Everybody remembers where they were the first time they saw The Exorcist, and rightfully so. Almost 50 years after its first theatrical run, the film has been, and will continue to be one of the most terrifying films of all time. While The Exorcist’s legacy was claimed in part by the forward-thinking use of practical effects, expertly placed jump scares, and an overbearing sense of tension that claims the viewer’s consciousness from the first minute through the credits over two hours later, there is also a layer of subtlety that can get glossed over on the first viewing. In many instances, it’s the silent, unspoken moments that are the most unnerving, and it’s the subtle nature of these exchanges that makes The Exorcist all the more enthralling.
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“Don’t look behind you”
Warner Bros.
We’ve all heard this sentiment expressed in horror movies before. In fact, it’s a common trope. The Exorcist, however, brings this sentiment to a whole new level. When Father Lankester Merrin sees a horror so nameless and powerful that he just up and leaves Iraq in the middle of the archeological expedition he had been working on for quite some time. What makes this sequence so harrowing is that the audience isn’t quite sure what they’re getting into yet, but Merrin knew what he saw, and knew it was time to go. While he’s gathering his bearings, and leaving, he simply does not look back. He’s sure that whatever he encountered was evil incarnate, and knows he needs to get as far away as possible.
Respecting the Red Tape
Homicide detective William F. Kinderman is at friendly odds with Father Damien Karras in what he thinks is a murder investigation at the time. Karras, a man of (dwindling) faith in no uncertain terms, understands what’s at stake with a murder investigation, but also knows that whatever is told to him in confidence as a psychiatric priest must stay in confidence. The back and forth on their walk shows a mutual respect and need to cooperate, but also a slight resentment toward one another for not just being out in the open and transparent with one another.
The Demon is a Liar
The audience is told explicitly that “The demon is a liar. He will lie to confuse us. But he will also mix lies with the truth to attack us.” We see this concept play out mostly with Father Karras, who is on the verge of losing his faith. The death of his mother also had a severe impact on his state of mind. While interviewing Regan, who at this point had been bedridden, Karras is told facts about his mother that the girl wouldn’t have known, and he continues to be manipulated by the guilt he had over putting his mother in a home, only for her to be released and die alone in her apartment. This tactic by the demon may have been used to get Karras to sacrifice himself for the sake of Regan, but this is of course open to interpretation. The combination of manipulation and facing the unknown is what resonates most.
Don’t Play With the Ouija
Before the audience knows that Regan is possessed by a demon, the ouija board scene plays out. When Chris MacNiel spots the Ouija board in the laundry room and her daughter Regan (portrayed by Linda Blair) introduces Captain Howdy as the conduit she’s speaking to, it’s established that this has been going on for at least a little while. When pressed, Regan states that she’s been playing with Captain Howdy for a while, but Chris pays no mind to her daughter, who has an overactive imagination, and hasn’t yet connected the dots to the Ouija board, and the noises in the attic. This raises the question, how long has the demon been present. Has this been only going on for a few weeks, or has he been slowly preying on Regan for months?
A Score to Settle
It’s simply not good horror without the right film score, and Krzysztof Penderecki was the man tasked with creating some of the most iconic music we’ve seen with the franchise. From the title card to the credits, the tightly wound violin plucking, and the recurring solitary circular piano melody set the tone in a way that’s unrivaled. The film score juxtaposed with scenes of tense silence or jarring noise creates a mood that only the masters can replicate.
Leave it to the Loose Ends
A number of questions go unanswered in The Exorcist, and it’s fitting for a movie that dives heavily into the unknown. It’s never been made clear if the church vandalism was done by the demon, or by somebody who was upset with the church as an institution. What did Father Karras accomplish by sacrificing himself to save Regan? It’s safe to assume that the demon Pazuzu is occupying some sort of space after being released from Karras’ body, but the audience is left wondering what will happen next, or if the story has truly been resolved. Time has shown us sequels that try (and fail considerably) to address these issues, but as a standalone film, The Exorcist leaves the audience in a state of shock and awe that will require quite a bit of soul-searching to find closure.
