Review: The Exorcist (1973)

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The Exorcist

Rating

Director

William Friedkin

Screenplay

William Peter Blatty (Novel: William Peter Blatty)

Length

2h 02m

Starring

Ellen Burstyn, Max von Sydow, Lee J. Cobb, Kitty Winn, Jack MacGowran, Jason Miller, Linda Blair, Reverend William O’Malley S.J., Barton Heyman, Pete Masterson

MPAA Rating

Review

Just over a quarter of a century ago, a feature film burst into theaters and became an instant success. Based on a true story, “The Exorcist” has long been considered one of history’s best horror films, if not a great film in any other genre.

Chris MacNeil (Ellen Burstyn) is a movie star working on her latest project with her daughter Regan (Linda Blair) in tow. One evening, we discover that Regan has been using a ouija board alone (which is considered extremely dangerous, making the user susceptible to any demons that might come to or be attached to the board).

Regan begins acting strangely, her bed shakes, she openly pees on the living room rug in front of a gathering of Chris’ friends and she begins speaking in tongues. Chris takes her to countless doctors and they all seem to say the same thing: she needs a psychiatrist. Even the psychiatrists can’t diagnose the real problem. Eventually, the suggestion is made that she might be possessed. She then turns to a priest that one of her friends knows for guidance.

Father Damien Karras (Jason Miller) is skeptical at first, but eventually realizes that Regan is indeed possessed. He tries to convince the church and eventually succeeds with a tape recording of his and Regan’s conversation (which appears to be a phrase played backwards). The church calls in Father Merrin (Max von Sydow) to assist in the exorcism.

What “The Exorcist” turns out to be in the end, is a shocking, dialogue-rich film that feels like it could have been made today. Blair is hauntingly effective as a possessee while Mercedes McCambridge, an Oscar winning actress from Hollywood’s heyday, gives the possessor a bone-chilling voice. Burstyn gives a terrific, tender performance. No mother has ever been so concerned about her child than she. Miller and Sydow are also good, neither missing a beat.

Without a single post-production-added visual effect, the special effects are indeed wonderful. They give the film a more realistic quality that some modern films just don’t have.

Outside of Blair’s performance, the two strongest aspects of the film are its directing and writing. William Peter Blatty adapted his own novel to the screen vividly. The story was involving and the characters and dialogue were so realistic that the film’s impact can be felt in every soul that sits down to watch it.

William Friedkin never panders to the audience; he only gives the audience what they need to see. It’s not easy to forget his imagery. From the pea soup Regan spews on everyone to her frighteningly adult language, “The Exorcist” is one of the most honest and disturbing films to come out of the 1970s.

When you think of terror, “The Exorcist” should rank near the top. It’s not just a story about possession; it’s a story about the possession of a little girl, innocent and pure. It’s not only one of the best horror films ever made, it’s easily one of the silver screens finest features.