Mercedes McCambridge, often known as Mercy, remains an unforgettable figure in Hollywood, especially for her chilling voice work in the horror genre. While many remember her iconic demonic voice in the 1973 classic The Exorcist, her career in Mercedes Mccambridge Movies spans far wider, encompassing Oscar-winning performances and impactful roles across various genres. Discovering her rich filmography reveals a talent that goes beyond just one terrifying voice, showcasing a dedicated actress with a powerful story. It was during a website update that we at mercedesxentry.store stumbled upon the extensive collection of this remarkable actress, prompting a deeper dive into her life and cinematic contributions.
Figure 1. Mercedes McCambridge, a versatile actress known for her roles in movies and radio, pictured in an undated photograph from her personal collection.
McCambridge’s connection to Mundelein College, now part of Loyola University Chicago, is profound. Many who walk through the Mundelein skyscraper may be unaware that its auditorium once shaped the talents of this Academy Award-winning actress. As highlighted in a previous blog post, “Acting Up: Mercedes McCambridge and Sister Mary Leola Oliver,” Mundelein College played a pivotal role in her early career. At mercedesxentry.store, we often reflect on McCambridge’s Best Supporting Actress Oscar for All the King’s Men (1949). Holding that weighty trophy is a tangible connection to her early success. However, it wasn’t until revisiting The Exorcist that the full realization of McCambridge’s vocal prowess hit home, inspiring a journey into exploring her remarkable life and extensive filmography.
Born in Joliet, Illinois, in 1916, Mercedes McCambridge’s journey to becoming a celebrated actress began with a strong foundation in faith and education. She attended St. Thomas Apostle School and initially studied at Rosary College before transferring to Mundelein College. There, under the guidance of Sister Mary Leola Oliver, her acting career took its first professional steps. After graduation, McCambridge honed her skills in radio, becoming a sought-after voice talent before her Oscar-winning performance in All the King’s Men catapulted her to film stardom. Over the next two decades, she shared the screen with Hollywood legends like Joan Crawford, Elizabeth Taylor, and Orson Welles, who famously lauded her as “the world’s greatest living radio actress.” These early Mercedes McCambridge movies established her as a force to be reckoned with in the industry.
Figure 2. Mercedes McCambridge (front, right) participating in the Mundelein Verse-Speaking Choir in 1936, showcasing her early performance talents before her movie career.
In 1969, McCambridge bravely testified before Congress, publicly acknowledging her struggle with alcoholism, a decision that risked her career. Having faced and overcome alcoholism and depression, she felt compelled to use her platform to help others. Senator Harold Hughes, leading the Special Sub-committee on Alcoholism and Narcotics, sought her testimony. In her autobiography, she recounts his appeal: Senator Hughes, himself a recovered alcoholic, explained the urgent need for public figures to speak out, as “there were no takers” among other prominent individuals.
McCambridge’s decision to testify marked a significant moment. She aimed to destigmatize alcoholism, declaring it a physical disease, no different morally than diabetes. She advocated for better medical training in treating alcohol dependence and emphasized treatment over punitive measures, stating, “Nobody need die of this disease. We are eminently salvageable.” This courageous public stance, while impactful, unfortunately led to a decline in acting opportunities. Mercedes McCambridge movies and television roles became scarcer as endorsements and appearances dwindled, costing her an estimated million dollars. Despite the professional repercussions, she remained steadfast in her advocacy, becoming a leading voice in the fight against alcoholism, chairing the National Council on Alcoholism and tirelessly working to erase the stigma, particularly for women. She poignantly noted the double standard: “Alcoholism in male performers is macho. But the woman alcoholic who is a performer has a rougher row to hoe.”
Figure 3. Mercedes McCambridge delivering a captivating poetry reading with the US Air Force Band in 1973, highlighting her continued artistic engagement during her career.
During this period of reduced on-screen roles, McCambridge primarily took smaller television parts. Then came the pivotal call from William Friedkin, director of The Exorcist. Friedkin, impressed by her radio background, believed she was uniquely suited to voice the demon Pazuzu. Linda Blair, playing the possessed Regan MacNeil, needed a voice that could truly embody demonic terror. Friedkin told McCambridge, “maybe you’re the only person in the world who could do the demon.” For McCambridge, this was a chance to deliver a “100 percent radio performance” within a major film.
McCambridge considered her work on The Exorcist, alongside her Broadway experience in Who’s Afraid of Virginia Woolf?, as the most challenging of her career. Working in isolation in a small trailer, she endured grueling conditions to achieve the terrifying voice Friedkin envisioned. Her role was intentionally kept secret to heighten the film’s suspense. The demanding recordings often left her so exhausted she had to sleep near the set. Her lifelong bronchitis actually aided her performance, as she used her natural wheezing to create the demon’s chilling breath sounds. Reflecting on her approach, McCambridge credited Sister Mary Leola’s teachings: “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.” This philosophy allowed her to find a sense of compassion even for Lucifer, understanding his unhappiness and viewing him as a “true prodigal son.” She believed compassion was paramount, an essential attribute for any artist and human being.
Although her career never fully regained its peak from the 40s and 50s in terms of leading roles, The Exorcist reintroduced Mercedes McCambridge to a new generation and cemented her place in cinematic history. She leveraged this renewed public attention to further her advocacy against alcoholism and the associated stigma. 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.” This honor was unanimously approved by the BVMs at Mundelein.
Figure 4. Mercedes McCambridge proudly standing beside one of her two stars on the Hollywood Walk of Fame, celebrating her lasting impact on the movie industry.
Initially, McCambridge’s Oscar seemed like just an interesting artifact. It was an award for a film that was known but not fully appreciated in its depth. However, that Oscar, along with her Golden Globes, represented only the beginning of a much larger narrative. Today, while remembered by many for the terrifying voice of the Devil, even this iconic role only hints at the breadth of Mercedes McCambridge’s life and career. Her true legacy lies not just in Mercedes McCambridge movies, but in her unwavering dedication to serving others and changing societal perceptions of alcoholism. It is her advocacy and indomitable spirit, more than any role she played, that truly define her enduring impact.
* Mundelein College, founded by the Sisters of Charity of the Blessed Virgin Mary, served women from 1930 to 1991 before affiliating with Loyola University Chicago.
[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.
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