Last night I attended one of the nationwide Fathom screenings of THE EXORCIST (1973), featuring the new documentary TO HELL AND BACK, which charts the making of the classic horror film. Never having attended a Fathom event before (it’s a bit like watching television in a theatre, with digital image projected on select screens around the country), I am pleased to report that the picture quality was very impressive: with colors that were sharp and clear, the film looked as good as it ever has. It is also reassuring to note that not too much digital restoration has been performed: the photography retains the slightly grainy 1970s look that lends a documentary atmosphere to the proceedings. Assuming that the upcoming Blu-ray disc and iTunes download (which become available on Tuesday, October 5) are transferred from the same source, this bodes very well: THE EXORCIST has been preserved, not cosmetically embalmed.
I was also pleasantly surprised by the documentary TO HELL AND BACK. Not that I expected it to be bad, but after decades of reading about THE EXORCIST, I doubted there was much new to learn – especially after the wonderful behind-the-scenes features on the 25th anniversary DVD. However, TO HELL AND BACK has a devilishly good ace up its sleeve: besides interviews with producer William Peter Blatty, director William Friedkin, actress Linda Blair, and cinematographer Owen Roizman, the documentary includes never-before-seen screen tests and behind-the-scenes footage shot by Roizman on the set, depicting how many of the effects were done (the projectile vomiting – a brief startling shock in the film itself – goes on for what seems like minutes during rehearsals). Again, the presence of this short but insightful featurette bodes well for the home video release; though I already own two versions on DVD (the 1973 original and the 2000 “Version You’ve Never Seen”), I am seriously considering triple-dipping on this one.
All that, however, is secondary to the experience of revisiting THE EXORCIST on the big screen, along with an appreciative audience. In a way, the screening was something of a personal achievement for me: it was the first time I was able to sit through the film without becoming seriously disturbed. (For the record, I almost achieved this in 2000, but then the new footage – i.e., the Spider Walk – showed up, and my nerve faltered once again.)
I suspect that modern audiences will wonder what all the screaming was about; is this really the film that allegedly made people pass out and/or throw-up? But as William Friedkin told me, people who go just to get off on the effects, don’t. THE EXORCIST works because it takes a serious approach, asking you to buy into the possibility of possession – and, by extension – the existence of God and the Devil – on a deep, dramatic level.
Now that that shocks have worn off after all the years, it is pleasantly ironic (for those of us who were there when the film made its debut) to note how subtle THE EXORCIST is, in many ways. There are long stretches when little happens, except for the recurring sound of rustling in the attic. Big chunks of screen time are occupied with the personal lives of the characters, such as Father Damien Karras’s trip to see his mother in New York. Much of the horror derives not from demonic possession but from the medical science used in a vain attempt to locate the etiology of Regan’s illness.
I also remain impressed with the way the William Friedkin managed to avoid going archetypal while depicting THE EXORCIST’s battle between Good and Evil. There is a fine review of Moby Dick – written by D. H. Lawrence, I think – that praises Melville for keeping the novel grounded in the semblance of a believable story about a hunt for a whale, even as the book piles on metaphors and symbolism that could have rendered the whole tale as an abstract allegory. Friedkin achieves something similar here: THE EXORCIST, we can see clearly now, is a film about people, who feel lost and helpless, who are trying to do their best, whether or not they are certain that God is watching over them. The film has a very scaled-down, credible tone, quite different from the adult fairy tale stylings of, for instance, HORROR OF DRACULA.
This leads me to my final point. From time to time, some critic will complain that THE EXORCIST’s view of evil is too small scale to mean anything (Stephen Thrower in his book Beyond Terror: The Flims of Lucio Fulci, comes to mind). Why, they ask rhetorically, does the Devil waste time tormenting a little girl in a room? The very fact that the question is asked shows that these viewers have missed the point.
Leave aside for a moment that the revised 2000 version (which is the one screened last night, which will be available on Blu-ray along with the original cut) offered an explanation in a restored bit of dialogue between Father Merrin and Father Karras. Focus instead on the entire vision of the world as it is presented in THE EXORCIST.
Everywhere the camera turns, we see examples of Satan’s work: the former alter boy, now a drunk sitting in his own urine and vomit in a subway; the pathetic inmates of an insane asylum, staring into space, helpless and lost in their own psychosis; the priest-psychiatrist – Karras – who has lost his faith because he has seen too many wounded souls that he could not repair. As if that were not enough, THE EXORCIST throws in a film-within-a-film, depicting campus unrest (with hints of potential political violence). Although never mentioned, the echo of Vietnam reverberates silently somewhere in the distance, and the the Georgetown setting tacitly reminds us of corruption in Washington, D.C. (this was the era of Watergate). Evil, if we only open our eyes and look, is everywhere present; the Devil’s fingerprints are scattered everywhere throughout the film, as the Evil One strives to breed despair in the human race.
Even if we do not believe in a literal Devil, the symbolism is clear: Evil is at work in the world. What happens to Regan Theresa MacNeil is only one manifestation, a small microcosm that brings the larger world into clearer focus. That’s what good dramas do. Although I dislike the oft-heard claim “It’s not a horror film,” in the case of THE EXORCIST I can accept it to the extent of saying, “It’s not just a horror film.” As shocking as it once was, hopefully we can now see more clearly that it truly is, as Friedkin has often said, a film about the mystery of faith – a faith all the more mysterious when set against the weary world view depicted in THE EXORCIST.