Thursday, May 25, 2017
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Monday, May 1, 2017
“The movie is one of the greatest and most hypnotic ever made, a work of sheer genius from the first frame until the last.” – taken from the original Cinemaphile review of “The Exorcist”
So well-known and influential are the underlying devices of William Friedkin’s “The Exorcist” that few among modern filmgoers now remember the power of their source. Perhaps the most notorious of all horror films, it was the product of a time still concealed in the facade of restraint when it came to visiting the devious corners of a filmmaker’s mind. Shock was always possible – as had been most apparent by Hitchock’s “Psycho,” or Wes Craven’s “Last House on the Left” – but rarely did it stick so persistently in the mind, invariably undermining one’s sense of individual control. We could rationalize how to get away from a crazy killer or how to avoid a menacing threat lurking around the corner, but how did one evade being possessed by a demonic entity? What sense of recovery would have been palpable? Some argue that implication can singlehandedly be credited with changing the trajectory of the entirety of the genre, which by that point had been dominated by homicidal minds or ambitious monsters in lurid fantasy. Here was a movie about real people, real situations and real considerations of faith, in which an innocent teenage girl became the unknowing victim of spiritual violence that stretched beyond existing moral implications. Few among those early viewers can say they walked away from the picture unchanged by the experience, and those that claim otherwise may not be the sorts you prefer to keep company with.