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BFI Film Classics
The Exorcist
Inspired by an alleged real case of demonic possession in 1949, The Exorcist became an international phenomenon. A blockbusting adaptation of a best-selling novel, it was praised as 'deeply spiritual' by some sections of the Catholic Church while being picketed by the Festival of Light and branded 'Satanic' by the evangelist Billy Graham. Banned on video in the UK for nearly fifteen years, the film still retains and extraordinary power to shock and startle. The second edition of Mark Kermode's Exorcist volume has now been updated and expanded; its publication completes a journey of discovery begun by the author in 1997. The new edition documents the deletion and recovery of key scenes that have now been re-integrated into the film to create The the Version You've Never Seen. Candid interviews with director William Friedkin and writer/producer William Peter Blatty reveal the behind-the-scenes battles which took place during the production. In addition, exclusive stills reveal the truth about the legendary 'subliminal images' allegedly lurking withim the celluloid.
96 pages, Paperback
First published February 1, 1998
17 people are currently reading
387 people want to read
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Displaying 1 - 30 of 45 reviews
February 23, 2011
BFI Modern Classics are beautiful little 100 page books. Every home should have several. This one takes us through the creation and making of one of the all time insane gonzo gross-out projectile vomiting head turning right round crucifix masturbating horror movies, and many intriguing facts are uncovered and theories booted about, but the Elephant in the Room is left disturbingly unmolested, to wit:
did Blatty (author of the novel and the screenplay), Friedkin (director) and Mark Kermode (writer of this book) actually believe the movie was representing a supernatural reality?
Because that's what it appears to be doing. Now, Blatty seems to be a true believer - he began writing the original novel based on a 1949 exorcism which had hit the press and he chose that story because he thought the case presented facts which went a long way towards "proving" that the Catholic version of reality was objectively real. But Friedkin and Kermode appear to be entirely embarrassed by that aspect, quite extraordinarily. There's a big debate to be had here, of course, but it does seem like Friedkin was in the position of Leni Riefenstahl filming the Nuremburg Rally whilst claiming not being a Nazi and just wanting to make a good strong documentary (oh yeah?) and Kermode is like a person writing about "Triumph of the Will" entirely from a film perpective and ignoring that it's actually about Hitler.
Still, v nice book, contains great stills.
did Blatty (author of the novel and the screenplay), Friedkin (director) and Mark Kermode (writer of this book) actually believe the movie was representing a supernatural reality?
Because that's what it appears to be doing. Now, Blatty seems to be a true believer - he began writing the original novel based on a 1949 exorcism which had hit the press and he chose that story because he thought the case presented facts which went a long way towards "proving" that the Catholic version of reality was objectively real. But Friedkin and Kermode appear to be entirely embarrassed by that aspect, quite extraordinarily. There's a big debate to be had here, of course, but it does seem like Friedkin was in the position of Leni Riefenstahl filming the Nuremburg Rally whilst claiming not being a Nazi and just wanting to make a good strong documentary (oh yeah?) and Kermode is like a person writing about "Triumph of the Will" entirely from a film perpective and ignoring that it's actually about Hitler.
Still, v nice book, contains great stills.
June 30, 2018
I'm currently writing a book about demons, and The Exorcist plays a larger-than-life role in the perception of said evil beings. Kermode is a film critic and it shows in his masterful treatment of the film in this book. Not gossip or rumor, this is good critical work. And enjoyable to read. I blogged about it as well (Sects and Violence in the Ancient World).
For those who've never seen the film, there's a strange divide. Younger viewers tend to find it laughable, but guys my age—perhaps because we grew up hearing how terrifying it was—found it very scary. But there's more to it than that. Kermode does a good job of showing how the movie was carefully and thoughtfully made. The collaboration of William Friedkin and William Peter Blatty was a fruitful one. The film always leaves me feeling pensive after I watch it. If it's during a period when I believe in demons it'll make me sleep with the lights on. If I'm skeptical at the time it won't frighten so much as make me wonder. Like my post on Werewolf, I would maintain that the story is tragic, although with a hopeful ending.
