Added footage does little to improve on fright classic 'Exorcist'

By Lyle Henretty

Daily Arts Writer

When you leave a good horror movie, you should be able to talk to your friends about the parts of the film that really scared you. This is impossible to do when you walk out of "The Exorcist" because you are still scared. It does not simply set you up and then make you jump. This movie eats into your mind and soul. For at least two hours, whether you are Catholic, Atheist or Ayn Rand, you will believe in the devil. This is, without a doubt, one of the top two or three most terrifying experiences ever put on celluloid.

Now, saying that, this new theatrical version loses half a grade for what I like to call "screwing with a good film to make money" (also known as George Lucas Syndrome). The restored 11 minutes of footage, for the most part, does very little good or bad to the original film.

The much touted "spider walk" scene, which was originally cut for time, comes off looking gimmicky. At no other point in the film does the demon show off in this way and it really isn't that scary. The other added footage, notably a conversation between the priests mid-exorcism and another minute or so on the end, seem boring and throw off the film's very deliberate pacing.

Another meddle sure to anger the purists is the odd addition of "subliminal" shots of, presumably, the devil himself. They pop up every so often, so quickly sometimes you're not even sure you saw them. It was reminiscent of "Halloween," where the killer's mask was viewed briefly, a device used to build paranoia. I'm almost embarrassed to admit that this did add to my own building tension, but I had to draw the line at a computer generation of this face appearing over Regan's face at a critical moment.

These small gripes aside, this still remains a brilliant fright film, character piece and religious study. For those uninitiated, "The Exorcist" is the story of young Regan MacNeil (Linda Blair), who becomes the vessel of wrath containing none other than Satan himself. Her mother, actress Chris MacNeil (Ellen Burstyn), after exhausting all of her other options, enlists the help of faith-impaired psychologist-priest Father Karras (Jason Miller) to perform an exorcism. The Catholic Church then sends in the big guns, in the form of Father Merrin (Max Von Sydow), to run the show.

This simple explanation does not do justice to the complex work of all involved. Burstyn does an elegant slow burn as a mother feeling as much pain as her child. Miller becomes Father Karras and his final redemption is both moving and tragic. When confronting the demon, Von Sydow is so strong and confident the viewer feels momentarily safe, only to become even more afraid as the actor shows the fear behind his strength. As for Blair, the actress probably destroyed her career by playing her part so convincingly. Blair is so amazing that she completely disappears, and we see only the monster. For it is Blair's performance that has kept many a viewer sleeping with the lights on since the film's original release in 1973.

What is truly amazing for a movie older than I am is that it can seem so refreshing in today's over-saturated horror market. "The Exorcist" takes itself seriously. There are no ironic nods to other films, no in-jokes or winks at the camera. Instead, "The Exorcist" allows suspense to build simply by force of its subject and plot. The slow pacing builds tension, and brings the audience near the breaking point. So please, even if you have seen this movie before, take up this opportunity to see it as it was meant to be seen. The print has been re-mastered and the soundtrack redone. The devil has never looked so good.

Courtesy of Warner Brothers

Father Merrin (Max Von Sydow) attempts to purge Regan of demons in 'The Exorcist'

Courtesy of Warner Brothers

Clearly, Regan is not happy.