L'Exorciste (film)

L'Exorciste est un film d'horreur surnaturel américain de 1973réalisé par William Friedkin et
produit et écrit pour l'écran par William Peter Blatty , basé sur le roman de 1971 du même
nom de Blatty. Le film met en vedette Ellen Burstyn , Max von Sydow , Lee J. Cobb , Kitty Winn
, Jack MacGowran (dans son dernier rôle au cinéma), Jason Miller et Linda Blair . C'est le
premier volet de la série de films L'Exorciste et suit la possession démoniaquede Regan,
douze ans, et de la tentative de sa mère de la sauver grâce à un exorcisme mené par deux
prêtres catholiques .
 L'Exorciste

Affiche de sortie en salles par Bill Gold

Réalisé par Guillaume Friedkin

Écrit par William Peter Blatty

Basé sur L'Exorciste

de William Peter Blatty

Produit par William Peter Blatty

Mettant en vedette Ellen Burstyn

Max von Sydow

Lee J. Cobb

Kitty Winn

Jack Mac Gowran

Jason Miller

Linda Blair

Cinématographie Owen Roizman

Édité par Evan Lottman

Norman Gay

Musique par Jack Nitzsche

Société de Hoya Productions [1]

production
 Distribué par Warner Bros. [1]

Date de sortie 26 décembre 1973 (États-Unis)

Temps de fonctionnement 121 minutes

Pays États Unis

Langue Anglais

Budget 12 millions de dollars[2]

Box-office 441,3 millions de dollars[2] [3]

Malgré le statut de best-seller du livre, Blatty, qui a produit, et Friedkin, son choix pour le
réalisateur, ont eu du mal à lancer le film. Après avoir refusé ou avoir été refusé par de
grandes stars de l'époque, ils ont choisi Burstyn, un inconnu relatif, ainsi que les inconnus
Blair et Miller (auteur d'une pièce à succès sans expérience d'acteur au cinéma); les choix de
casting ont été vigoureusement combattus par les dirigeants des studios de Warner Bros.
Pictures . La photographie principale était également difficile. Un incendie a détruit la
majorité du plateau, et Blair et Burstyn ont subi des blessures à long terme dans des
accidents sur le plateau. En fin de compte, la production a pris deux fois plus de temps que
prévu et a coûté plus de deux fois le budget initial.

L'Exorciste est sorti dans 24 cinémas aux États-Unis et au Canada fin décembre 1973. Malgré
des critiques critiques mitigées, le public s'y est précipité, faisant la queue pendant l'hiver et
beaucoup le faisant plus d'une fois. Certains téléspectateurs ont subi des réactions
physiques indésirables, des évanouissements ou des vomissements à des scènes dans
lesquelles le protagoniste subit une angiographie cérébrale réaliste et se masturbe plus tard
violemment avec un crucifix. Des crises cardiaques et des fausses couches ont été
signalées; une revue psychiatrique a publié un article sur la « névrose cinématographique »
déclenchée par le film. De nombreux enfants ont été autorisés à voir le film, ce qui a conduit
à des accusations selon lesquelles le conseil d'évaluation de la MPAAavait accommodé
Warner Brothers en donnant au film une cote R au lieu de la cote X qu'ils pensaient qu'il
méritait, afin d'assurer son succès commercial. Plusieurs villes ont tenté de l'interdire
purement et simplement ou d'empêcher les enfants d'y assister.

La conversation culturelle autour du film, qui englobe également le traitement du

catholicisme, lui a permis de devenir le premier film d'horreur à être nominé pour l' Oscar de
la meilleure image , [4] [5] l' un des dix Oscars , il a été nominé pour, gagner pour le meilleur
scénario adapté et le meilleur son . C'était le film d'horreur classé R le plus rentable (non
ajusté pour l'inflation) jusqu'à la sortie de Ça en 2017 . L'Exorciste a eu une influence
significative sur la culture populaire [6] [7] et a été acclamé par la critique, plusieurs
publications le considérant comme l' un des plus grands films d'horreur jamais réalisés.. [5]
Le critique de cinéma anglais Mark Kermode l'a nommé son "film préféré de tous les temps".
[8]
En 2010, la Bibliothèque du Congrès a choisi le film à conserver dans son Registre national
du film , le citant comme " culturellement, historiquement ou esthétiquement significatif ".
[9] [10] [11]

Terrain

Coupure dramatique

Lankester Merrin , un prêtre catholique vétéran est sur une fouille archéologique dans la ville
antique de Hatra en Irak . Alerté par un collègue, il trouve une sculpture qui ressemble à
Pazuzu , un démon aux origines anciennes dont l'histoire est familière à Merrin. Peu de
temps après, après avoir consommé une petite pilule blanche, Merrin rencontre une statue le
dominant à l'image de Pazuzu, un présage l'avertissant d'une confrontation imminente.

Pendant ce temps, à Georgetown , l'actrice Chris MacNeil vit sur place avec sa fille Regan , 12
ans ; elle joue dans un film réalisé par son ami et associé Burke Dennings. Pendant ce temps,
de petites bizarreries commencent à se produire autour de la maison, comme se gratter du
grenier sans source. Après avoir joué avec une planche Ouija et contacté un ami soi-disant
imaginaire qu'elle appelle le capitaine Howdy, Regan commence à agir étrangement, en
utilisant un langage obscène et en faisant preuve d'une force anormale. en plus, il y a
poltergeist-comme une activité à la maison la nuit. Chris organise une fête, au cours de
laquelle Regan descend les escaliers à l'improviste, dit à l'un des invités - un astronaute - qu'il
va "mourir là-haut", puis urine sur le sol. Plus tard dans la nuit, le lit de Regan commence à
trembler et à léviter violemment. Chris consulte un certain nombre de médecins, soumettant
Regan à une batterie de tests de diagnostic, mais les médecins ne trouvent rien d'anormal
chez elle.

Une nuit, alors que Chris est absent, Burke Dennings garde Regan sous sédation. Chris
revient pour apprendre que Dennings est mort, étant tombé par la fenêtre. Bien que cela soit
supposé avoir été un accident étant donné les antécédents de consommation excessive
d'alcool de Burke, sa mort fait l'objet d'une enquête par le lieutenant William Kinderman.
Kinderman interviewe Chris. Il consulte également le psychiatre Père Damien Karras , un
prêtre jésuite aux prises avec sa foi. La crise de foi de Karras est précipitée par la mort de sa
mère, qu'il s'attribue.
Les médecins, estimant que les aberrations de Regan sont principalement d'origine
psychologique, recommandent un exorcisme. Chris organise une rencontre avec Karras qui,
réticent à s'engager spirituellement, accepte au moins de parler avec Regan. Alors que les
deux se retrouvent face à face, Karras et Regan se testent mutuellement, bien que Karras soit
sceptique quant à l'idée que quelque chose de surnaturel se produise. Chris se retrouve en
larmes dans une impasse et confie à Karras que Regan est celui qui a assassiné Dennings, et
le supplie de trouver une solution. Au cours des deux prochains jours, Karras voit Regan
parler à l'envers dans différentes langues qu'elle ne connaît pas, et la phrase "HELP ME"
semble être gravée à l'intérieur de son estomac, le convainquant qu'elle est vraiment
possédée par un démon.. Il implore l'Église de le laisser effectuer un exorcisme, mais,
sentant que Karras est surpassé, l'Église demande à Merrin d'effectuer l'exorcisme tout en
permettant à Karras de l'aider.

