actress (front, right) during her formative years at Mundelein College.
Courageous Testimony: Becoming a Public Voice for Alcoholism Awareness
In 1969, McCambridge’s life took a dramatic turn when she was asked to testify before Congress, a decision that risked her hard-earned acting career. Privately, she had been battling alcoholism and depression. Seeking help marked a turning point, leading her towards recovery. That summer, a friend, aware of her struggles, connected her with Senator Harold Hughes, a Democrat from Iowa chairing the Special Sub-committee on Alcoholism and Narcotics. McCambridge recounted the pivotal conversation in her autobiography:
“He said he hoped I didn’t mind if he knew that I was a recovered alcoholic since he was one too. That relaxed the conversation. I respectfully asked what he wanted of me. Senator Hughes wanted of me that I should come to Washington and testify that I am an alcoholic!…[He] told me that he had traversed the country several times trying to enlist recovered alcoholics whose names would be recognizable to the public, alcoholics who were prominent in all walks of life. There were no takers, he said. [2]”
McCambridge chose to testify, aiming to raise public consciousness about alcoholism and emphasize the availability of help. In doing so, she became a pioneering public figure openly discussing her personal battle with alcoholism. She declared alcoholism a physical disease, stating, “[t]herefore, my being alcoholic carries no more stigma, morally, than a diabetic [3].” She passionately advocated for improved medical training in treating alcohol dependence and championed treatment over punitive measures like arrest, asserting, “Nobody need die of this disease. We are eminently salvageable [4].”
Tragically, her public stance on alcoholism resulted in significant professional repercussions, including lost television roles, film opportunities, and endorsements. McCambridge estimated financial losses reaching one million dollars [5]. Despite this professional setback, she redirected her focus towards personal fulfillment and became a powerful advocate for those struggling with alcoholism. Her advocacy included chairing the National Council on Alcoholism (NCA), leading NCA’s Alcoholism Information Week, and presiding over the Livengrin Foundation, a rehabilitation center in Philadelphia. She consistently spoke out against the stigma associated with alcoholism, particularly highlighting the harsher judgment faced by women, noting, “Alcoholism in male performers is macho. But the woman alcoholic who is a performer has a rougher row to hoe [6].”
The Exorcist: Unleashing a Demonic Voice
During this period of advocacy, McCambridge’s acting work primarily consisted of smaller television roles. However, another transformative call came, this time from director William Friedkin. He was adapting The Exorcist and needed a distinctive voice for the demon Pazuzu, possessing the character of Regan MacNeil, played by Linda Blair. Friedkin, impressed by McCambridge’s radio acting background, believed she was uniquely suited to the role, stating, “maybe you’re the only person in the world who could do the demon [7].” McCambridge embraced the challenge, approaching it as “100 percent a radio performance [8].”
Figure 3. Mercedes McCambridge poetry reading, a 1973 image capturing the versatile actress engaging with the US Air Force Band, showcasing her talent beyond acting.
McCambridge considered her role in The Exorcist, alongside her Broadway performance in Who’s Afraid of Virginia Woolf?, as the most demanding of her career [9]. Working in a small trailer under grueling conditions, she pushed herself to create the terrifying vocal performance Friedkin envisioned. Her contribution was deliberately kept secret to heighten the film’s mystery. The intense recordings often left her so drained she had to stay in a nearby motel. Her lifelong bronchitis even became an asset, her natural wheezing contributing to the demon’s unsettling breathing sounds [10]. In an oral history for the Mundelein College archives, McCambridge recalled using methods taught by Sister Mary Leola to embody the demonic character:
“…you mustn’t play a part unless you can fall in love with the character — in other words, become a defense attorney for the character. And I used that philosophy, an admonition of hers, to the degree that even doing The Exorcist film when I was interpreting Lucifer, I found a sense of compassion for Lucifer. I think that Lucifer is the true prodigal son and I believe that he will come back and ask forgiveness of his father. And I believe if his father does not grant that forgiveness, that his father is not my God. So I found a way to … not to justify Lucifer in his headstrong actions but to understand how unhappy he was, is. Sister taught me that … I guess the greatest attribute for anybody, not merely an actor or a writer or a poet or a painter or a musician, but for any breathing thing including dogs and cats and everything else, is compassion. I believe that’s the important thing [11].”
Legacy of Strength and Advocacy
While her career never fully regained its peak from the 1940s and 50s, The Exorcist reintroduced Mercedes McCambridge to a new generation, bringing her back into the public consciousness. She leveraged this renewed visibility to continue her advocacy for alcoholism awareness and to combat the societal stigma surrounding it. In 1984, Mundelein College honored her with an honorary doctorate, recognizing her “distinguished career in the performing arts, her public service in the treatment of alcohol and drug addiction and her embodiment of the spirit of the liberal arts tradition [12].” This honor was unanimously approved by the BVMs at Mundelein.
Figure 4. Mercedes McCambridge Hollywood Walk of Fame, an undated photo of the actress proudly standing by her star, a testament to her enduring contributions to the entertainment industry.
Initially, McCambridge’s Oscar at the WLA might seem like just another interesting artifact. However, it represents only the beginning of a much larger narrative. Today, while many remember Mercedes McCambridge as the chilling voice of the Devil, this role is just one facet of her remarkable and resilient life. Her true legacy lies in her dedication to serving others and her profound impact on changing societal perceptions of alcoholism. Ultimately, it is her advocacy and extraordinary personal strength, even more than her acting roles, that define the enduring legacy of Mercedes McCambridge.
* Mundelein College, founded by the Sisters of Charity of the Blessed Virgin Mary (BVM), provided women’s education from 1930 to its Loyola University Chicago affiliation in 1991.
[1] Hans Knight, “I Understand the Devil…I Know Why He Cries,” Discover, January 29, 1978, 10.
[2] Mercedes McCambridge, The Quality of Mercy, (New York: Times Books,1981), 153.
[3] “’This is a Matter of Life or Death’,” Chicago Today, October 12, 1969, 4-6.”
[4] Mercedes McCambridge, The Quality of Mercy, (New York: Times Books,1981), 155-158.
[5] Jack Smyth, “Actress Aids Alcoholics,” The Sunday Bulletin, March 20, 1977, 1.
[6] Mercedes McCambridge, The Quality of Mercy, (New York: Times Books,1981), 152.’ Hans Knight, “I Understand the Devil…I Know Why He Cries,” Discover, January 29, 1978, 8-12.
[7] Hans Knight, “I Understand the Devil…I Know Why He Cries,” Discover, January 29, 1978, 11.
[8] Mercedes McCambridge, The Quality of Mercy, (New York: Times Books,1981), 89.
[9] Mercedes McCambridge, The Quality of Mercy, (New York: Times Books,1981), 89.
[10] Mercedes McCambridge, The Quality of Mercy, (New York: Times Books,1981), 94.
[11] “Mercedes McCambridge, Solo Interview, 1998,” 1998.
[12] Mundelein College, “Commencement Program- 1984,” Mercedes McCambridge Collection, Women and Leadership Archives, 1984.
