The Exorcist

When her 12-year-old Regan MacNeil (Linda Blair) shows signs of demonic possession, her actress mother (Ellen Burstyn) calls upon Fatherr Damian Karras (Jason Miller), a priest who has begun to lose his faith. They are eventually joined by Father Merrin (Max Von Sydow), the titular exorcist who previously encountered signs of the possessing spirit in the Middle East.

Based on a novel by William Peter Blatty, William Friedkin’s 1973 film carries with it the reputation of a horror classic. This, of course, is both a blessing and a curse. Good films often spawn imitators, to the point that what was once ingenious may now seem cliché. And what shocked and terrified audiences in 1973 may have little impact on the post-Saw, post-Hostel audiences of 2009.



That being said, The Exorcist proves itself worthy of its reputation. Along with The Omen, it is one of the pioneering films of the “evil kid” horror subgenre. But unlike subsequent imitators, there is nothing sinister or out-of-whack about the kid in question. Blair’s Regan is disarmingly normal from the start and that’s what lends pathos to her gradual transformation into an unholy terror.



It also helps that the movie has some legitimate shock power. Even though Regan’s supernatural antics (spider-walking down the stairs, spewing green vomit, etc.) have been lodged in popular imagination, you never know what is coming. Friedkin does not rely on sinister music to precursor to trauma (a shame in a sense – “Tubular Bells” is a hauntingly effective theme). Terrifying images are flashed on the screen with no warning at all.



While Eileen Dietz (face) and Mercedes McCambridge (voice) deserve the bulk of the credit for bringing the possessed Regan to life, the primary cast is game as well. Miller (a practicing Catholic) does a great job of fleshing out Karras’ inner struggle, while Von Sydow imbues Merrin with strength and determination in his too-brief screen time. Burstyn is credible as a mother who gains faith while losing hope. Only Lee J. Cobb rang a false note as a sympathetic police lieutenant, likely owing to his advanced age and his penchant for playing scumbags.



For all its disturbing imagery, The Exorcist is still a movie which relies heavily on the power of suggestion. What isn’t shown but only hinted at (a murder, for one) can be just as disarming as what is shown on screen. Though effective, this approach will undoubtedly leave some viewers to wonder what the fuss is all about. Likewise, the overtly religious themes could engender some eye-rolling from a non-theistic audience. But if you accept this film’s central contention – evil can be random and ordinary – you’ll likely find something to latch onto regardless of your beliefs.



8.5/10