A young couple moves in to an apartment only to be surrounded by peculiar neighbors and occurrences. When the wife becomes mysteriously pregnant, paranoia over the safety of her unborn child begins to control her life.
A visiting actress in Washington, D.C., notices dramatic and dangerous changes in the behavior and physical make-up of her 12-year-old daughter. Meanwhile, a young priest at nearby Georgetown University begins to doubt his faith while dealing with his mother's terminal sickness. And, book-ending the story, a frail, elderly priest recognizes the necessity for a show-down with an old demonic enemy.Written by
Andrew Harmon <email@example.com>
For the vomiting sequences, Eileen Dietz doubled (uncredited) for Linda Blair, and later sued unsuccessfully for puking credit. Makeup veteran Dick Smith rigged Dietz's facial contours with sheets of heat-formed plexiglass that were secured at the corners of her mouth and behind her head. A camouflaged nozzle anchored in Dietz's oral cavity provided the apparatus through which the "vomit" could be forcefully discharged, fed by supply tubes discreetly embedded in the plexiglass on both sides of her face. Such was the complexity of the set-up that Dietz could barely swallow or close her mouth. See more »
Wires holding Regan can be clearly seen during the exorcist levitation scenes. See more »
They've found something... small pieces.
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There are no opening credits after the title. Although it is commonplace now, it was unheard of in 1973. See more »
The scene where the Demonic entity leaves Father Karres was originally done by filming Jason Miller in possession makeup, then stopping the camera and shooting him again with the makeup removed. This creates a noticeable jump in Father Karress's position as he is unpossessed. The 25'th anniversary video releases of "The Exorcist" smooth over the jumpy transition with a subtle computer morph effect. This updated effect was not featured in the prints used for the 75th Anniversary Warner Brothers film festivals See more »
Still a powerful film, more than thirty years on...
More than thirty years on, The Exorcist remains a very powerful film and was a cinematographic milestone in 1973. Repeated duplication of the genre has, no doubt, 'desensitized' a new generation of movie-watchers, though it remains an unnerving masterpiece. It is not difficult to understand why the film generated such a seismic global impact all those years ago, since it imposed an unprecedented sensory attack on the viewer. Regan's vile physical appearance, combined with her vile language and blasphemous diatribe sent a shock wave around the world. Moreover, many people seemed to believe the claims that the film was based on a true story and could therefore actually happen to them. Electricity consumption must have soared for several months in 1973 as people who had seen the film slept with their lights on! It is still not a film I would feel comfortable watching before going to bed. On another level, I found parts of it profoundly moving and actually cried at the end when Regan was finally released from her possessor and wept in the arms of her mother and Father Damien, having lunged himself through a window and down a precipitous flight of steps, managed to find just enough life in himself to indicate that he had retained his faith and repented of his sins by motioning his fingers in the sign of penitence when comforted by a distraught colleague. Possibly the only thing that lets the film down if one really sits and thinks about it is the underpinning concept that an ancient demon which had existed since the dawn of time should wish to possess the body of a twelve year old child and emit a string of juvenile profanities. But then the film was designed to shock all along!
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