Le rituel commence comme une bataille de volontés avec Regan effectuant une série d'actes
horribles et vulgaires. Ils tentent d'exorciser le démon, mais l'esprit s'y enfonce, prétendant
être le diablelui-même. L'esprit joue sans relâche avec le prêtre et se concentre sur Karras,
sentant sa culpabilité à cause du décès de sa mère. Karras s'affaiblit après que le démon se
fait passer pour sa défunte mère, et est excusé par Merrin qui continue l'exorcisme seul. Une
fois qu'il a rassemblé ses forces, Karras rentre dans la pièce et découvre Merrin mort d'une
crise cardiaque. Après avoir échoué à faire revivre Merrin, Karras enragé attrape Regan en
train de rire et la fait tomber au sol. À l'invitation de Karras, le démon quitte le corps de Regan
et s'empare de Karras. Dans un dernier moment de force et d'abnégation, Karras se jette par
la fenêtre avant de pouvoir blesser Regan, tombant à mort sur des marches de pierreet
vaincre enfin le démon. Le père Dyer, un ami de Karras, arrive sur les lieux et administre les
derniers sacrements à Karras.

Quelques jours plus tard, Regan, redevenue normale, se prépare à partir pour Los Angeles
avec sa mère. Bien que Regan n'ait aucun souvenir apparent de sa possession, elle est émue
par la vue du collier clérical de Dyer pour l'embrasser sur la joue. Alors que la voiture
s'éloigne, Chris dit au conducteur de s'arrêter et elle donne au père Dyer un médaillon ayant
appartenu à Karras. Après leur départ, Dyer s'arrête en haut des marches de pierre pour jeter
un dernier coup d'œil à la fenêtre de Regan, puis se retourne pour s'éloigner.

La coupe du réalisateur se termine

En 2000, une version du film connue sous le nom de "Version You've Never Seen" ou
"Extended Director's Cut" est sortie. À la fin de cette version, lorsque Chris donne le médaillon
de Karras à Dyer, Dyer le remet dans sa main et lui suggère de le garder. [12] Après qu'elle et
Regan se soient éloignés, Dyer s'arrête au sommet des marches en pierre avant de s'éloigner
et de rencontrer Kinderman, qui a raté de peu le départ de Chris et Regan; Kinderman et Dyer
commencent à développer une amitié. [12] [13]

Jeter

Ellen Burstyn dans le rôle de Chris MacNeil

Jason Miller en tant que père/Dr. Damien Karras , SJ

Linda Blair dans le rôle de Regan MacNeil

Max von Sydow dans le rôle du père Lankester Merrin

Lee J. Cobb dans le rôle du lieutenant William F. Kinderman

Kitty Winn dans le rôle de Sharon Spencer

Jack MacGowran dans le rôle de Burke Dennings

Père William O'Malley comme Père Joseph Dyer

Père Thomas Bermingham comme Tom, président de l'Université de Georgetown

Peter Masterson dans le rôle du Dr Barringer

Robert Symonds dans le rôle du Dr Taney

Barton Heyman dans le rôle du Dr Samuel Klein

Rudolf Schündler comme Karl, domestique

Arthur Storch en tant que psychiatre

Vasiliki Maliaros dans le rôle de la mère de Karras

Titos Vandis dans le rôle de l'oncle de Karras

Dick Callinan dans le rôle du capitaine Billy Cutshaw

William Peter Blatty en tant que producteur Fromme

Mercedes McCambridge comme voix de Pazuzu

Eileen Dietz comme le visage de Pazuzu (non crédité)

Production

L'écriture
Des aspects du roman de fiction de Blatty ont été inspirés par l'exorcisme de 1949 effectué
sur un jeune garçon anonyme connu sous le nom de "Roland Doe" ou "Robbie Mannheim"
(pseudonymes) par le prêtre jésuite Fr. William S. Bowdern , qui autrefois enseigné à l'
Université de Saint - Louis et l' Université St. Louis Lycée . La famille de Doe est devenue
convaincue que le comportement agressif du garçon était attribuable à une possession
démoniaque et a fait appel aux services de plusieurs prêtres catholiques, dont Bowdern, pour
effectuer le rite d'exorcisme. C'était l'un des trois exorcismes à avoir été sanctionnés par
l'Église catholique aux États-Unis à cette époque. Une analyse ultérieure par des sceptiques
paranormaux a conclu que Doe était probablement unadolescent malade mental agissant,
car les événements réels susceptibles de s'être produits (comme des mots gravés sur la
peau) étaient tels qu'ils auraient pu être falsifiés par Doe lui-même. [5] Le roman a changé
plusieurs détails de l'affaire, comme changer le sexe de la victime prétendument possédée
d'un garçon à une fille et changer l'âge de la victime présumée. [4] [5]

Bien que Friedkin ait admis qu'il était très réticent à parler des aspects factuels du film, il a
réalisé le film avec l'intention d'immortaliser les événements impliquant Doe qui ont eu lieu
en 1949, et malgré les changements relativement mineurs qui ont été apportés, le film
dépeint tout ce qui pourrait être vérifié par les personnes concernées. Afin de faire le film,
Friedkin a été autorisé à accéder aux journaux des prêtres impliqués, ainsi que des médecins
et des infirmières ; il a également discuté des événements avec la tante de Doe en détail.
Friedkin a déclaré qu'il ne croyait pas que le "tour de tête" se soit réellement produit, mais
cela a été contesté. Friedkin est laïc, issu d'une famille juive . [14]

Fonderie

Blair et Burstyn comme Regan et Chris MacNeil

Les rôles principaux du film, en particulier Regan, n'ont pas été facilement choisis. Bien que
de nombreuses stars de l'époque aient été considérées pour le rôle, Stacy Keach ayant en fait
signé pour jouer le père Karras à un moment donné, Blatty et Friedkin sont finalement allés
avec des acteurs moins connus, à la consternation du studio.

Chris et le père Karras

Le studio voulait Marlon Brando pour le rôle de Lankester Merrin . [15] Friedkin a
immédiatement opposé son veto en déclarant que cela deviendrait un "film de Brando". Jack
Nicholson était prêt pour le rôle de Karras avant que Stacy Keach ne soit embauchée par
Blatty. Selon Friedkin, Paul Newman voulait également incarner Karras. [16]

Friedkin then spotted Jason Miller following a performance of Miller's play That
Championship Season in New York, and asked to talk to him. He originally went to talk to
Miller solely about the lapsed Catholicism in the play as a background for the film. Since
Miller had not read the novel, Friedkin left him a copy.[17]

Three A-list actresses of the time were considered for Chris. Friedkin first approached Audrey
Hepburn, who said she was willing to take the role but only if the movie could be shot in
Rome, since she had moved to Italy with her husband. Since that would have raised the costs
of the movie considerably, as well as creating language barriers and making it impossible to
work with crew members Friedkin was comfortable with, like cinematographer Owen
Roizman, he looked next to Anne Bancroft. She, too, was willing but asked if production could
be delayed nine months as she had just gotten pregnant. Again, Friedkin declined her request
as he could not wait that long; he also did not think the material was something she would
want to be working on while tending to a newborn, which might also make it more difficult for
her to work. Jane Fonda, next on the list, turned down the film as a "piece of capitalist rip-off
bullshit".[17][18]

Blatty also suggested his friend Shirley MacLaine for the part, but Friedkin was hesitant to
cast her, given her lead role in another possession film, The Possession of Joel Delaney
(1971) two years before.[17] Ellen Burstyn received the part after she phoned Friedkin and
emphatically stated that she was "destined" to play Chris. Studio head Ted Ashley vigorously
opposed casting her, not only telling Friedkin that he would do so over his dead body, but
dramatizing that opposition by making Friedkin walk over him as he lay on the floor, then
grabbing the director's leg and telling him he would come back from the dead if necessary to
keep Friedkin from doing so. However, no other alternatives emerged, and Ashley
relented.[17][19]

