Another crewmember recalled returning after three days of sick leave to find Friedkin still shooting the same scene. On the first day of shooting, he had a wall removed to create space for the dolly to back up from a shot of bacon frying, then sent the prop master to look for preservative-free bacon, difficult to find at the time, since he did not like the way it curled. But when filmed, the soup hit his face, resulting in his disgusted reaction.
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The film suffered production problems, particular cast and crew health issues, and was beset by regular script rewrites and personnel changes. In one scene, Sigourney Weaver’s character, possessed by an evil spirit, begins to speak with a deep, husky voice and levitates above her bed as Bill Murray’s character talks with her. Ghostbusters, in 1984, included The Exorcist among the horror films it referenced.
Father Merrin’s arrival scene
Due to frequent breakdowns, only five shots could be finished each day; the complete scene, filmed in script order, took a month to complete. The film’s opening sequences were filmed in and near Mosul, Iraq, at a time when the US and Iraq did not have diplomatic relations; Warner Bros. feared that Friedkin and his crew might not be able to return. The scene where Father Karras listens to the tapes of Regan was filmed in the basement of Fordham University’s Keating Hall, where O’Malley was an assistant professor of theology. The MacNeil house was, unlike house interiors in horror films such as Psycho, designed to look normal and inviting, but lit to suggest an ominous presence. He was in charge of filming every scene except for the Iraqi prolog, shot by Billy Williams. Unsatisfied with O’Malley’s performance as Dyer ministers to the dying Karras at the end of the film, he slapped him hard across the face to generate a deeply solemn yet literally shaken reaction for the scene, offending many Catholic crew members.
While most directors would have been satisfied to smooth out the scene in post-production, Friedkin wanted it done in longer takes. After the scene where the ceiling cracks it was replaced with one attached to the walls, requiring a hole be cut in it for the rig to go through when Regan levitates, the most challenging shot in the sequence. A $50,000 ($284,000 in 2024) refrigeration system was installed to cool the set to −20 °F (−29 °C). Friedkin wanted the bedroom set to be cold enough to see the actors’ breath, as described in the novel. Other scenes used the interiors of Dahlgren Chapel and the university president’s office, used as the archbishop’s office. Burstyn’s first scene, where she lectures the protesters, was shot on the steps of Healy Hall; she is also seen walking down the steps of Lauinger Library.
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Cast
Regan’s birthday is coming on Sunday – she will be a ripe, pubescent 13 – and they plan for the special sightseeing outing. Other priests, doctors, lawyers – I talk to them all. One of the curious onlookers among a crowd of students, a Jesuit priest (in black) from the university, named Father Damien Karras (Jason Miller in his debut screen role), smiles amusedly after overhearing their conversation.
There’s a striking image early in the film that has the craggy von Sydow facing an ancient, evil statue; the image doesn’t so much borrow from Bergman’s famous chess game between von Sydow and Death (in “The Seventh Seal”) as extend the conflict and raise the odds. And the casting of Max von Sydow as the older Jesuit exorcist was inevitable; he has been through so many religious and metaphysical crises in Bergman’s films that he almost seems to belong on a theological battlefield the way John Wayne belonged on a horse. The film contains brutal shocks, almost indescribable obscenities. I’ve always preferred a generic approach to film criticism; I ask myself how good a movie is of its type. It may be that the times we live in have prepared us for this movie.
One Black patron said, when asked why that might be, that they “relate to voodoo and witchcraft and that kind of devil stuff … Many still believe in black magic, especially those from Haiti and the Deep South.” The New York Times reported that the audience lined up to see the film was between one-quarter and one-third Black at a theater on the mostly White Upper East Side of Manhattan showing the film. Within its first month, it had grossed $7.4 million ($36.5 million in 2024) nationwide; studio executives expected it to surpass My Fair Lady as the studio’s most financially successful film. The film was not previewed for critics and initially booked for 30 screens in 24 theaters, mostly in large cities and metropolitan areas. Both the theatrical and extended versions of the film were released on Ultra HD Blu-ray on September 19, 2023, to mark the film’s 50th anniversary. Blatty was pleased that the scene was restored, saying it was “the way it ought to be seen”.
Religious response
It has had several sequels and was the highest-grossing R-rated horror film (unadjusted for inflation) until 2017’s It. The cultural conversation around the film helped it become the first horror film to be nominated for the Academy Award for Best Picture, as well as nine others. At the end of its original theatrical run, the film grossed $193 million, and has a lifetime gross of $441 million with subsequent re-releases. Production took twice as long as scheduled and cost almost three times the initial budget; the many mishaps have led to a belief that the film was cursed.
