Worthy of its Notoriety -- A Monument of American Cinema and the Horror Genre

Rating: 9/10 (18 November 2010)

Finally saw this infamous piece of cinematic history; saw "The Version You've Never Seen" edition, with which I am very satisfied, so I'm not sure if I'll go back to the original theatrical cut. From what I've read, there are some pretty radical changes in terms of previously-cut scenes being included in the film as well as changes to the soundtrack. I can't speak to any differences between these versions but I'll talk about what I did see.
This version clocks in at nearly 2 hours and 15 minutes, and its pace could certainly be described as "deliberate" (or "slow" or "snail-like" if you're a little lacking in the patience department); but this is just fine with me, because I tend to find horror films with a deliberate pace and atmospheric build-up of tension to be more effective and unsettling. And this film is both of those things. I was consistently amazed by the subtlety, tightness, and intelligence of the cinematography. Many films from the 60s, 70s, and even 80s fail laughably at the notorious test-of- time -- but "The Exorcist" does not fall into company with these films. The camera work and editing is throughly modern; the special effects are surprisingly tasteful and realistic and still look good nearly three decades later; the score and soundscapes, unlike the often heavy-handed and even goofy musical choices and arrangements of early 70s horror (think Last House on the Left), are sparse and intentional, adding to the tense atmosphere and refusing to play the role of crass emotional cues; the acting is raw, honest, and believable -- all the lead roles (Burstyn, Blair, von Sydow and Miller) are impeccably and genuinely acted, and without this the film would not have worked.
The intensity of the film relies on development of the characters and their relationships with each other; believable acting is a cornerstone of this film's punch. Bolstering this is the deft handling and juxtaposition of opposing feelings through the pacing of the film: at one moment we are seeing Burstyn's character in emotional distress as her motherly heart is torn by her daughter's insane behavior and the doctors' circular discussions about psychological disorders or Miller's young priest character struggling with how to use both his faith and medical knowledge to handle the strange case of Regan -- the next moment we may be accosted by the possessed Regan, violently clenching men's genitals without warning, spewing green vomit into a man of God's face, or emitting demon-voiced insults that won't be reproduced in writing here. The manic-depressive nature of the film is a psychological roller coaster that keeps us on the edge of our seats until the ultimate, gripping climax -- an extensive spiritual, psychological, and even physical battle between our heroic priests and the devil-child, as the fullness of the stylized exorcism ritual is performed in attempts to save the life of a young girl.
"The Exorcist" was ahead of its time in nearly every way imaginable. Whether it is pragmatics of filmmaking or the more esoteric--the questions about God, science/medicine, religion, society--this film confronted the audience with unease and uncertainty. Though many films since "The Exorcist" have followed its formula and taken freely from its milestone-setting creativity and ingenuity, few if any of them have approached this masterpiece: where "The Exorcist" plays with tropes without using them as a crutch, other horror films in this vein can't help but come off as contrived second- rate films attempts to be as effective as this unsettling tour de force of horror. Amid all of the controversy, boundless praise and damning criticism, this film stands as a monument of American cinema and of the horror genre. And it will get in your head like the devil himself. For best results: watch alone in the dark!