If there is one genre in film the Academy likes to ignore, it’s horror. Granted, there aren’t all that many great horror films that have stood the test of time, but even the great Universal monster films of the ‘30s were largely ignored. The trend continues to this day, with the one shining exception being 1991’s The Silence of the Lambs, which won all five of the major awards, including Best Picture. However, before Jonathan Demme’s fantastic thriller, there was William Fiedkin’s The Exorcist. Friedkin was a hot director in the early ‘70s, thanks to The French Connection, which won him and star Gene Hackman Oscars. The crime film also took home the 1971 Best Picture Award. He followed that success in 1973 with an adaptation of William Peter Blatty’s novel, The Excorcist, which was nominated for ten awards, including Best Picture. It wound up winning just two, one for Best Sound and the other for Blatty’s adapted screenplay.
Like most horror movies, trying to write a synopsis is tough because you don’t want to spoil the climax, but The Exorcist has so many layers and well-defined characters that there is so much to write about. The film tells the somewhat true story of Regan (Linda Blair), an actress’ daughter who becomes possessed by the Devil while her mother, Chris MacNeil (Ellen Burstyn) is in Washington, DC shooting a film.She visits doctors, but they all give her the run-around until it is suggested that she try to get an exorcism. This story is juxtaposed with the seemingly un-releated story of Father Damien Karras (Jason Miller), a former boxer and now a psychiatrist for the Church. He begins to question his faith as his mother dies. After a violent attack from the spirit Puzu (voiced by Mercedes McCambridge) inside Regan, Chris finally decides to go to the Church, visiting with Damien. He is initially skeptical about performing an exorcism, until he sees Regan firsthand. At that point, his superiors call on Father Lankester Merrin (Max von Sydow), the only experienced exorcist they know of, to perform the exorcism.
What makes The Exorcist so different than many horror films is the same reason why The Silence of the Lambs is so good. The films are both filled with incredibly strong characters, unlike the cliched, one-dimensional screaming teenagers and monsters who populate modern horror cinema. In The Exorcist, the character that captivated me the most was Jason Miller’s Father Karras. Miller, who was nominated for a supporting Oscar for his role, plays a conflicting man, an ex-boxer who spends the majority of the film questioning what exactly he is supposed to do with his life, especially when he isn’t there to be with his mother the day she dies. It’s unbelievable to know that this is Miller’s first appearance in a film and he is able to carry himself alongside the veteran actress Ellen Burstyn, who was coming off brilliant performances in The Last Picture Show and The King of Marvin Gardens. Linda Blair also gives a surprisingly strong performance as Regan.
These performances are able to keep the audience’s attention away from the cheesy-looking effects. It is a rather effects-heavy film, but most of it isn’t noticeable because Friedkin directs the film in such a way that our attention is directed towards these characters.
The Exorcist is a study of multiple characters who come together for a true good versus evil film. It does not attack religion nor is a religious film. It merely shocks us, forcing us to question just what we believe when we are presented with extraordinary circumstances. Blatty’s story is expertly written to make the final exorcism one of the scariest and shocking 20 minutes committed to film.
The Exorcist won Oscars for Best Sound and Best Adapted Screenplay. It was nominated for another eight, including Supporting Actor (Miller), Supporting Actress (Blair), Lead Actress (Burnstyn), Cinematography, Director, Editing, Art Direction and Best Picture.