Possibly the most widely controversial mainstream film ever made, The Exorcist has been terrifying viewers for more than thirty years. In 1973 people would flock to view the film which was reportedly "the most harrowing motion-picture of all-time." Although the content of the film might not shock viewers of today, the irrefutable nature of the traumatic events that unfold are likely to silence even the most hard-bitten viewers. Instead of bringing "low-key thrills" through shock-tactics, The Exorcist establishes horror through the progressively distressing notion of an innocent girl becoming demoniacally possessed and therefore undertaking sacrilegious acts.
After winning Best Picture at the Oscars for The French Connection, William Friedkin became one of the most talked-about Hollywood directors. From this success, Warner Brothers decided to allow Friedkin to direct William Peter Blatty's novel The Exorcist. Best Sound and Best Adapted Screenplay (Blatty adapted his own novel) were the two Oscars awarded to The Exorcist. The academy is notorious for their bias stance towards particular genres, but Friedkin's masterpiece is one of a handful of horror films which the academy did in fact recognise as a genuine triumph.
Twelve-year-old Regan MacNeil (played by a teenage Linda Blair) is living in Washington D.C. with her mother Chris MacNeil (Ellen Burstyn). While in Washington, Regan begins to develop bizarre symptoms of what-seems-to-be an obscure, psychological disorder. Distraught and becoming more worried by the day, Chris decides to take Regan to a clinic. After numerous tests the doctors cannot define what is wrong with Regan and eventually resort to suggesting a so-called means of "shock treatment" a.k.a. exorcism. Chris decides to seek help from the Catholic Church; eventually hiring a sceptical priest to examine Regan's violent behaviour. Opening in an archaeologist ground and finishing in the suburbs of Washington D.C., The Exorcist conveys many varying transitions; including, science vs. religion and the fundamental theme of good battling evil.
Littered with subliminal (demonic statues/faces) and metaphorical imagery (the subway staircase as a descent to hell) and scenes of blasphemy, The Exorcist is a deeply religious film which expertly applies a method of crawling under the viewer's skin. Building an ambiance for approximately 40 minutes The Exorcist resists the temptation to spew lashings of extreme gore and alternatively takes a subtle approach towards a touchy subject. Slow, boiling tensions can be noted near the very start of the film when there is a shot of Father Merrin (Max von Sydow's character) standing opposite the statue of a devil. The dessert sands roll and a greying darkness spreads over the screen, this shot symbolises the conflict between good and evil, while foreshadowing the events that Father Merrin acknowledges but are yet to come.
The uncompromising methods of film-making used in The Exorcist question the viewer to such an extent that analysing almost becomes a lost-cause. Drawing parallels between science and religion (in the film religion is shown as a last resort) the unrequited sensation broke barriers of how spirituality could be portrayed through art. A persistent theme is the infiltration of the body, both by medical science and possession, which also drives the fundamental element of desecration. Nonetheless, the performances in The Exorcist are unquestionably persuasive because of the eloquent delivery that each actor abides to. Max von Sydow, Ellen Burstyn, Linda Blair and the most underrated of them all, Jason Miller, all showcase the utmost talent and bestow their most matchlessly penetrating performances. The sheer audacity and belligerent disposition makes every aspect all the more satisfying. Edited in a manner which utilises the environment, The Exorcist never fails to keep the attention of its viewers. Much of the film resembles a polished and distinguishable example of pristine film-making, which engulfs and drains all sentiment. This leaves an impressionable level of numbness long after the credits have rolled.
The Exorcist ranks as one of the most challenging and evocative works of art to be released in American cinema. Nothing can prepare you for the overwhelming experience of William Friedkin's exceptional mélange of humanistic drama and staggering horror. It may traumatise, so be wary, but do not be put off from viewing a film which questions one's perception of religion, and can easily be stated as a definitive masterpiece of cinema. Summarising my respect for The Exorcist is an impossible task to perform, so this is merely a futile attempt at nailing it.
After winning Best Picture at the Oscars for The French Connection, William Friedkin became one of the most talked-about Hollywood directors. From this success, Warner Brothers decided to allow Friedkin to direct William Peter Blatty's novel The Exorcist. Best Sound and Best Adapted Screenplay (Blatty adapted his own novel) were the two Oscars awarded to The Exorcist. The academy is notorious for their bias stance towards particular genres, but Friedkin's masterpiece is one of a handful of horror films which the academy did in fact recognise as a genuine triumph.
Twelve-year-old Regan MacNeil (played by a teenage Linda Blair) is living in Washington D.C. with her mother Chris MacNeil (Ellen Burstyn). While in Washington, Regan begins to develop bizarre symptoms of what-seems-to-be an obscure, psychological disorder. Distraught and becoming more worried by the day, Chris decides to take Regan to a clinic. After numerous tests the doctors cannot define what is wrong with Regan and eventually resort to suggesting a so-called means of "shock treatment" a.k.a. exorcism. Chris decides to seek help from the Catholic Church; eventually hiring a sceptical priest to examine Regan's violent behaviour. Opening in an archaeologist ground and finishing in the suburbs of Washington D.C., The Exorcist conveys many varying transitions; including, science vs. religion and the fundamental theme of good battling evil.
Littered with subliminal (demonic statues/faces) and metaphorical imagery (the subway staircase as a descent to hell) and scenes of blasphemy, The Exorcist is a deeply religious film which expertly applies a method of crawling under the viewer's skin. Building an ambiance for approximately 40 minutes The Exorcist resists the temptation to spew lashings of extreme gore and alternatively takes a subtle approach towards a touchy subject. Slow, boiling tensions can be noted near the very start of the film when there is a shot of Father Merrin (Max von Sydow's character) standing opposite the statue of a devil. The dessert sands roll and a greying darkness spreads over the screen, this shot symbolises the conflict between good and evil, while foreshadowing the events that Father Merrin acknowledges but are yet to come.
The uncompromising methods of film-making used in The Exorcist question the viewer to such an extent that analysing almost becomes a lost-cause. Drawing parallels between science and religion (in the film religion is shown as a last resort) the unrequited sensation broke barriers of how spirituality could be portrayed through art. A persistent theme is the infiltration of the body, both by medical science and possession, which also drives the fundamental element of desecration. Nonetheless, the performances in The Exorcist are unquestionably persuasive because of the eloquent delivery that each actor abides to. Max von Sydow, Ellen Burstyn, Linda Blair and the most underrated of them all, Jason Miller, all showcase the utmost talent and bestow their most matchlessly penetrating performances. The sheer audacity and belligerent disposition makes every aspect all the more satisfying. Edited in a manner which utilises the environment, The Exorcist never fails to keep the attention of its viewers. Much of the film resembles a polished and distinguishable example of pristine film-making, which engulfs and drains all sentiment. This leaves an impressionable level of numbness long after the credits have rolled.
The Exorcist ranks as one of the most challenging and evocative works of art to be released in American cinema. Nothing can prepare you for the overwhelming experience of William Friedkin's exceptional mélange of humanistic drama and staggering horror. It may traumatise, so be wary, but do not be put off from viewing a film which questions one's perception of religion, and can easily be stated as a definitive masterpiece of cinema. Summarising my respect for The Exorcist is an impossible task to perform, so this is merely a futile attempt at nailing it.