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.
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 <email@example.com>
Christian evangelist Billy Graham claimed an actual demon was living in the celluloid reels of this movie. See more »
When Karras first leaves the McNeil household we see Kindermann from his car looking at a person behind the curtains which is implied to be Regan despite the fact she was strapped to her bed. That's the point of the scene: That Kinderman sees what should not be possible: Regan moving freely about despite being ill and strapped to the bed. 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 network TV version originally broadcast on CBS in the '80s was edited by William Friedkin, who also shot a replacement insert of the Virgin Mary statue crying blood, replacing the shot of a more obscenely desecrated statue. Friedkin himself spoke the Demon's new, censored lines; he was unwilling to work with Mercedes McCambridge again. The lines "Your mother sucks cocks in hell, Karras" and "Shove it up your ass you faggot" were re-dubbed by Friedkin as "Your mother still rots in hell" and "Shut your face, you faggot." Several of Ellen Burstyn's lines were also re-dubbed by the actress, replacing "Jesus Christ" with "Judas Priest" and omitting the f-word. Most of the profanity spoken by Regan is also cut out, as are the shots of her being abused with a crucifix and forcing Chris' face into her crotch. There is also a slightly alternate shot of Regan's face morphed into the white face of the demon just after Merrin arrives at the MacNeil house (the theatrical versions only show the beginning of the transformation). This network TV version is rarely if ever used for TV and cable showings today. 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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