Film Review: The Exorcist (1973)

What came first – the chicken or the egg? One such debate is caused by the rise of Christian fundamentalism in late 20th Century America, a process many deem crucial for arrival of right-wing reaction embodied by the likes of Reagan and Bush. At least some liberals and progressives tend to see main culprit in newly-found widespread belief in Satan, in many ways fuelled by high budget prestigious and enormously popular 1970s Hollywood horror films. Others may say that those films only exploited the already existing spiritual and cultural trends, built on anxieties caused by Vietnam War, Watergate, decaying economy, rampant crime and energy crisis. Whatever the answer may be, films that caused that debate have been extraordinary, and that includes The Exorcist, 1973 horror film that enjoys reputation as one of the most popular, most iconic and most influential examples of the genre.

The plot is based on the popular 1971 novel by William Peter Blatty, itself inspired by allegedly true story about rare case of an exorcism of a teenage boy being conducted two decades earlier. It begins with prologue set in Hatra, archaeological site in Iraq where Father Lankester Merrin (played by Max von Sydow), archaeologist and Jesuit priest, discovers menacing statue of ancient Mesopotamian deity he suspects to be a real life demon. Chris MacNeil (played by Ellen Burstyn), an actress and single mother, has arrived to shoot a film in Washington, D.C. Soon in her home she begins experiencing strange noises and similar phenomena in her home, but the most disturbing is what happens to her 12-year old daughter Regan (played by Linda Blair), previously perfect girl who begins to violently shake, deliberately wet herself in public and shout obscenities. Pills fail to calm her down, while invasive diagnostic procedures fail to discover physical cause of her condition and, in desperation, Chris turns to Father Damian Karras (played by Jason Miller), Jesuit priest and psychiatrist. Initially sceptical, Father Karras comes to conclusion that Regan is a possessed by demon and that only remedy is exorcism ritual. Lacking experience and spiritual strength because his recent doubts in faith, he requests help from Father Merrin.

The Exorcist is best known for some iconic images that involve Regan twisting her head, vomiting , shouting obscenities and defiling herself with crucifix in most degrading way possible, while talking with a deep, malevolent voice borrowed from “Oscar”-awarded veteran Mercedes McCambridge. Those scenes are shocking and unpleasant, and the effect was even greater for the audience half a century ago, still unaccustomed to new, realistic make-up and special effects that made them possible, as well as incredibly lax censorship standards at the time which allowed this disturbing and controversial content to be linked to character of 12-year old girl. However, what made this film truly scary was William Friedkin’s “cinema verite” directing style, in many ways compatible with his previous work in French Connection. Instead of trying to create atmosphere of anxiety with jump scares, manipulative editing and similar conventional horror tricks, Friedkin approaches story of demonic possession like it is a banal part of every day life. There is hardly any music in the film (with popular “Tubullar Bells” theme by Mike Oldfield being barely noticeable) and the realistic approach probably more visible in the scene showing extremely unpleasant cerebral angiography procedure in the hospital. Scene, which apparently cause most nausea and discomfort among first-time viewers, adds to macabre realism with presence of Paul Bateson, lab technician who would later become sentenced for murder inspiring Cruising, another Friedkin’s film.

This realistic approach makes the plot and its premise even scarier to audience, because it happens in modern, urbane and “hip” setting populated by enlightened and presumably progressive people like Chris and artists and intellectuals who visit her drawing room. If this could happen to them, it could happen to anyone in the audience. Realism also works to underline Blatty’s depressive conclusion about the state of the modern world. Made only four years after the Moon landing, The Exorcist shows how the decades of rationality, science and progress are powerless against old irrational, unexplainable and unexpected Evil. And even the Catholic Church, the only force in this film’s universe able to confront such Evil, has its own potentially fatal weaknesses – physical frailty of Merrin and spiritual frailty of Karras – which makes the outcome of final showdown with the demon far from foregone conclusion. Blatty’s script for this film received well-deserved “Oscar”.

The Exorcist, like many iconic films, enjoyed the benefits of great cast. Ellen Burstyn is good in the role of seemingly stereotypical 1970s modern independent woman, but her talents shine when such ordinary woman in thrown into extraordinary situation. 12-year old Linda Blair is excellent in physically and emotionally demanding role which she had to perform under a lot of make-up; she received “Oscar” nomination but, like in many similar cases, mostly failed to transcend this role with something different in latter stages of her career. Von Sydow, who also had to employ a lot of make-up to make his character look three decades older than the actor, delivered good, but short performance. The biggest acting star of the film is Jason Millar, accomplished playwright and former Catholic seminary student, who delivered strong performance in her first screen role. His further career, like Blair’s, failed to deliver, but their performances in The Exorcist were enough for them to enter history books as part of extraordinarily important piece of cinema.

RATING: 7/10 (++)

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