by Tyler Smith
Most Horror Movies that feature an outlandish story contain heavily-stylized worlds and characters, meant to elicit terror and dread from the audience. Many of the best films in the genre are so drenched in atmosphere that, while undeniably frightening, they clearly don’t take place in a recognizable world. This stylization is so associated with horror, that those few movies that strive for realism can be a little jarring. What might seem impossible can become eerily feasible in these types of films. Such seems to be the organizing principle of William Friedkin’s 1973 classic The Exorcist.
Set in Georgetown, the story revolves around a single mother (Ellen Burstyn) and her young daughter (Linda Blair), who begins to display bizarre and self-destructive behavior. After speaking to several doctors and therapists, it is eventually determined that the little girl is possessed by a demon. To fight this evil entity, the mother calls in a professional exorcist (Max von Sydow) and a younger priest (Jason Miller). The spiritual battle that ensues is as unblinking as it is terrifying.
Normally, a film about demons and devils is made with stylistic flourishes to better capture the surreal nature of the story. Friedkin’s brilliance is in understanding that spiritual explanations are more harrowing when they are earned. The various medical tests that the little girl endures take up a good portion of the film, as if Friedkin is saying “See? I’m doing everything I can to rule out the supernatural.” By the time we arrive at a spiritual conclusion, we do so because, like the characters, we are left with no other explanation. This methodical approach to the problem, both on the part of the director and the protagonist, is what sells the sensationalism required to tell a spiritual story. And the film is much more frightening as a result. Because everything just seems horribly logical.
And indeed the things that we see and hear in this movie are so extremely graphic, they border on the obscene. Christians certainly think so. Ever since the film’s release, people have been warning viewers about the potential demonic influence that The Exorcist can have. Young and old alike have kept their distance from this movie, to avoid any risk to their spiritual and mental health.
While I do understand that demonic possession films – and horror movies in general – are not for everybody, I think it is unfortunate that so many have completely dismissed this movie as having no redeeming value, often without even seeing it. Yes, this may be a film that depicts some of the most blasphemous interactions in the history of film, but it doesn’t do so lightly. Far from being exploitative, the movie is a thoughtful – if not downright meditative – exploration of good and evil. And this is no bland, generic, non-committal version of either one, but is very specifically Christian in its concepts and terminology. The demon is not compelled by some vague sense of goodness; it is compelled by the power of Christ. This carries on to the film’s climax, which some might view as a loss, but astute viewers can easily associate with the nature of Christ’s sacrifice.
In the end, The Exorcist is an uncompromising film, just as memorable for its drama as it’s horror. It desires to be sincerely engaged with the spiritual concepts it contains. This is why the film has remained a staple in the world of horror – and indeed the world of cinema – for decades. It manages to successfully be what so many horror movies have no interest in. It is both terrifying and meaningful.
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