The Exorcist Full Movie 1973
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The year 1973 began and ended with cries of pain. It began with ’s “,” and it closed with ’s “The Exorcist.” Both films are about the weather of the human soul, and no two films could be more different. Yet each in its own way forces us to look inside, to experience horror, to confront the reality of human suffering. The Bergman film is a humanist classic. The Friedkin film is an exploitation of the most fearsome resources of the cinema. That does not make it evil, but it does not make it noble, either. The difference, maybe, is between great art and great craftsmanship.
Bergman’s exploration of the lines of love and conflict within the family of a woman dying of cancer was a film that asked important questions about faith and death, and was not afraid to admit there might not be any answers. Friedkin’s film is about a twelve-year-old girl who either is suffering from a severe neurological disorder or perhaps has been possessed by an evil spirit. Friedkin has the answers; the problem is that we doubt he believes them.
We don’t necessarily believe them ourselves, but that hardly matters during the film’s two hours. If movies are, among other things, opportunities for escapism, then “The Exorcist” is one of the most powerful ever made. Our objections, our questions, occur in an intellectual context after the movie has ended.
During the movie there are no reservations, but only experiences. We feel shock, horror, nausea, fear, and some small measure of dogged hope. Rarely do movies affect us so deeply.
The first time I saw “Cries and Whispers,” I found myself shrinking down in my seat, somehow trying to escape from the implications of Bergman’s story. “The Exorcist” also has that effect--but we’re not escaping from Friedkin’s implications, we’re shrinking back from the direct emotional experience he’s attacking us with. Download fifa 12 demo pc free. This movie doesn’t rest on the screen; it’s a frontal assault.
The story is well-known; it’s adapted, more or less faithfully, by from his own bestseller. Many of the technical and theological details in his book are accurate. Most accurate of all is the reluctance of his Jesuit hero, Father Karras, to encourage the ritual of exorcism: “To do that,” he says, “I’d have to send the girl back to the sixteenth century.” Modern medicine has replaced devils with paranoia and schizophrenia, he explains. Medicine may have, but the movie hasn’t. The last chapter of the novel never totally explained in detail the final events in the tortured girl’s bedroom, but the movie’s special effects in the closing scenes leave little doubt that an actual evil spirit was in that room, and that it transferred bodies.
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Is this fair? I guess so; in fiction the artist has poetic license.
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It may be that the times we live in have prepared us for this movie. And Friedkin has admittedly given us a good one. I’ve always preferred a generic approach to film criticism; I ask myself how good a movie is of its type. “The Exorcist” is one of the best movies of its type ever made; it not only transcends the genre of terror, horror, and the supernatural, but it transcends such serious, ambitious efforts in the same direction as ’s “.” Carl Dreyer’s “” is a greater film--but, of course, not nearly so willing to exploit the ways film can manipulate feeling.