There was a "true story" behind the novel and cinematic adaptation. Kermode doesn't go into this much, beyond noting that Blatty wanted to write a factual account, but was denied access to the records. This led to a fictional, and arguably superior story because it wasn't constrained by the facts of the case.
Horror is often accused of being puerile, and honestly, at times it is. Some horror films, however, transcend this and become works of art. The Exorcist is one such film. And I'm not the only one to think so. I've got a film critic here that wholeheartedly agrees.
For those who've never seen the film, there's a strange divide. Younger viewers tend to find it laughable, but guys my age—perhaps because we grew up hearing how terrifying it was—found it very scary. But there's more to it than that. Kermode does a good job of showing how the movie was carefully and thoughtfully made. The collaboration of William Friedkin and William Peter Blatty was a fruitful one. The film always leaves me feeling pensive after I watch it. If it's during a period when I believe in demons it'll make me sleep with the lights on. If I'm skeptical at the time it won't frighten so much as make me wonder. Like my post on Werewolf, I would maintain that the story is tragic, although with a hopeful ending.
There was a "true story" behind the novel and cinematic adaptation. Kermode doesn't go into this much, beyond noting that Blatty wanted to write a factual account, but was denied access to the records. This led to a fictional, and arguably superior story because it wasn't constrained by the facts of the case.
Horror is often accused of being puerile, and honestly, at times it is. Some horror films, however, transcend this and become works of art. The Exorcist is one such film. And I'm not the only one to think so. I've got a film critic here that wholeheartedly agrees.
August 6, 2025
This offering by Mark (Him of the Curated Quiff) Kermode is really interesting, especially to me as I'm never going to watch The Exorcist as I don't have the cojones!! 😆😆🫣🫣
It's interesting to see how the film started out from a book written by someone who had come across the diary of a priest, detailing their involvement in the exorcism of a young boy in the US (freaky right?)
There are some good facts about the film's making, its reception, and controversies, including the lack of accreditation to Linda Blair's stunt double (for "that" crucifix scene and other scenes considered too obscene for a young child actor to be participating in) and her voice double for the guttural ramblings of her character. Apparently both women threatened legal action and rightly so as their input was completely left out of the credits which is harsh.
Overall a good read but probably not one I'd return to as I'm no "fan" of the film let alone a viewer!
Solid writing.
It's interesting to see how the film started out from a book written by someone who had come across the diary of a priest, detailing their involvement in the exorcism of a young boy in the US (freaky right?)
There are some good facts about the film's making, its reception, and controversies, including the lack of accreditation to Linda Blair's stunt double (for "that" crucifix scene and other scenes considered too obscene for a young child actor to be participating in) and her voice double for the guttural ramblings of her character. Apparently both women threatened legal action and rightly so as their input was completely left out of the credits which is harsh.
Overall a good read but probably not one I'd return to as I'm no "fan" of the film let alone a viewer!
Solid writing.
May 15, 2021
I was initially worried that Kermode's obvious love for the film would cloud his critical view and analysis, but the level of expertise and actual criticism of the film's production, meaning and impact makes for a fascinating yet celebratory read. Hello to Jason Isaacs.
July 31, 2025
I was very excited to read this BFI Modern Classics about The Exorcist, one of my favorite films of all time. Furthermore, in other books I’ve read about the film version of The Exorcist, Mark Kermode is often cited as the authority on this film. The book doesn’t disappoint as it explores the production of the film, as well examining key decisions that both Blatty and Freidkin made in the script, direction, and editing of the film, and how this potentially altered the meaning and themes of the film. Kermode starts the book, though, exploring some of the background from the true story of a boy who underwent an exorcism in the 1940s, and how this story inspired William Peter Blatty, a young screenwriter in the 1960s.
