THE EXORCIST

US, 1973, 122 minutes, Colour.
Ellen Burstyn, Max von Sydow, Lee J. Cobb, Kitty Winn, Jack Mac Gowran, Linda Blair, Jason Miller.
Directed by William Friedkin.

The Exorcist is an intense horror film, more sophisticated and contemporary than vampire chillers and monsters. Without experience for comparisons, we might find this a plausible hypothesis for what devil possession could be like and what explanations (including supernatural) are possible. The physical torment and corruption of young Regan parallel the faith torment and depression of Fr. Karras, with Fr. Merrin attempting to expel the evil from both. For audiences who believe in God, the film makes points about fear, evil, the Church, etc. quite interestingly. Well-acted, photographed (especially special effects), the film is also stomach-turning in some visual effects and language; audiences could find the film engrossing.

1. Response during the film? Did you like it? Did you enjoy it? Why? What was interesting and attractive? What repellent? What value is there in making and publicizing a film on this theme?

2. Did the film deserve its reputation? Why such violent reaction in America on its first release? Does this say anything about the film? Publicity? American audience reaction?

3. Was this an intelligent exploration of good and evil in the modern world? Was the devil a credible personality in this film? Does devil-possession seem possible? Do you think that audience response would depend on faith in God and presuppositions about sin, evil, the devil? Why? If a person did not believe in God, how credible would the film seem? Would it seem merely a horror film?

4. How well was the film made? The use of location photography and colour, of music and sound, special effects? Was the structure satisfactory - the prologue in Iraq, the world of Georgetown and the gradual moving into the possession? The inter-cutting of Fr. Karras's story? How impressive were the details and their build-up?

5. What was the purpose of the prologue? How satisfying was it in itself? The archaeological work and atmosphere for the rest of the film? Satan and devils in old civilizations? The influence of superstition and belief in evil of the past? The question about delving into evil in the present? The possibility of evil in the present world because of the past? The visual significance of the confrontation with Fr. Merrin and the statue? The dogs barking as a vocal image of the devil? Our sympathy for Fr. Merrin at this stage of the film and its use later?

6. Did the film communicate well the world of Georgetown? The University atmosphere, the sophistication of the American world, the film world and the impact of the film-making, the parties and social life, the worldliness of Georgetown? Did diabolical possession seem real or possible in such a nonreligious world? The Christian overtones with presence of the Jesuits? How well was this done?

7. How did the film present Chris McNeil? and Regan in this Georgetown world? Their ordinariness and joy together, the household with Sharon, Carl and others? However, the marital difficulties in the background, Burke Denning and his presence and cynicism, the reality of love and relationships, the swearing and vulgarity? Regan's superstition with the ouija board and Captain Houdan?

8. Did this prepare for the gradual possession of Regan? How well was this suggested by noises and ordinariness, moving to extraordinary happenings? The party, Regan's remarks and her urinating? The reaction of Chris? Her response to Regan then as she got worse? The importance of having the Jesuit at the party and the linking with Fr. Karras?

9. How interesting or stereotyped was the story of Fr. Karras? As a man in himself, his poverty background, his visit to his mother, the Greek background, the beggar on the station etc.? How well did he relate to his mother? What more could he have done? Her blaming him for non-support? His role as a priest, as a Jesuit, as a professional man? His problems with faith - were they credible?

10. How did the film show a parallel possession by evil of Regan and Fr. Karras? Physical and spiritual possession?

11. How important were the scenes where Chris was trying to understand and cope? The support from Sharon? The presence of Carl and his relationship to Burke Denning? The importance of Denning's death and its not being seen? Was this a fault or was it necessary?

12. Comment on the visual presentation of Regan's illness and possession - her physical deterioration, the use of colour, the movement in the room, her change of voice, the ugliness of vomiting etc.? Was this too real or was it satisfactory for this film? The importance of the sequence of the medical tests, the hypnotist, Regan's bashing of these people? What was your impression of the discussions with the doctors? Their being baffled by the tests? The visual presentation of the tests and the horror and parallel of possession with these tests?

13. Was the desecration of the church adequately portrayed and explored? The religious linking to Karras? The effect of his mother's death on him? His worsening faith and the conversation with his Jesuit friend? As background to his being asked to do the exorcism? How did the request for the exorcism bring him out of himself? Was this the beginning of his salvation?

14. The presentation of the Archbishop and Karras's request for the exorcism -was enough information given about the nature of exorcism and its reality? Karras as the modern psychologist priest and his sceptics (healthy?) to exorcism? Could audiences identify with his scepticism? (or would they identify more with the disbelief of the doctors?)

15. What importance did Lieutenant Kinderman have in the film - as relief, comic relief with his humour, yet his pushing of the plot forward with the investigation of the death? His exploration of the death throwing light on Regan's behaviour?

16. How ugly was the possession by the time of the exorcism? Regan's physical and spiritual deterioration? The turning of her head? Masturbation with the crucifix, her language, the fact that it was the devil within her, the "Help me" on her abdomen?

17. The importance of Fr. Merrin at this stage? Could the audience bring the Iraqi experience to the exorcism? How dignified and religious was he in preparation for the exorcism? His advice to Karras? The way he confronted the exorcism? Did he seem credible as a religious exerciser?

18. The impact of the actual exorcism? As cinema, as drama, the audience response and exhaustion? The exhaustion of the two men? The nature of prayer, confrontation? Merrin's death, why did he die?

19. Had Fr. Merrin exorcised Regan and Fr. Karras? How?

20. What happened to Fr. Karras psychologically during the exorcism? His religious sharing with Fr. Merrin? His anxiety for Regan? The tricks the devil played as regards his mother? Why did he take her possession to himself? Was this a Christian thing? The horror of his death? Was he saved? The Jesuit hearing his confession and his squeezing of his hand? Had the devil won? Had goodness prevailed?

21. How calm was the ending of the film? That Regan should not remember anything? That Fr. Karras should be dead? That the Jesuit should revisit the scene?

22. On reflection, did all this seem possible? Do things like this happen? As a parable of evil entering the world? Was this credible? The theological possibilities of the devil possessing people in the Christian epoch?