With Burstyn now set in the part, Friedkin was surprised when Miller called him back. He had
read the novel, and told the director "that guy is me", referring to Father Karras. Miller had had
a Catholic education, and had studied to be a Jesuit priest himself for three years at Catholic
University of America until experiencing a crisis of faith, just as Karras at the beginning of the
story. Friedkin thanked him for his interest but told him Keach had already been signed.[17]

Miller, who had done some stage acting but had never been in a film, asked to at least be
given a screen test. After taking the train to Los Angeles since he disliked flying, Friedkin had
the playwright and Burstyn do the scene where Chris tells Karras she thinks Regan might be
possessed. Afterwards, he had Burstyn interview Miller about his life with the camera
focusing on him from over her shoulder, and finally asked Miller to say Mass as if for the first
time.[17]

Burstyn felt that Miller was too short for the part, unlike her boyfriend at the time, whom
Friedkin had auditioned but passed on. The director felt the test was promising but, after
viewing the footage the next morning, realized Miller's "dark good looks, haunted eyes, quiet
intensity, and low, compassionate voice", qualities which to him evoked John Garfield, were
exactly what the part needed. The studio bought out Keach's contract.[17]

Supporting roles

The film's supporting roles were more quickly cast. After Blatty showed Friedkin a photograph
of Gerald Lankester Harding, his inspiration for Father Merrin, Friedkin immediately thought
of Max von Sydow for the part; he accepted it as soon as he finished reading the script. While
out seeing a play starring an actor who had been recommended to them for the film, Blatty
and Friedkin ran into Lee J. Cobb, which led to his casting as Lt. Kinderman. Father William
O'Malley, another Jesuit priest who taught English and theology at McQuaid Jesuit High
School outside Rochester, New York, had become acquainted with Blatty through his
criticism of the novel. After Blatty introduced him to Friedkin, they decided to cast him as
Father Dyer, a character O'Malley had considered clichéd in the novel.[17]

Greek actor Titos Vandis was cast in the role of Father Karras's uncle. He wore a hat in one
shot that obscured his face, as Friedkin felt that Vandis's face would be connected with his
previous role in the Woody Allen film Everything You Always Wanted to Know About Sex* (*But
Were Afraid to Ask).[20]

Regan

The question of whether or not such a young actress, even a talented one, could carry the
film on her shoulders was an issue from the beginning. Film directors considered for the
project were skeptical.[4] Mike Nichols had turned down the project specifically because he
did not believe a 12-year-old girl capable of playing the part, as well as able to handle the
likely psychological stress it would cause, could be found.[17]
The first actresses considered for the part were names known to the public. Pamelyn Ferdin,
a veteran of science fiction and supernatural drama, was a candidate, but was ultimately
turned down because her career thus far had made her too familiar to the public.[21] April
Winchell was considered, until she developed pyelonephritis and could not work. Denise
Nickerson, who had played Violet Beauregarde in Willy Wonka & the Chocolate Factory, was
considered, but the material troubled her parents too much.[21] Anissa Jones, known for her
role as Buffy in Family Affair, auditioned for the role, but she too was rejected, for much the
same reason as Ferdin.

Friedkin had started to interview young women as old as 16 who looked young enough to
play Regan, but was not finding any who he thought could.[17] Then Elinore Blair came in
unannounced to the director's New York office with her daughter Linda; the agency
representing Linda had not sent her for the part, but she had previously met with Warner
Bros. Pictures' casting department and then with Friedkin.[22] Both mother and daughter
impressed the director. Elinore was not a typical stage mother, and Linda's credits were
primarily in modeling; she was mainly interested in showing and riding horses around her
Westport, Connecticut, home. "[S]mart but not precocious. Cute but not beautiful. A normal,
happy twelve-year-old girl", Friedkin later recalled.[17]

With Linda having demonstrated the personal qualities Friedkin was looking for, he then went
on to see whether she could handle the material. He asked if she knew what The Exorcist was
about; she told him she had read the book. "[I]t's about a little girl who gets possessed by the
devil and does a whole bunch of bad things." Friedkin then asked her what sort of bad things
she meant. "[S]he pushes a man out of her bedroom window and she hits her mother across
the face and she masturbates with a crucifix."[17] Friedkin then asked Linda if she knew what
masturbation meant. "It's like jerking off, isn't it?", and she giggled a little bit. "Have you ever
done that?" he asked. "Sure; haven't you?" Linda responded. She was quickly cast as Regan
after tests with Burstyn; Friedkin realized he needed to keep that level of spontaneity on
set.[17]

Friedkin originally intended to use Blair's voice, electronically deepened and roughened, for
the demon's dialogue. Although Friedkin felt this worked fine in some places, he felt scenes
with the demon confronting the two priests lacked the dramatic power required and selected
Oscar-winning actress Mercedes McCambridge, an experienced voice actress, to provide the
demon's voice.[22] After filming, Warner Bros. did not include a credit for McCambridge, which
led to Screen Actors Guild arbitration before she was credited for her performance.[23] Ken
Nordine was also considered for the demon's voice, but Friedkin thought it would be best not
to use a man's voice.[24]
Actress Eileen Dietz stood in for Blair in the crucifix scene, the fistfight with Father Karras,
and other scenes that were too violent or disturbing for Blair to perform. She also appears as
the face of Pazuzu.[25]

Direction

The puppet used in the film.

Warners had approached Arthur Penn, Stanley Kubrick, and Mike Nichols to direct, all of
whom turned the project down.[26] Originally Mark Rydell was hired to direct, but William Peter
Blatty insisted on Friedkin instead, because he wanted his film to have the same energy as
Friedkin's previous film, The French Connection.[26] After a standoff with the studio, which
initially refused to budge over Rydell, Blatty eventually got his way. Principal photography for
The Exorcist began on August 21, 1972.[27] The shooting schedule was estimated to run 105
days, but ultimately ran well over 200.[27]

Friedkin went to extraordinary lengths manipulating the actors, reminiscent of the old
Hollywood directing style, to get the genuine reactions he wanted. Yanked violently around in
harnesses, both Blair and Burstyn suffered back injuries and their painful screams were
included in the film.[22] Burstyn injured her back after landing on her coccyx when a stuntman
jerked her around using a special effects cable during the scene when Regan slaps her
mother.[22] According to the documentary Fear of God: The Making of the Exorcist, the injury
did not cause permanent damage, although Burstyn was upset the shot of her screaming in
pain was used in the film. After O'Malley confirmed to Friedkin that he trusted the director,
Friedkin slapped him hard across the face to generate a deeply solemn reaction for the last
rites scene; this offended the many Catholic crew members on the set. He also fired
blanks[16] without warning on the set to elicit shock from Jason Miller for a take, and told
Miller that the pea soup would hit him in the chest rather than the face in the projectile
vomiting scene, resulting in his disgusted reaction. Lastly, he had Regan's bedroom set built
inside a freezer so that the actors' breath could be visible on camera, which required the crew
to wear cold weather gear.[22]

Filming

The "Exorcist steps", looking north, Georgetown, Washington, D.C.

The film's opening sequences were filmed in and near the city of Mosul, Iraq. The
archaeological dig site seen at the film's beginning is the actual site of ancient Hatra, south of
Mosul.[28] Temperatures during the days filming took place there reached 54 °C (130 °F),
limiting shooting to the early mornings and late evening.[29]

The stairs were padded with half-inch-thick (13 mm) rubber to film the death of the character
Father Damien Karras. Because the house from which Karras falls was set back slightly from
the steps, the film crew constructed an eastward extension with a false front to the house in
order to film the scene.[30] The stuntman tumbled down the stairs twice. Georgetown
University students charged people around $5 each to watch the stunt from the
rooftops.[31][32]

Although the film is set in Washington, D.C., many interior scenes were shot in various parts
of New York City. The MacNeil residence interiors were filmed at CECO Studios in
Manhattan.[33] The bedroom set was refrigerated to capture the authentic icy breath of the
actors in the exorcism scenes. It was chilled so much that a thin layer of snow fell onto the
set one humid morning.[34] Since the set lighting warmed the air, it could only remain cold
enough for three minutes of filming at a time.[35] Nevertheless, Blair, who was only in a thin
nightgown while the crew wore cold weather clothing, said she cannot stand being cold.[34]
Exteriors of the MacNeil house, were filmed at 36th and Prospect in Washington, the former
site of E. D. E. N. Southworth's residence,[36] using a family home and a false east extension
to convey that the home's windows were close to the steps.

