The Exorcist: Whats the big deal? (1 Viewer)

[Joe Karlosi]

I saw THE EXORCIST when it was revived at theaters in either 1979 or 1980, and I had turned old enough to see it. I've been a lifelong fan of horror films and still consider THE EXORCIST to be the scariest film ever made.

I don't buy into the "you have to be religious" argument to really get this film or be affected by it. To me it's still all about the direction of William Friedkin, and how it plays that keeps me on edge, even after seeing it countless times. I believe in God, but I don't believe in demons or the devil... I'm only semi-religious, and yet I can completely become disturbed every time I hear the girl's screams from that bedroom on that tense shot where Chris, Sharon, and the doctors are nervously racing up that winding staircase.

I am a bit distressed to hear that THE EXORCIST, of all films, is becoming more and more of a dated flick that most first-time modern moviegoers cannot be scared by. Its situations are unworldly, terrifying, and downright nerve-wracking; just imagine them happening to a daughter of your own. Scary stuff, intensely crafted.

 

[Ted Lee]

i watched this as a young child. scared me to death.

i watched it again (off and on) through my teens. still scared me to death.

watched it again during it's last theatrical release. still loved it.

so, this is one of a very small list of movies that has affected me consistently throughout my life. i can certainly say not many movies affect me like that.

everytime i see that quote "scary as hell" (for 28 days later) i just laugh and roll my eyes. the only movie that deserves that credit is the exorcist.

 

[Mick Wright]

Anyone interested in the "true" story should read this.

 

[Brian W.]

That's a great article. I have read it before.

I don't have an opinion about the case, but one thing I've never understood. The reporter claims:

I asked Halloran to elaborate and describe to me some of the things he witnessed that he could not explain. He paused and slowly said, “I saw a bottle slide from a dresser across the room — there was no one near it.

Like I said, I don't have an opinion as to the validity of the case, but the author's choosing to simply ignore that statement in his summation is extremely puzzling.

 

[JoeStemme]

This classic shocker about demonic possession holds up not only as a potent horror film, but one of the great films of the 1970s. (50th Anniversary this year!). William Peter Blatty adapted his own novel and retained not only the graphic terror, but, crucially, the character build up and the moral and spiritual undertones.

Friedkin's film spends the time to focus on the four main characters: Father Merrin (a superb Max Von Sydow playing decades older than he was at the time; credit Dick Smith's make-up, too), Father Karras (an excellent Jason Miller), the cursed thirteen year girl targeted by the devil, Regan (a vulnerable Linda Blair*), and her mother, Chris MacNeil (an intense Ellen Burstyn). The emphasis on the individuals sets up the grim dread that ensues. It's what elevates the film from so many of the ripoffs and wannabees that have been made since (with a new one on the way). Too many took the lesson to be that it was all about bloody crucifixes and projectile vomit and not about the human beings caught up in the living nightmare. Indeed, the scene that most horrified some viewers was the spinal tap and not the possession sequences. The full cast is spot on including Kitty Wynn, Tito Vandis, Jack MacGowran and the great Lee J. Cobb as Det. Kinderman.

The technical aspects are top notch from Owen Roizman's cinematography to Bud Smith's editing (subliminal cuts and all) to Marcel Vercoutere's special effects to the grueling sound mix (theater employees in the lobby supposedly were effected by the soundtrack even without seeing the movie). Mike Oldfield's theme, while not composed for the film, is still chilling.

Friedkin made THE EXORCIST coming off Best Picture and Best Director wins for THE FRENCH CONNECTION. A potent duo. What is Friedkin's Best Film? Consider THE FRENCH CONNECTION a “tie”. Flip a coin - Friedkin wins either way.

* Blair's performance wouldn't have been nearly as impactful without her stunt double Eileen Dietz and , of course, the brilliant voice acting by Mercedes McCambridge.

P.S. There is also a recut version subtitled THE VERSION YOU'VE NEVER SEEN. It's worth watching once for devoted fans, but, the Theatrical Cut is still definitive

RIP WILLIAM FRIEDKIN