Der Exorzist

Ein meisterhafter Horrorfilm, der sein Genre in ganz andere Dimensionen bringt, als ihm im Rahmen der zeitgenössischen Standards gehören. Die Psychologie der Figuren und die Intensität der Geschichte machen aus dem Film ein vollwertiges, nervenaufreibendes Drama, das man mit den besten Werken von Hitchcock vergleichen kann. (24.11.2004)

Even after 30 years, this film remains very frightening. And it was even more so at the time of its release, when people fainted in the cinema. This horror film must have been a shock to everyone at the time, and to this day it has lost none of its power. A film classic. (13.04.2003)

Superb film, flawless horror. There’s no need to praise the details, the rating speaks for itself (I actually don’t know what I would reproach). This film didn’t feel as old as it really is – time has left a deeper mark in much younger films – The Exorcist could meet even the stricter standards of today. (21.05.2008)

The nowadays approach to ghosts in horrors is very different from the original Exorcist. I haven’t seen anyone look at the supernatural in such a pragmatic way as in this movie in a while. The contemporary horror movies take ghosts for granted. But in this movie it wasn’t like that. It was quite the contrary; they tried their best to convince the mother of the little girl that she was just sick. Fortunately the fans will be eventually rewarded because after the series of quite confusing cuts which totally ruin what would otherwise be some quite thrilling scenes, the ending scene full of exorcism starts and it is so amazing that it has no equalin the movie industry. It might be because it was one of the first of its kind. After the awkward beginning which in its own way creates the atmosphere of something like an anti-horror it eventually becomes more than a solid experience. (26.08.2019)

"I think I've lost my faith..." The book itself caused such a public commotion that Warner Bros snapped up the movie rights to it almost immediately. As well as the author, they chose a rising star in directing. William Friedkin. The Exorcist was everywhere in the press and on all people’s lips, mostly in a negative way. Which, as we know, is the best way of advertising. And the crowds just kept coming, the box office takings were huge. But for all the controversy, the bans, the movie theater operators’ arrests for unauthorized screenings, people fainting in the audience, moralist outrage and tales about the director terrorizing the crew at the time, they forgot about the movie as such and what it brought (not only) to the genre. The wide range of Academy nominations change nothing about that. Although in today’s world The Exorcist has aged in terms of shockingness, but it still works perfectly on the worrying basis of “what if". Chipping away at the certainty that nothing paranormal in our world exists. The five years younger, no less phenomenal Medusa Touch works with very similar “fears" of a direct encounter with the irrational. Or at least, that’s what I think... The best moments? Apart from the very well known ending, the muted dream sequence got to me most. But I was very disappointed by the absolute refusal to exploit the ingenious main musical theme. I simply can’t think why it was used so little in the movie. The Exorcist is proof that you need “just" three things for a good horror. A director with a skill for building up and gradually thickening the atmosphere, a good screenplay and, primarily, good actors. It’s a shame that such a conjunction occurs in this genre once in a blue moon. If you’re lucky. It’s good that The Exorcist at last received recognition from a filmmaking point of view. Both the movie and Friedkin certainly deserve it. (09.02.2008)

During the scene when the bed shakes with Regan, I felt a very chilling sensation in my stomach for the first time, which showed me how confusing the previous cautiously stepping freezing had been. Because a kind of tension comes, sneaking in through the back door, unseen and unheard by anyone, and when you let yourself be lightly enticed, it strikes fully. And when the vomiting or the escalated conclusion easily overcome all the deaf moments from the first half, it's a win. This girl deserves her place among the classics. (14.06.2006)