Several scenes were shot in the basement of Keating Hall at Fordham University in the Bronx.

The scenes involving Regan's medical tests were filmed at New York University Medical
Center and were performed by actual medical staff that normally carried out the
procedures.[29] Paul Bateson, convicted of murdering a journalist several years after the film,
is the radiographer talking to Regan through the cerebral angiography.[37] In the film Regan
first undergoes an electroencephalography (EEG), then the angiography, and finally a
pneumoencephalography.

The scene in which Father Karras listens to the tapes of Regan's dialogue was filmed in the
basement of Keating Hall at Fordham University in the Bronx.[38] William O'Malley, who plays
Father Joseph Dyer in the film, is a real-life Jesuit and was assistant professor of theology at
Fordham at the time.[39]

The interior of Karras' room at Georgetown was a meticulous reconstruction of Theology

professor Father Thomas M. King, S.J.'s "corridor Jesuit" room in New North Hall. King's room
was photographed by production staff after a visit by Blatty, a Georgetown graduate, and
Friedkin. Upon returning to New York, every element of King's room, including posters and
books, was recreated for the set, including a poster of Pierre Teilhard de Chardin, S.J., a
theologian on whom the character of Fr. Merrin was loosely based. Georgetown was paid
$1,000 per day of filming, which included both exteriors such as Burstyn's first scene, shot on
the steps of the Flemish Romanesque Healy Hall, and interiors such as the defilement of the
statue of the Virgin Mary in Dahlgren Chapel, or the Archbishop's office, which is actually the
office of the president of the university. One scene was filmed in The Tombs, a student
hangout across from the steps that was founded by a Blatty classmate.[40]

Father Merrin's arrival scene

Father Merrin's arrival scene was filmed on Max von Sydow's first day of work. The scene
where the elderly priest steps out of a cab and stands in front of the MacNeil residence,
silhouetted in a misty streetlamp's glow and staring up at a beam of light from a bedroom
window, is one of the most famous scenes in the movie. The shot was used for film posters
and home DVD/VHS release covers. The scene and photo were inspired by the 1954 painting
Empire of Light (L'Empire des lumières) by René Magritte.[41]

"Spider-walk" scene

Stuntwoman Ann Miles performed the spider-walk scene in November 1972. Friedkin deleted
this scene against Blatty's objection just prior to the premiere, as he judged the scene as
appearing too early in the film's plot. In the book, the spider-walk is more muted, consisting of
Regan following Sharon around near the floor and flicking a snakelike tongue at her ankles. A
take of this version of the scene was filmed but went unused. However, a different take
showing Regan with blood flowing from her mouth was inserted into the 2000 Director's Cut
of the film.

Editing

Special effects

The Exorcist contained a number of special effects, engineered by makeup artist Dick Smith.
In one scene from the film, Max von Sydow is actually wearing more makeup than the
possessed girl (Linda Blair). This was because director Friedkin wanted some very detailed
facial close-ups. When this film was made, von Sydow was 44, though he was made up to
look 74.[42] Alan McKenzie stated in his book Hollywood Tricks of the Trade that the fact "that
audiences didn't realize von Sydow was wearing makeup at all is a tribute to the skills of
veteran makeup artist Dick Smith."

Sound effects

Special sound effects for the film were created by Ron Nagle, Doc Siegel, Gonzalo Gavira, and
Bob Fine.[43] Nagle spent two weeks recording animal sounds, including bees, dogs,
hamsters, and pigs; these were incorporated into the multilayered mix of the demon's
voice.[44] Gavira achieved the sound effect of Regan's head rotating by twisting a leather
wallet.[44][45]

Alleged subliminal imagery

The Exorcist was also at the center of controversy due to its alleged use of subliminal
imagery introduced as special effects during the production of the film. Wilson Bryan Key
wrote a whole chapter on the film in his book Media Sexploitation alleging repeated use of
subliminal and semi-subliminal imagery and sound effects. Key observed the use of the
Pazuzu face (which Key mistakenly assumed was Jason Miller in death mask makeup,
instead of actress Eileen Dietz) and claimed that the safety padding on the bedposts was
shaped to cast phallic shadows on the wall and that a skull face is superimposed into one of
Father Merrin's breath clouds. Key also wrote much about the sound design, identifying the
use of pig squeals, for instance, and elaborating on his opinion of the subliminal intent of it
all. A detailed article in the July/August 1991 issue of Video Watchdog examined the
phenomenon, providing still frames identifying several uses of subliminal "flashing"
throughout the film.[46]

In an interview from the same issue, Friedkin explained, "I saw subliminal cuts in a number of
films before I ever put them in The Exorcist, and I thought it was a very effective storytelling
device. ...The subliminal editing in The Exorcist was done for dramatic effect – to create,
achieve, and sustain a kind of dreamlike state."[47] However, these quick, scary flashes have
been labeled "[not] truly subliminal"[48] and "quasi-" or "semi-subliminal".[49] In an interview in a
1999 book about the film, The Exorcist author Blatty addressed the controversy by explaining
that, "There are no subliminal images. If you can see it, it's not subliminal."[50]

Titles

The editing of the title sequence was the first major project for the film title designer Dan
Perri. As a result of the success of The Exorcist, Perri went on to design opening titles for a
number of major films including Taxi Driver (1976), Star Wars (1977), and Gangs of New York
(2002).[51]

Music

Lalo Schifrin's working score was rejected by Friedkin. Schifrin had written six minutes of
music for the initial film trailer but audiences were reportedly too scared by its combination
of sights and sounds. According to Schifrin, Warner Bros. executives told Friedkin to instruct
him to tone it down with softer music, but Friedkin did not relay the message.[52] It has been
claimed Schifrin later used the music written for The Exorcist for The Amityville Horror,[53] but
he has denied this in interviews. According to The Fear of God: The Making of the Exorcist on
the 25th Anniversary DVD release of the film, Friedkin took the tapes that Schifrin had
recorded and threw them away in the studio parking lot.[54]

In the soundtrack liner notes for his 1977 film, Sorcerer, Friedkin said that if he had heard the
music of Tangerine Dream earlier, then he would have had them score The Exorcist. Instead,
he used modern classical compositions, including portions of the 1972 Cello Concerto No. 1,
of Polymorphia, and other pieces by Polish composer Krzysztof Penderecki, Five Pieces for
Orchestra by Austrian composer Anton Webern as well as some original music by Jack
Nitzsche. The music was heard only during scene transitions. The 2000 "Version You've
Never Seen" features new original music by Steve Boeddeker, as well as brief source music by
Les Baxter.

What is now considered the "Theme from The Exorcist", i.e. the piano-based melody which
opens the first part of Tubular Bells,[55] the 1973 debut album by English progressive rock
musician Mike Oldfield, became very popular after the film's release, although Oldfield himself
was not impressed with the way his work was used.[56]

In 1998 a restored and remastered soundtrack was released by Warner Bros. (without Tubular
Bells) that included three pieces from Lalo Schifrin's rejected score. The pieces are "Music
from the unused Trailer", an 11-minute "Suite from the Unused Score", and "Rock Ballad
(Unused Theme)".

