Review of The Exorcist (1973) by Sean W — 31 Oct 2014

I scarcely know where to start when it comes to The Exorcist. The first time I saw it, I was well under the MPAA's recommended age, saddled up in a sofa chair that had been pushed up to about a foot away from the TV thanks to my father. Hours later . . . nightmares. Okay, I don't recall if I actually had any nightmares after watching this flick, but I'd be surprised if I didn't. The idea that some entity, let alone the devil, could take over your body and hurt those closest to you was absolute nightmare fuel. I've seen the film many times over the years, by myself and in a packed theater, and I can tell you one thing; The Exorcist is truly horrific.

As the story starts, we follow Father Merrin, played with great depth by Max von Sydow (who's sporting some fantastically done aged make-up). Merrin has seemingly excluded himself from the rest of the world, digging around for fossils and the like. This is in the aftermath of an exorcism he performed some ten years prior that lasted for months. We'll come back to him. The story races off to actress Chris MacNeil and her daughter Regan. Both Ellen Burstyn and Linda Blair play a wonderful mother/daughter pair, and while Regan is disgustingly sweet sometimes, it's absolutely believable. Another story plays simultaneously to their relationship, and that is of a Father Karras . . . a man of God who's absolutely lost the faith, and tortures himself for the poor treatment of his mother. We bounce back and forth between these two stories as a dark entity possesses young Regan, and their two paths converge.

One thing this film pulls off so well, that most modern horror movies don't even attempt, is the character development. We care so much for these characters, and whether or not we're watching a scene when Regan's possessed or Father Karras is struggling with his family, we're invested either way.

Speaking of the possession . . . it's handled with a great delicacy and logic. No mention is made of exorcism and even when it is, it's passed off as an archaic ritual by both doctor and church. The writers were very smart to cover all of their bases here, so that when it comes time for the actual exorcism, we completely buy into it.

And that's where Merrin returns to the picture, and the finale culminates with both Karras and Merrin teaming up to drive whatever dark force is inside Regan out, before it destroys her. The conviction of which the lines are delivered here are superb. And that goes for everyone involved. When Regan is taken, you rarely take into account that Linda Blair is still playing her, voice aside.

Speaking of her voice, which was provided by Mercedes McCambridge . . . it is absolutely chilling. The tone and timbre are the stuff of nightmares. The make-up effects are phenomenal as well. At 40 years old, this picture has sound editing and make-up effects that rival most modern films. In regards to the test of time meter, this movie has flown of the fucking thing and into a category of its own.

I've spoken to many people over the years who have found The Exorcist to be terrifying and who haven't. Whether or not the movie scares you is irrelevant at this point, because it has such a great story to tell, with wonderful actors to tell it. It's not just a great film of the horror genre, but a great film period. The Exorcist is a cornerstone of cinema.