The Exorcist was obviously directed by someone who understood the film industry, the audience, and the market. At the time of filming, there was a peak of interest in the trendy satanic theme, and the audience was already accustomed to many things. One of the few remaining taboos was the connection of satanism with a child as a symbol of innocence. Within a short period, three genre films were created that successfully attempted this and gained cult film status. Alongside The Omen and Rosemary's Baby was The Exorcist. Shocked viewers held their breath as they watched the fragile girl transform into a vulgar monster full of anger. Unfortunately, for me, The Exorcist has always been a film where the prologue and the final scene work. What comes in between, which logically makes up the majority, goes over my head due to its excessive literalness. The prologue, which is unrelated to the rest of the story, is filled with sinister anticipation, tension, and a menacing premonition. Something is not right, but you still don't know where the blow will come from. In the final scene of the film, the camera focuses on the stairs in front of the house where someone had died shortly before. Through that shot, you feel an unspoken question - will the horror continue? The rest of the film plays with such open cards and is so descriptive that it simply becomes uninteresting to me. The director wants to emotionally manipulate me, but it doesn't work anymore because we don't live in the early 70s. For me, it still holds true that fear and tension are best evoked by what you cannot see and do not know. A film is the most powerful when it leaves you to wander in uncertainty. A film like The Exorcism of Emily Rose is much more attractive and impactful to me. Overall impression: 40%. (08.11.2013)

This film is incredibly bold, atmospheric, and intense for its time. What couldn't be achieved with visual effects is resolved with brilliant camera work and the constant feeling of escalating tension, culminating in the literally heart-stopping exorcism sequence. It is an exceptional thing, but very difficult to watch. (28.11.2004)

Ich habe diesen Film zum ersten Mal im Alter von fünfzehn Jahren gesehen … In der darauf folgenden Nacht habe ich nicht viel geschlafen. Dann habe ich mir die Buchvorlage besorgt, las sie und stellte fest, dass dies wahrscheinlich die Ausnahme von der Regel ist, dass das Original besser ist als die Adaption. Und den Directors Cut habe ich bereits im Kino genossen. Den Exorzisten kannte ich auswendig, ich wusste, was ich wann und vom wem zu erwarten habe, wann welche Szene kommt (die wenigen weggelassenen hätten dort eigentlich auch nicht sei müssen, ein digitales Remastering hätte es auch getan) und trotzdem habe ich mir NOCH NIE IM KINO DERART DIE HOSEN VOLL GEHABT! Was Horrorfilme betrifft, so ist dieser unnachahmlich, weshalb mir fast jeder Film, der sich selbst als Horror bezeichnet, nur ein müdes Lächeln abringt. Die Exorzismus-Szene ist für einen Herzinfarkt gut. Es ist ohne Diskussion der beste Horrorfilm aller Zeiten. (15.01.2008)

Well, the filmmaking is undoubtedly excellent and the atmosphere is quite unpleasant in some moments, but given that this is considered the scariest film of all time, I was not extremely tense while watching it. It moves pretty slowly and the director seems to be unhurriedly strumming on the viewer's nerves. Things get a lot more intense as time goes on, Linda Blair's face becomes less and less likeable and her horrific actions move the story along at lightning speed. Unfortunately, after the premature climax, when Linda runs down the stairs in an absolutely insane position, the film couldn't surprise me anymore and all the tension vanished after the door to Satan's room was opened, just as user Tosim writes. The strongest and most suspenseful horror film for me remains Kubrick's The Shining. 75% (05.11.2011)

I watched The Exorcist a long time ago, just once, so before today's rewatch, my recollection was limited to Max von Sydow, pea soup, and a gripping atmosphere. I didn't remember such a lengthy prelude before the main "act", and I must confess, it left me somewhat puzzled and disappointed. I was eagerly anticipating that oppressive atmosphere, but it took quite a while to materialize, tied to the actual exorcism, which didn't happen until the final quarter of the runtime. Another factor contributing to my disappointment compared to years ago is the simple fact of being more accustomed to life's realities, thus less susceptible to the thrills that used to give me goosebumps while watching late-night cinema. And no, it's not because I prefer gallons of blood and bodily fluids in horror movies. In hindsight, I was naive to expect any demon to strike fear in an atheist. / Lesson learned: Locking two Catholic priests in a room with a twelve-year-old child definitely spells horror for the child. (16.11.2023)

Quite undeniably one of the greatest, if not the greatest classic in its genre. Elaborate characterizations, inventive direction, a smooth plot + incredible atmosphere in the first half hour of the film. I thank Mr. Friedkin for this masterpiece that has never been surpassed (let Exorcist: The Beginning, Exorcist II: The Heretic, and similar crap be proof of that). (28.04.2009)