Mercedes McCambridge, a name synonymous with chilling horror thanks to her unforgettable vocal performance in the iconic 1973 film The Exorcist, was far more than just the voice of Pazuzu. While her role in this groundbreaking movie cemented her place in cinematic history, McCambridge’s career spanned decades, showcasing her talents across radio, stage, and screen, earning her an Oscar and critical acclaim long before she lent her voice to demonic possession. Delving into the Mercedes McCambridge collection at the Women and Leadership Archives (WLA) reveals a rich tapestry of a life dedicated to performance and advocacy, proving her impact extends far beyond the realm of horror movies.
Figure 1. Mercedes McCambridge, a versatile actress known for her roles in movies and radio, pictured in an undated photograph from her personal collection.
Born in Joliet, Illinois, in 1916, Mercedes McCambridge, or Mercy as she preferred, embarked on an acting journey that began at Mundelein College. This Chicago institution, now part of Loyola University, played a pivotal role in shaping her early career. Under the guidance of Sister Mary Leola Oliver, McCambridge honed her craft, securing her first professional acting contract while still a student. Although many now associate the Mundelein building with university classes, its auditorium holds historical significance as the training ground for an Academy Award-winning actress. Before her chilling performance in The Exorcist, and long before my own connection to the WLA, I recognized McCambridge’s distinctive voice, prompting a deeper exploration into her remarkable life and career.
McCambridge’s early success blossomed in radio, where her vocal talents made her a sought-after performer. Orson Welles himself hailed her as “the world’s greatest living radio actress.” This radio prowess paved the way for her breakthrough into film. In 1949, she won the Academy Award for Best Supporting Actress for her compelling portrayal of Sadie Burke in All the King’s Men. This role, in a film exploring political corruption, showcased her dramatic depth and solidified her status as a significant screen presence. Working alongside Hollywood giants like Joan Crawford, Elizabeth Taylor, and Katharine Hepburn, McCambridge established herself as a versatile actress capable of commanding attention in any role she undertook.
Figure 2. Mercedes McCambridge (front right) in 1936 as part of the Mundelein Verse-Speaking Choir, demonstrating her early performance skills developed during her college years.
However, McCambridge’s life took a courageous turn in 1969 when she testified before a congressional subcommittee on alcoholism. Having battled alcoholism and depression personally, she chose to publicly address her struggles to destigmatize the disease and advocate for help. Senator Harold Hughes, himself a recovered alcoholic, sought McCambridge’s participation to bring public awareness to the issue. In her autobiography, The Quality of Mercy, she recounts the pivotal conversation that led to her testimony, highlighting her willingness to confront personal challenges for a greater cause.
McCambridge’s testimony was groundbreaking, making her one of the first public figures to openly discuss their alcoholism. She bravely declared alcoholism a physical disease, devoid of moral stigma, advocating for treatment and understanding rather than condemnation. “Nobody need die of this disease. We are eminently salvageable,” she stated, urging for medical professionals to be trained in addiction treatment and for a shift towards rehabilitation instead of punitive measures. Her powerful words resonated, yet her public honesty came at a steep professional cost. Film and television roles diminished, and endorsement deals vanished, costing her an estimated million dollars in earnings. Despite the backlash, McCambridge remained steadfast in her advocacy, becoming a leading voice in the fight against alcoholism. She chaired the National Council on Alcoholism (NCA) and the NCA’s Alcoholism Information Week, and presided over the Livengrin Foundation, a rehabilitation center, tirelessly working to break down societal stigmas and champion recovery, particularly for women who faced even harsher judgment for battling addiction. “Alcoholism in male performers is macho. But the woman alcoholic who is a performer has a rougher row to hoe,” she insightfully noted, highlighting the gendered double standards prevalent at the time.
Figure 3. Mercedes McCambridge reciting poetry with the US Air Force Band in 1973, showcasing her continued artistic engagements alongside her advocacy work.
Amidst her advocacy work and smaller television roles, another significant film opportunity arose – The Exorcist. Director William Friedkin, recognizing McCambridge’s exceptional voice acting background, believed she was uniquely suited to voice the demonic entity Pazuzu. Linda Blair, cast as the possessed Regan MacNeil, provided the physical performance, but Friedkin needed a voice that could truly embody terror. McCambridge embraced the challenge, viewing it as “100 percent a radio performance.” Despite her extensive career, including a stint on Broadway in Who’s Afraid of Virginia Woolf?, she considered The Exorcist her most demanding role. Working in grueling conditions in a small trailer, she pushed herself to create the terrifying sounds Friedkin envisioned. Her contribution was intentionally shrouded in secrecy to amplify the film’s mystique. Drawing upon her lifelong struggle with bronchitis, she incorporated her natural wheezing into the demon’s breathing, adding a layer of chilling realism. McCambridge credited the acting principles instilled by Sister Mary Leola at Mundelein for her approach to the role. She explained in an oral history for the college archives that Sister Mary Leola taught her to find compassion even for the character she was portraying, even Lucifer. This philosophy allowed her to delve into the demonic role with a depth that transcended mere performance.
While The Exorcist revitalized her public profile, Mercedes McCambridge’s legacy extends beyond this iconic horror film. She continued to champion alcoholism awareness, using her renewed platform to fight stigma and promote recovery. In 1984, Mundelein College honored her with an honorary doctorate, recognizing her distinguished career, public service, and embodiment of liberal arts values. This honor, unanimously approved by the BVMs at Mundelein, underscored the profound respect and admiration for her multifaceted achievements.
Figure 4. Mercedes McCambridge proudly standing beside her two stars on the Hollywood Walk of Fame, a testament to her enduring contributions to the entertainment industry.
Mercedes McCambridge’s Oscar and Golden Globe awards initially seemed like mere artifacts within the WLA collection. However, exploring her life reveals a story far richer and more impactful than just accolades. While she is indelibly linked to the voice of the Devil, her true legacy lies in her unwavering advocacy, her personal strength, and her dedication to changing perceptions around alcoholism. Mercedes McCambridge’s movies and performances are significant, but it is her courageous spirit and commitment to service that truly define her enduring impact.