That same year, the Japanese version of the original soundtrack LP did not include the
Schifrin pieces but did include the main theme from Tubular Bells by Mike Oldfield, and the
movement titled Night of the Electric Insects from George Crumb's string quartet Black
Angels.[57]

Waxwork Records released the score in 2017 on two different variations of 180 gram vinyl,
"Pazuzu" with clear and black smoke and "Exorcism" that featured blue and black smoke. The
record was re-mastered from the original tapes; it included liner notes from Friedkin with art
by Justin Erickson from Phantom City Creative.[58]

La chanson grecque diffusée à la radio lorsque le père Karras quitte la maison de sa mère
s'appelle "Paramythaki mou" (Mon conte) et est chantée par Giannis Kalatzis . Le parolier
Lefteris Papadopoulos a admis que quelques années plus tard, alors qu'il était en difficulté
financière, il avait demandé une compensation pour les droits intellectuels de la chanson.
Une partie de la composition de 1966 de Hans Werner Henze Fantasia for Strings est jouée
sur le générique de clôture. [59] [60]

Sortie
Theatrical run

Upon its December 26, 1973, release, the film received mixed reviews from critics, "ranging
from 'classic' to 'claptrap' ".[61] Audience reaction was strong, however, with many viewers
waiting in long lines in cold temperatures to see it again and again.[62] It opened in 24
theaters grossing $1.9 million in its first week, setting house records in each theater[63] and
within its first month the film had grossed $7.4 million nationwide, by which time Warners'
executives expected the film to easily surpass My Fair Lady's $34 million take to become the
studio's most financially successful film.[64]

Home media

Special edition 25th anniversary VHS and DVD release

A limited special edition box set was released in 1998 for the film's 25th anniversary; it was
limited to 50,000 copies, with available copies circulating around the Internet. There are two
versions: a special edition VHS released on November 10, 1998,[65] and a special edition DVD
released on December 1, 1998.[66] The only difference between the two copies is the
recording format. A 25th anniversary edition was released on DVD by Warner Home Video on
August 5, 2003.

DVD features

The original film with restored film and digitally remastered audio, with a 1.85:1 widescreen
aspect ratio.

An introduction by director Friedkin.

The 1998 BBC documentary The Fear of God: The Making of "The Exorcist".

Two audio commentaries.

Interviews with the director and writer.

Theatrical trailers and TV spots.

Box features
A commemorative 52-page tribute book, covering highlights of the film's preparation,
production, and release; features previously unreleased historical data and archival
photographs.

Limited edition soundtrack CD of the film's score, including the original (unused)
soundtrack ("Tubular Bells" and "Night of the Electric Insects" omitted).
 Eight lobby card reprints.

Exclusive senitype film frame (magnification included).

Extended edition DVD releases

The extended edition labeled "The Version You've Never Seen" (which was released
theatrically in 2000) was released on DVD on February 3, 2004.[67]

The extended edition was later re-released on DVD (and released on Blu-ray) with slight
alterations under the new label "Extended Director's Cut" on October 5, 2010.[68]

Blu-ray

In an interview with DVD Review, Friedkin mentioned that he was scheduled to begin work on
The Exorcist Blu-ray on December 2, 2008.[69] This edition features a new restoration,
including both the 1973 theatrical version and the 2000 "Version You've Never Seen" (re-
labeled as "Extended Director's Cut").[70] It was released on October 5, 2010.[71][72][73] A 40th
Anniversary Edition Blu-ray was released on October 8, 2013, containing both cuts of the film
and many of the previously released bonus features in addition to two featurettes that revolve
around author William Peter Blatty.[74]

The Exorcist: The Complete Anthology

The Exorcist: The Complete Anthology (box set) was released on DVD on October 10, 2006,[75]
and on Blu-ray on September 23, 2014.[76] This collection includes the original theatrical
release version of The Exorcist, the extended version (labelled The Exorcist: The Version
You've Never Seen on the DVD release and The Exorcist: Extended Director's Cut on the Blu-ray
release), the sequels Exorcist II: The Heretic and The Exorcist III, and the prequels Exorcist: The
Beginning and Dominion: Prequel to the Exorcist.

Accueil

Box office

Since it was a horror film that had gone well over budget and did not have any major stars in
the lead roles, Warner did not have high expectations for The Exorcist. It did not preview the
film for critics and booked its initial release for only 30 screens in 24 theaters,[63] mostly in
large cities.[77] It grossed $1.9 million in its first week, setting house records in each
theater.[63] The huge crowds attracted to the film forced the studio to expand it into wide
release very quickly; at the time that releasing strategy was rarely used for anything but
exploitation films (two years later, Universal would learn from The Exorcist and open Jaws on
500 screens across the country).[78]

None of the theaters were in Black neighborhoods such as South Central Los Angeles since
the studio did not expect black people to take much interest in the film; after the theater in
predominantly white Westwood had shown the film was overwhelmed with moviegoers from
South Central it was quickly booked into theaters in that neighborhood.[77] Black American
enthusiasm for The Exorcist has been credited with ending mainstream studio support for
blaxploitation movies, since Hollywood realized that black audiences would flock to films that
did not have content specifically geared to them.[79]

The film earned $66.3 million in distributors' rentals during its theatrical release in 1974 in the
United States and Canada, becoming the second most popular film of that year (trailing The
Sting which earned $68.5 million)[80] and Warners' highest-grossing film of all time.[81] The
film earned rentals of $46 million overseas[82] for a worldwide total of $112.3 million.

After several reissues, the film has grossed $232.6 million in the United States and
Canada,[83] which when adjusted for inflation, makes it the ninth highest-grossing film of all
time in the U.S. and Canada and the top-grossing R-rated film of all time.[84] As of 2019, it has
grossed $441 million worldwide.[83] Adjusted to 2014 prices, The Exorcist has grossed $1.8
billion.[85]

Critical response

Stanley Kauffmann, in The New Republic, wrote, "This is the scariest film I've seen in years –
the only scary film I've seen in years. ...If you want to be shaken – and I found out, while the
picture was going, that that's what I wanted – then The Exorcist will scare the hell out of
you".[86][87] Arthur D. Murphy of Variety noted that it was "an expert telling of a supernatural
horror story. ...The climactic sequences assault the senses and the intellect with pure
cinematic terror".[88] In the magazine publication Castle of Frankenstein, Joe Dante called it
"an amazing film, and one destined to become at the very least a horror classic. Director
Friedkin's film will be profoundly disturbing to all audiences, especially the more sensitive and
those who tend to 'live' the movies they see. ...Suffice it to say, there has never been anything
like this on the screen before".[89] Roger Ebert of the Chicago Sun-Times gave the film a
complete 4 star review, praising the actors (particularly Burstyn) and the convincing special
effects, but at the end of the review wrote, "I am not sure exactly what reasons people will
have for seeing this movie; surely enjoyment won't be one, because what we get here aren't
the delicious chills of a Vincent Price thriller, but raw and painful experience. Are people so
numb they need movies of this intensity in order to feel anything at all?"[90] Ebert, while
praising the film, believed the special effects to be unusually graphic. He wrote, "That it
received an R rating and not the X is stupefying".[90]

Vincent Canby, writing in The New York Times, dismissed The Exorcist as "a chunk of elegant
occultist claptrap ... a practically impossible film to sit through. ...It establishes a new low for
grotesque special effects."[91] Andrew Sarris of The Village Voice complained that "Friedkin's
biggest weakness is his inability to provide enough visual information about his
characters. ...Whole passages of the movie's exposition were one long buzz of small talk and
name droppings. ...The Exorcist succeeds on one level as an effectively excruciating
entertainment, but on another, deeper level it is a thoroughly evil film".[92] Writing in Rolling
Stone, Jon Landau felt the film was "nothing more than a religious porn film, the gaudiest
piece of shlock this side of Cecil B. DeMille (minus that gentleman's wit and ability to tell a
story)."[93]

