The Exorcist: Director's Cut
- 2hr 2m
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There's something elemental about The Exorcist, even with the new hopeful ending that betrays the bleak original. [2000 re-release]
Rarely do movies affect us so deeply. The first time I saw Cries and Whispers, I found myself shrinking down in my seat, somehow trying to escape from the implications of Bergman’s story. The Exorcist also has that effect--but we’re not escaping from Friedkin’s implications, we’re shrinking back from the direct emotional experience he’s attacking us with. This movie doesn’t rest on the screen; it’s a frontal assault.
This jolting tale of a 12-year-old girl possessed by the devil, her desperate movie actress mother and the two priests called in to exorcise the demon, actually seems a deeper movie now -- more intense, less formulaic or shallow. Yet it's also retained all its original hypnotic narrative grip. [2000 re-release]
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Did You Know?
- After filming, William Friedkin brought production to 666 Fifth Avenue.
- 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.
- Demon: What an excellent day for an exorcism.
- Father Karras: You would like that?
- Demon: Intensely.
- Father Karras: But wouldn't that drive you out of Regan?
- Demon: It would bring us together.
- Father Karras: You and Regan?
- Demon: You and us.