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.
After a space merchant vessel perceives an unknown transmission as a distress call, its landing on the source moon finds one of the crew attacked by a mysterious lifeform, and they soon realize that its life cycle has merely begun.
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>
When originally released in the UK a number of town councils imposed a complete ban on the showing of the film. This led to the bizarre spectacle of "Exorcist Bus Trips" where enterprising travel companies organised buses to take groups to the nearest town where the film was showing. See more »
The wire that yanks Chris (when possessed Regan smacks her to the ground) can be seen lifting the bottom of the curtain where her head lands. 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 »
Many people complain that this movie's too slow but those are the kind of folks who only like 80-minute splatter films with characters so dumb and one-sided, you pray for the bad guy to kill them. This monster of a drama is both beautiful and bold. It has CHARACTERS and not simply LAMEBRAINS lined up for slaughter. It has class and purpose. It takes the audience into the darkest recesses of humankind and then brings them back through a message of hope and self-sacrifice. The movie is NOT anti-religion, it's anti-evil. Anyone who likes smart, clever, meaningful horror-drama should see this film at least twice. It is surprisingly touching and amazingly powerful.
That said, the cast deserves a hand for their wonderful performances. Ellen Burstyn perfectly conveys the tension of a mother of the cusp of tragedy; Max von Sydow is hauntingly perfect as the story's ray of light; Jason Miller embodies the sadness of a defeated man; and Linda Blair is far above average even at her young age.
Once again, see this movie. You won't forget it.
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