Angiography scene

The angiography scene, in which a needle is inserted into Regan's neck and spurts blood and
which closely imitates the real-life procedure,[94] has come under some criticism. In his 1986
Guide for the Film Fanatic, Danny Peary called it the film's "most needless scene".[95] British
comedian Graeme Garden, trained as a physician, agreed the scene was "genuinely
disturbing" in his review for the New Scientist; he called it "the really irresponsible feature of
this film".[96]

Medical professionals have described the scene as a realistic depiction of the procedure. It is
also of historical interest in the field, as around the time of the film's release, radiologists had
begun to stop using the carotid artery for the puncture as they do in the film, in favor of a
more distant artery.[97][98] It has also been described as the most realistic depiction of a
medical procedure in a popular film.[37] Friedkin said in his 2012 commentary on the DVD
release of the 2000 cut that the scene was used as a training film for radiologists for years
afterwards.[94]

Rating controversy

The Motion Picture Association of America's (MPAA) ratings board had been established
several years before to replace the Motion Picture Production Code after it expired in 1968. It
had already been criticized for its indirect censorship: as many as a third of the films
submitted to it had had to be recut after being rated X, meaning no minors could be admitted.
Since many theaters would not show such films, and newspapers would not run ads for
them, the X rating greatly limited a non-pornographic film's commercial prospects.[77]
While Friedkin wanted more blood and gore in The Exorcist than had been in any Hollywood
film previously, he also needed the film to have an R rating (children admitted only with an
adult) to reach a large audience. Before release, Aaron Stern, the head of the MPAA ratings
board, decided to watch the film himself before the rest of the board. He then called Friedkin
and said that since The Exorcist was "an important film", he would allow it to receive an R
rating without any cuts.[77]

Some critics, both anticipating and reacting to reports of the film's effect on children who
might be or had been taken to see it, questioned the R rating. While he had praised the film,
Roy Meacham, a critic for Metromedia television stations based in Washington, D.C., wrote in
The New York Times in February 1974 that he had strongly cautioned that children should not
be allowed to see it at all, a warning his station repeated for several days. Nevertheless, some
had, and he had heard of one girl being taken from the theater in an ambulance.[99]

In Washington, the film drew strong interest as well since it was a rare film set in the area that
did not involve government activity.[100] Children Meacham saw leaving showings, he recalled,
"were drained and drawn afterward; their eyes had a look I had never seen before". He
suggested that the ratings board had somehow yielded to pressure from Warners not to give
the film an X rating, which would have likely limited its economic prospects, and was
skeptical of MPAA head Jack Valenti's claims that since the film had no sex or nudity, it could
receive an R. After a week in Washington's theaters, Meacham recalled, authorities cited the
crucifix scene to invoke a local ordinance that forbid minors from seeing any scenes with
sexual content even where the actors were fully clothed; police warned theaters that staff
would be arrested if any minors were admitted to The Exorcist.[99]

"The review board [has] surrendered all right to the claim that it provides moral and ethical
leadership to the movie industry", Meacham wrote. He feared that, as a result, communities
across the country would feel it necessary to pass their own, perhaps more restrictive, laws
regarding the content of movies that could be shown in their jurisdictions: "For if the movie
industry cannot provide safeguards for minors, authorities will have to".[99]

Two communities, Boston and Hattiesburg, Mississippi, attempted to prevent the film from
being shown outright in their jurisdictions. A court in the former city blocked the ban, saying
the film did not meet the U.S. Supreme Court's standard of obscenity.[101] Nonetheless, in
Boston the authorities told theaters they could not admit any minors despite the R rating.[77]
In Mississippi, the theater chain showing the movie was convicted at trial, but the state's
Supreme Court overturned the conviction in 1976, finding that the state's obscenity statute
was too vague to be enforceable in the wake of the Supreme Court's 1972 Miller v. California
decision which laid down a new standard for obscenity.[102]
New Yorker film critic Pauline Kael echoed Meacham's insinuations that the board had yielded
to studio pressure in rating the film R: "If The Exorcist had cost under a million or been made
abroad, it would almost certainly be an X film. But when a movie is as expensive as this one,
the [board] doesn't dare give it an X".[77]

There was also concern that theaters were not strictly enforcing, or even enforcing at all, the
R rating, allowing unaccompanied minors to view the film. Times critic Lawrence Van Gelder
reported that a 16-year-old girl in California said that not only was she sold a ticket to see the
film despite no adult being with her, others who seemed even younger were able to do so as
well.[64] On the other hand, another Times writer, Judy Lee Klemesrud, said she saw no
unaccompanied minors, and indeed very few minors, when she went to see the film in
Manhattan. Nevertheless, "I think that if a movie ever deserved an X rating simply because it
would keep the kids out of the theater, it is The Exorcist".[62]

In 1974, Stern's tenure as chairman of the MPAA ratings board ended. His eventual
replacement, Richard Heffner, asked during the interview process about films with
controversial ratings, including The Exorcist, said: "How could anything be worse than this?
And it got an R?" After he took over as head, he would spearhead efforts to be more
aggressive with the X rating, especially over violence in films.[77]

Viewing restrictions in UK

The Exorcist was released in London on March 14, 1974.[103] The film was protested against
around the UK by the Nationwide Festival of Light, a Christian public action group concerned
with the influence of media on society, and especially on the young. These protests involved
members of local clergy and concerned citizens handing out leaflets to those queuing to see
the film, offering spiritual support afterwards for those who asked for it.[104] A letter-writing
campaign to local councils by the Nationwide Festival of Light led many councils to screen
The Exorcist before permitting it to be screened in their council district.[105] This led to the
film's being banned from exhibition in a number of counties, such as in Dinefwr and
Ceredigion in Wales.[106][107]

The Exorcist was available on home video from 1981 in the UK.[108] After the passage of the
Video Recordings Act 1984, the film was submitted to the British Board of Film Classification
for a home video certificate. James Ferman, Director of the Board, vetoed the decision to
grant a certificate to the film, despite the majority of the group willing to pass it. It was out of
Ferman's concerns that, even with a proposed 18 certificate, the film's notoriety would entice
underage viewers to seek it out. As a result, all video copies of The Exorcist were withdrawn
in the UK in 1988 and remained unavailable for purchase until 1999.[108]
Following a successful re-release in cinemas in 1998, the film was submitted for home video
release again in February 1999,[109] and was passed uncut with an 18 certificate, signifying a
relaxation of the censorship rules with relation to home video in the UK, in part due to James
Ferman's departure. The film was shown on terrestrial television in the UK for the first time in
2001, on Channel 4.[110]

Since release

The Exorcist set box office records that stood for many years. For almost half a century, until
the 2017 adaptation of Stephen King's It, it was the top-grossing R-rated horror film.[111] In
1999, The Sixth Sense finally bested The Exorcist as the highest-grossing supernatural horror
film; it remains in third place after It claimed that title as well.[112] On both charts The Exorcist,
along with The Blair Witch Project, are the only 20th-century releases in the top 10.[111][112]

