A young couple move into a new 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 controlling her life.
Several people are hunted by a cruel serial killer who kills his victims in their dreams. When the survivors are trying to find the reason for being chosen, the murderer won't lose any chance to kill them as soon as they fall asleep.
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 <firstname.lastname@example.org>
Brazilian composer Eumir Deodato (famous for his 2001-Also Sprach Zarathustra heard in the movie Being There (1979)) lived in New York City by the time this movie opened, and was informed by friends that a piece of music he composed could be heard on the movie's soundtrack. He initially dismissed the warning, as he believed they were mistakenly identifying Tubular Bells (also part of the movie's soundtrack) as a composition of his own. Eventually, to clear this matter, his lawyer attended the movie with a concealed tape recorder. He recorded the whole movie, and played it back to Eumir over the phone, who finally recognized a composition of his own: "Carly and Carole", heard briefly at the party scene. Eumir's lawyer arranged a meeting with Warner Brother's legal team and asked for the movie to be pulled from circulation, eventually a compromise was arranged after a non-disclosed sum was paid. See more »
When Father Karras first goes to visit Regan, one of the bedside tables next to her bed is gone, along with the rest of the extraneous furniture from the room; later, this bedside table is back in place, though with a different lamp than was initially on it. 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 »
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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