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- Since the set lighting warmed the air, it remained cold enough to film for only three minutes at a time.
- Many children were allowed to see it, leading to charges that the Motion Picture Association of America (MPAA) had accommodated the studio by giving the film an R rating instead of an X rating to ensure the troubled production its commercial success.
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- The Exorcist has had a lasting effect on the horror film genre and become a cultural reference point.
Chris turns away in horror, shocked by the revelation. By the time he hit M Street, he broke his neck. Sharon drags Chris from the scene to remove her from the horrifying cries of her daughter.
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American scripts
For the look of the possessed Regan, Friedkin and Smith drew inspiration from the crucifix scene. Smith, the makeup artist, created some key special effects, particularly to make von Sydow look 30 years older in facial close-ups. According to Miles, Hager, her lighting double, could not do the scene even with the harness, which Vercourtere had hoped to market afterwards. He said the scene was cut because the harness could not be erased in post-production. Websites devoted to the film in the early 21st century gave credit to Sylvia Hager after the 2000 re-release. It was restored in the 2000 director’s cut, albeit with a “muddy, grainy” look that one critic said made the scene seem superfluous, using an added shot showing Regan with blood flowing from her mouth.
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Crucifix scene
In a final act of sacrifice, Karras throws himself out of a window, falling to his death and taking the demon with him. Karras, enraged and desperate, invites the demon to possess him instead. The battle takes a toll on both priests, with Merrin suffering from heart problems. Father Merrin and Father Karras begin the exorcism, which leads to a series of terrifying and violent confrontations with the demon. Karras agrees to observe Regan and soon becomes convinced that she is possessed by a demon.
112 code points; 111 assigned characters; 24 in the MES-2 subset. 256 code points; 233 assigned characters, all in the MES-2 subset (#670 – 902). 144 code points; 135 assigned characters; 85 in the MES-2 subset. The remaining 43 belong to the common script.The 33 characters classified as ASCII Punctuation & Symbols are also sometimes referred to as ASCII special characters. As of Unicode version 17.0, there are 297,334 assigned characters with code points, covering 172 modern and historical scripts, as well as multiple symbol sets.
British film historian Sarah Crowther believes stories of the curse were disseminated by the studio, likening it to horror producer William Castle’s elaborate marketing gimmicks. Several years after the film’s release, Paul Bateson, the technician in the angiography scene, was convicted of murdering journalist Addison Verrill. Maliaros (Mrs. Karras) also died, like her character, before the film was finished. Other people connected with the film, or their family members, died—MacGowran a week after completing his scenes as Dennings. She developed scoliosis, with long-term health effects, as well as a lifelong aversion to cold from all her time in the refrigerated bedroom set wearing only a nightgown and long underwear.
The next scene was often cited as being one of the most objectionable at the time of the film’s release. On the Georgetown University campus, one of the Jesuit priests discovers that the white marble statue of the Virgin Mary has been desecrated with red paint and other materials, and has taken on the appearance of a harlot. Many audience members found the angiography to be the film’s most unsettling scene.u Some Catholic viewers, particularly those who had lapsed in their faith but also including some priests, experienced spiritual crises. Some Unicode characters, such as Turkish letters, do not have HTML names, so a numerical reference is sometimes the only option using HTML. To correctly obtain special characters which have decimal code points above 255, another option (not available in Internet Explorer) is to use or type a character’s hex equivalent code point first, followed by pressing the Alt+X keys. Many special characters, however, for example λ (small lambda), cannot be obtained from their decimal code 955 (or 0955), by using it with the Alt key inside Notepad or Internet Explorer).
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Another writer there blamed the reactions on the mainstream audience’s general unfamiliarity with horror-movie conventions, speculating that “these people hadn’t gone to see a monster movie since 1935.” One writer at Castle of Frankenstein took note of Friedkin’s pride in the film’s sound, which theaters played at maximum volume, and wondered if its low frequencies had induced or amplified patrons’ anxiety. In all he believed scenes depicting Regan’s possession had surfaced a latent condition. The Rev. Richard Woods, a professor at Loyola of Chicago, said most of his calls were from lapsed Catholics for whom the film resurfaced their religious education prior to Vatican II.v He said, “It stirs up memories of all those descriptions of hell that you got from nuns.” Viewers seemed particularly disturbed by the crucifix scenes.t Some theaters arranged for ambulances to be on call. Many had never waited in line that long for a movie before, or not in a long time.