Since its release, The Exorcist's critical reputation has grown considerably. According to the
review aggregator website Rotten Tomatoes, 83 percent of critics have given the film a
positive review based on 83 reviews, with an average rating of 8.30/10. The site's critics
consensus states: "The Exorcist rides its supernatural theme to magical effect, with
remarkable special effects and an eerie atmosphere, resulting in one of the scariest films of
all time".[113] At Metacritic, which assigns and normalizes scores of critic reviews, the film
has a weighted average score of 82 out of 100 based on 20 critics, indicating "universal
acclaim".[114] Chicago Tribune film critic Gene Siskel placed it in the top five films released
that year.[115] BBC film critic Mark Kermode believes the film to be the best film ever made,
saying: "There's a theory that great films give back to you whatever it is you bring to them. It's
absolutely true with The Exorcist – it reflects the anxieties of the audience. Some people
think it's an outright horror-fest, but I don't. It was written by a devout Catholic who hoped it
would make people think positively about the existence of God. William Peter Blatty, who
wrote the book, thought that if there are demons then there are also angels and life after
death. He couldn't see why people thought it was scary. I've seen it about 200 times and
every time I see something I haven't seen before".[116]

Director Martin Scorsese placed The Exorcist on his list of the 11 scariest horror films of all
time.[117] Directors Stanley Kubrick, Robert Eggers, Alex Proyas and David Fincher placed The
Exorcist as one of their favorite films.[118][119][120][121] The musician Elton John listed the
Exorcist in his five favorite films of all time.[122] In 2008, the film was selected by Empire as
one of The 500 Greatest Movies Ever Made.[123] It was also placed on a similar list of 1000
films by The New York Times.[124]

Audience reaction
 On December 26 a movie called The Exorcist opened in theatres
across the country and since then all Hell has brok en loose.

— Newsweek , February 2, 1974, quoted in Shock Value, by Jason

Zinoman [77]

Despite its mixed reviews and the controversies over its content and viewer reaction, The
Exorcist was a runaway hit. In New York City, where its initial run was limited to a few
theaters, patrons endured cold as severe as 6 °F (−14 °C) sometimes with rain and sleet,[64]
waiting for hours in long lines during what is normally a slow time of year for the movies to
buy tickets, many not for the first time. The crowds gathered outside theaters, sometimes
rioted, and police were called in to quell disturbances in not only New York but Kansas
City.[77]

The New York Times asked some of those in line what drew them there. Those who had read
the novel accounted for about a third; they wanted to see if the film could realistically depict
some of the scenes in the book. Others said: "We're here because we're nuts and because we
wanted to be part of the madness". A repeat viewer told the newspaper that it was the best
horror film he had seen in decades, "much better than Psycho. You feel contaminated when
you leave the theater. There's something that is impossible to erase". Many made a point of
saying that they had either never waited in line that long for a movie before, or not in a long
time. "It makes the movie better," William Hurt, then a drama student at Juilliard, said of the
experience. "The more you pay for something, the more it's worth."[62]

Reports of strong audience reactions were widespread, many including accounts of nausea
and fainting. A woman in New York was said to have miscarried during a showing.[62] Some
theaters have been said to have provided "Exorcist barf bags";[125] while there are no
contemporary reports of even providing regular sickness bags, Mad magazine depicted one
on the cover of its October 1974 issue, which contained a parody of the film.[100] A reviewer
for Cinefantastique said that there was so much vomit in the bathroom at the showing he
attended that it was impossible to reach the sinks.[78]

Other theaters arranged for ambulances to be on call. Some patrons had to be helped to
leave the places they had hidden in theaters. Despite its lack of any supernatural content,
many audience members found the angiography, where blood spurts from the tube inserted
into Regan's neck, to be the film's most unsettling scene (Blatty said he only watched it once,
while the film was being edited, and avoided it on every other viewing).[126] Friedkin
speculates that it is easier to empathize with Regan in that scene, as compared to what she
suffers while possessed later in the film.[95][96][127][128]
In 1975, The Journal of Nervous and Mental Disease published a paper by a psychiatrist
documenting four cases of what he called "cinematic neurosis" triggered by viewing the film.
In all he believed the neurosis was already present and merely triggered by viewing scenes in
the film, particularly those depicting Regan's possession. He recommended that treating
physicians view the movie with their patient to help him or her identify the sources of their
trauma.[129]

"The Exorcist ... was one of the rare horror movies that became part of the national
conversation", wrote Jason Zinoman almost 40 years later: "It was a movie you needed to
have an opinion about". Three separate production histories were published. Journalists
complained that coverage of the film and its controversies was distracting the public from
the ongoing Watergate scandal.[77]

Much of the coverage, in fact, focused on the audience which, in the later words of film
historian William Paul, "had become a spectacle equal to the film". He cites an Associated
Press cartoon in which a couple trying to purchase tickets to the film was told that while the
film itself is sold out, "we're selling tickets to the lobby to watch the audience." Paul does not
think any other film's audience has received as much coverage as The Exorcist's.[78]

Litiges juridiques

Within a year of The Exorcist's release, two films were quickly made that appeared to
appropriate elements of its plot or production design. Warner took legal action against the
producers of both, accusing them of copyright infringement. The lawsuits resulted in one film
being pulled from distribution and the other one having to change its advertisements.[130]

Abby, released almost a year after The Exorcist, put a blaxploitation spin on the material. In it
a Yoruba demon released during an archeological dig in Africa crosses the Atlantic Ocean
and possesses the archaeologist's daughter at home in Kentucky. Director William Girdler
acknowledged the movie was intended to cash in on the success of The Exorcist. Warner's
lawsuit early in 1975 resulted in most prints of the film being confiscated; the film has rarely
been screened since and is not available on any home media.[131]

Later, in 1975, Warner Bros. brought suit against Film Ventures International (FVI) over
Beyond the Door, which had also been released near the end of 1974, alleging that its main
character, also a possessed woman whose head spins around completely, projectile vomits
and speaks with a deep voice when possessed, infringed the studio's copyright on Regan.
Judge David W. Williams of the United States District Court for the Central District of
California held first that since Blatty had based the character on what he was told was a true
story, Regan was not original to either film and thus Warner could not hold a copyright on
Regan. Even if she had been a creation, she could not be copyrighted since she was
subordinate to the story. The writers of the FVI film had also further distanced themselves
from an infringement claim by having their possessed female, Jessica, be a pregnant adult
woman.[130]

However, he found that some of Beyond the Door's advertising graphics, such as an image of
light coming from behind a door into a darkened room, and the letter "T" drawn as a Christian
cross, were similar enough to those used to promote The Exorcist that the public could
reasonably have been confused into thinking the two films were the same, or made by the
same people, and enjoined FVI from further use of those graphics.[130]

Héritage

"The Exorcist has done for the horror film what 2001 did for science fiction", wrote the
Cinefantastique reviewer who had described the vomit-covered bathroom, "legitimizing it in
the eyes of thousands who previously considered horror movies nothing more than a
giggle".[78] In the years following, studios allotted large budgets to films like The Omen, The
Sentinel, Burnt Offerings, Audrey Rose and The Amityville Horror, all of which had similar
themes or plot elements and cast established stars,[132] who until then often avoided the
genre until their later years.[77]

The film's success led Warner to initiate a sequel, one of the first times a studio had done
that with a major film, launching a franchise. While many of the classic horror films of the
1930s, like Frankenstein and King Kong had spawned series of films over the decades, the
practice had declined in the 60s, and although there had been some exceptions, like Bride of
Frankenstein, most sequels had been considered secondary properties for the studios. The
other big-budget horror films made in the wake of The Exorcist also led to sequels and
franchises of their own.[77]

Accolades

The Exorcist was nominated for ten Academy Awards in 1974, winning two. It was the first
horror film to be nominated for Best Picture.[133]
 Award Category Nominees Result

Best Picture William Peter Blatty Nominated

Best Director William Friedkin Nominated

Best Actress Ellen Burstyn Nominated

Best Supporting Actor Jason Miller Nominated

Best Supporting Actress Linda Blair Nominated

Best Screenplay – Based on

Academy William Peter Blatty Won
[133] Material from Another Medium
Awards
Best Art Direction Bill Malley and Jerry Wunderlich Nominated

