Six months after the rage virus was inflicted on the population of Great Britain, the US Army helps to secure a small area of London for the survivors to repopulate and start again. But not everything goes to plan.
After Jonathan Harker attacks Dracula at his castle (apparently somewhere in Germany), the vampire travels to a nearby city, where he preys on the family of Harker's fiancée. The only one ... See full summary »
A loan officer who evicts an old woman from her home finds herself the recipient of a supernatural curse. Desperate, she turns to a seer to try and save her soul, while evil forces work to push her to a breaking point.
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>
In one scene, the Jesuit president of Georgetown University (Thomas Bermingham) mentions that Father Merrin (Max von Sydow) is at "Woodstock". Audiences may think the reference is to the famous music festival that took place upstate New York in 1969. In fact, the Woodstock in the film is actually Woodstock College, a Jesuit seminary in Woodstock, Maryland. Opened in 1869, the seminary closed one year after "The Exorcist" was released. The Woodstock Theological Center, a nonprofit Catholic theological research institute on the Georgetown campus, succeeded the college and remains operational today. See more »
In the basement with the Ouija board, Regan is playing with a table tennis paddle and ball. She puts the ball under the paddle and rests it on the table when her mother brings the Ouija board. Clearly the ball is under the paddle as evidenced by the angle of the paddle. In the very next shot, the paddle is flat on the table and the ball has disappeared. In the next shot, the ball reappears as demonstrated by the angle of the paddle. 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 »
For as long as I can recall, I've always possessed (no pun intended) an innate feeling that there exists outside the realm of our established dogma things that defy conventional logic. When I was in the sixth grade, I read the book, "The Exorcist," which scared me senseless. The idea that the Devil could infiltrate the delicate core of one's being called a soul absolutely terrified me at such a young age. After seeing the movie, I was speechless. Have been ever since. William Friedkin's transformation of the book to the movie was superb, in my opinion. (Not all adaptations are.) Dick Smith's special effects, in contrast to today's make-up advancements in the film industry, are still able to stand the test of time. The acting was splendid, from Lee J. Cobb & Jason Miller, to Ellen Burstyn and Max von Sydow's limited appearance in the piece. Friedkin's slice-of-life direction enhances the essence of the fear-factor in an oddly subtle fashion, as though the viewer were actually alongside the characters in the film. Lending to the creepiness of the film is the fact that there exists a minimal musical score (Mike Oldfield's "Tubular Bells" does accompany two nuns strolling gingerly down a Georgetown street in autumn, their robes billowing slightly in the wind). The palpability of what happens to a young Linda Blair has astounded me for over three decades. Having been so taken with the notion that inhuman entities DO stalk the earth and have never existed in human form, I've written a couple of novels on the subject matter, myself. I liken the new version that had been released a few years ago to the last nail in the proverbial coffin of effectiveness, making this one of the best horror-genre films of all time. Simply put: I've never seen any film that remotely comes close to what this movie has done to me (in terms of frightening me senseless). Linda Blair's cute Regan MacNeil is utterly transformed into a beast which is flat-out disturbing to behold. The movie has moved me ever since I had seen it at age fourteen, and I suspect will always. Put simply, at age forty-three I still have a difficult time watching it on my own. Great job, Mr. Friedkin and crew!
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