Best Cinematography Owen Roizman Nominated

Jordan Leondopoulos, Bud Smith,

Best Film Editing Nominated
Evan Lottman and Norman Gay

Robert Knudson and Chris

Best Sound Won
Newman

Best Motion Picture – Drama Won

Best Actress in a Motion

Ellen Burstyn Nominated
Picture – Drama

Best Supporting Actor –

Max von Sydow Nominated
Motion Picture
Golden
Best Supporting Actress –
Globe Linda Blair Won
Motion Picture
Awards[134]
Best Director – Motion Picture William Friedkin Won

Best Screenplay – Motion

William Peter Blatty Won
Picture

Most Promising Newcomer –

Linda Blair Nominated
Female

American Film Institute Lists

AFI's 100 Years...100 Thrills – #3

AFI's 100 Years...100 Heroes and Villains:

Regan MacNeil – #9 Villain

Alternative and uncut versions

Several versions of The Exorcist have been released:

The 1979 theatrical reissue was converted to 70mm, with its 1.75:1 ratio[135] expanded to
2.20:1 to use all the available screen width that 70mm offers. This was also the first time
the sound was remixed to six-channel Dolby Stereo. Almost all video versions feature this
soundtrack.

The network TV version originally broadcast on CBS in 1980 was edited by Friedkin, who
filmed an insert of the Virgin Mary statue crying blood to replace the desecrated statue
image. Friedkin himself delivered the demon's new, censored dialogue because he was
unwilling to work with Mercedes McCambridge again. The lines "Your mother sucks cocks
in hell, Karras, you faithless slime!" and "Shove it up your ass, you faggot" were redubbed as
"Your mother still rots in hell" and "Shut your face, you faggot". Several of Chris' lines were
redubbed by Burstyn, replacing "Jesus Christ" with "Judas Priest" and omitting the
expletive "fuck". Moments in which Regan masturbates with a crucifix and forces her
mother's head into her crotch are removed, along with most of the character's profanity.
There is also a brief alternative shot shortly after Merrin arrives at the MacNeil house of
Regan's face morphing into the demon's white visage (theatrical versions show only the
beginning of the transformation).

In some network versions Regan is not masturbating but having another fit.

The 25th Anniversary Special Edition DVD includes the original ending (not used in the
theatrical release) as a special feature: as Father Dyer walks away from the MacNeil
residence, he is approached by Lt. Kinderman. They talk briefly about Regan and the events
that took place and then Kinderman invites Dyer to the movies to see Wuthering Heights.
Kinderman quotes Casablanca, telling Dyer, "I think this is the beginning of a beautiful
friendship".

The Special Edition DVD contains a 75-minute documentary on the making of The Exorcist
titled The Fear of God, which features screen tests and additional deleted scenes.

The scene in which the demonic entity leaves Father Karras was originally achieved by
filming Miller in possession makeup, then stopping the camera and shooting him again
with makeup removed. This creates a noticeable jump in Father Karras' position as he is
unpossessed. The 25th anniversary video smooths over the jumpy transition with a subtle
computer morphing effect. This update was not featured in prints used for Warner Bros.
75th anniversary film festivals.

A new edition labeled "The Version You've Never Seen" (later re-labeled "Extended Director's
Cut") was released in theaters on September 22, 2000, and included new additions and
changes.
 In both the TV-PG and TV-14 rated network edits, the image of the obscenely defiled statue
of the Virgin Mary is intact, appearing on-screen for several more seconds in the TV-14
version. In the original TV airings, the desecrated statue was replaced by an alternative
version showing the face smashed in, but no other defilement. Edits may vary between
networks; non-premium cable networks usually show only edited/censored versions of the
film.

The 25th Anniversary DVD retains the original theatrical ending and includes the extended
ending with Dyer and Kinderman as a special feature (as opposed to the "Version You've
Never Seen" ending, which features Dyer and Kinderman but omits the Casablanca
reference).

The Exorcist: The Complete Anthology (box set) was released on DVD in October, 2006, and
on Blu-ray in September, 2014. This collection includes the original theatrical release of The
Exorcist; the extended version, The Exorcist: The Version You've Never Seen; Exorcist II: The
Heretic; The Exorcist III; and two prequels: Exorcist: The Beginning, and Dominion: Prequel to
the Exorcist. Morgan Creek, the current owner of the franchise, produced a television series
of Blatty's novel, which is also the basis for the original film.

In 1998, Warner Bros. re-released the digitally remastered DVD of The Exorcist: 25th
Anniversary Special Edition. The DVD includes the BBC documentary, The Fear of God: The
Making of The Exorcist,[136] highlighting a never-before-seen original non-bloody variant of the
spider-walk scene.

To appease the screenwriter and some fans of The Exorcist, Friedkin reinstated the bloody
variant of the spider-walk scene for the 2000 theatrical re-release of The Exorcist: The Version
You've Never Seen. In October 2010, Warner Bros. released The Exorcist (Extended Director's
Cut & Original Theatrical Edition) on Blu-ray, which includes behind-the-scenes footage of the
spider-walk scene. Linda R. Hager, the lighting double for Linda Blair, was incorrectly credited
as the stunt performer. In 2015, Warner Bros. finally acknowledged that stuntwoman Ann
Miles is the only person who performed the stunt.

Suites

The film has gone on to spawn multiple sequels and an overarching media franchise
including a television series.

Direct sequel

In August 2020, it was announced that a reboot of the film from Morgan Creek Entertainment
is slated for release in 2021.[137][138] The announcement received a generally negative
reaction from audiences loyal to the original and resulted in a petition being launched to have
the project canceled.[139][140] In December 2020, Blumhouse and Morgan Creek announced
that the reboot would be a "direct sequel" to the 1973 film and that David Gordon Green
would direct.[141][142] The film is scheduled to be released on October 13, 2023.[143]

Travaux connexes

Blatty's script for the film has been published on several occasions. In 1974 he published the
book William Peter Blatty on The Exorcist: From Novel to Film, which included the first draft of
the screenplay.[144] In 1998 the script was published in an anthology titled The Exorcist/Legion
- Two Classic Screenplays,[145] and again as a standalone text in 2000.[146]

Voir également

1973 in film

List of American films of 1973

List of film and television accidents

List of highest-grossing films in the United States and Canada

List of horror films of 1973

List of films considered the best

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Lectures complémentaires

The Exorcist essay by Daniel Eagan (https://www.google.com/books/edition/America_s_Fil

m_Legacy/deq3xI8OmCkC?hl=en&sa=X&ved=2ahUKEwiG2-zJzpHsAhUdg3IEHexyAtEQiKU
DMBZ6BAgHEAQ) in America's Film Legacy, 2009–2010: A Viewer's Guide To The 50
Landmark Movies Added To The National Film Registry In 2009–10, Bloomsbury
Publishing USA, 2011, ISBN 1441120025 pages 139–142

Liens externes

Wikimedia Commons has media related to The Exorcist (film).

Wikiquote has quotations related to: The Exorcist (film)

Official website (https://www.warnerbros.com/exorcist)

The Exorcist (https://www.allmovie.com/movie/v16331) at AllMovie

The Exorcist (https://www.boxofficemojo.com/movies/?id=exorcist.htm) at Box Office

Mojo

The Exorcist (https://www.imdb.com/title/tt0070047/) at IMDb

The Exorcist (https://www.metacritic.com/movie/the-exorcist) at Metacritic

The Exorcist (https://www.rottentomatoes.com/m/exorcist) at Rotten Tomatoes

The Exorcist (https://www.tcm.com/tcmdb/title/36448/enwp) at the TCM Movie

Database
 The Exorcist at filmsite.org (http://www.filmsite.org/exor.html)

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