One of the best parts of the book is in Chapter 2 where Kermode explores the beginning of The Exorcist, which takes place in Iraq, and involves the discovery of a Christian medal in an ancient tomb that pre-dates Christianity. I’ve always loved this opening scene since there isn’t really any dialogue, but a series of images that viewers are left to assemble and assign meaning to. What I didn’t realize, though, was that some of the sounds are heard again later in the film when Father Merrin is battling the demon in Regan. The tone of this part is so menacing, especially when the dogs fight. Kermode also notes the visual cues that appear again, from the statue of Pazuzu to the cataract in a man’s eye, which appears like the whites of Regan’s eyes when she is possessed. It also helps to show that this battle between good and evil, between old and new, is something that is continuous and has spanned generations and many different eras in time.
From there Kermode moves the analysis to Georgetown, where the actress Chris MacNeil is working on a new film that seems to be about campus protests, again highlighting the kind of battle between older generations and younger generations, who seemingly have different values and ideas about achieving their goals. This was something I had previously read about in other books about the film, but it makes sense that part of what was so appealing and frightening for adults watching The Exorcist was that it was about teenage rebellion, about growing and changing, and the challenges that these kinds of changes have on the relationships between parents and kids. Kermode doesn’t necessarily frame the analysis this way, looking at it more from generational differences, but it is interesting to consider that element of it, even if Regan represents extreme changes. In fact, some of the doctors in the film who are looking for an organic or physiological explanation for Regan’s behavior changes seem to think that her outbursts are related to mental or physical disorders possibly occurring before puberty. While Chris begins to experience these challenges with Regan, Father Damien Karras, a young Jesuit priest in Georgetown, is also struggling with relationship with his mother, who lives in New York and requires support for her ailing health. Karras also seems to struggle with his faith, wondering whether he still believes in God, as he sees suffering all around him. Again, Kermode notes some of the visual cues that Friedkin emphasizes and returns to throughout the film, especially in his analysis of Karras’s dream after his mother passes away. Again, I’ve always thought that these kind of surreal montages in the film are what distinguishes it from other films. It’s an incredible way of telling the story and conveying emotion and empathy in viewers.
In addition to analyzing the film choices from Blatty and Friedkin, Kermode also explores the innovative special and make-up effects that made so many people frightened and fascinated with The Exorcist. It was really cool to find out more about how some of the effects were pulled off, although it’s sad to read about the injuries that Linda Blair and Ellen Burstyn sustained on the set. Furthermore, we learned about the stunt double and voice actor who weren’t credited for their work initially. If you don’t know about this story, it’s an interesting piece of trivia for the film, especially since the stunt double was the one who wore the Captain Howdy makeup in which there are some jump cuts to show her face randomly in the film. Kermode also mentions a few of the “cursed” elements of the film, like the injuries that the actors sustained, as well as the deaths of some of the other actors shortly after, and the set burning at one point that delayed shooting. However, what I really enjoyed reading about what the attempts to recut the film in the late 90s, and how Friedkin’s decision to re-evaluate the themes and meaning of the film led him to seek out footage in the Warner Brothers vaults and recut the film to add in different scenes. This included the infamous spider walk scene that apparently couldn’t be included in the film until digital editing was available to remove the appearance of the wires. Kermode also interviews the effect coordinator who devised the wire harness that allowed for the spider walk. It was really amazing to learn more about the decisions that went into editing the film, and about how ordering certain scenes and conversations altered meaning and understanding of the plot points. Interestingly, in the original theatrical cut, Regan is never prescribed pills, but they are mentioned at some point prior to the exorcism. As Kermode explains Friedkin’s directing skills prevented many viewers from catching this flaw. The story and pace of the film moved so well with the action that people didn’t really notice. It wasn’t until the recut of the film in 1999 where they incorporated the doctor’s prescription in. I remember seeing that version in the theater, and the medical scenes are almost more horrifying than the exorcism itself. The cold, clinical setting of the hospital paired with the industrial soundtrack of the diagnostic machines added to an anxious feeling as we, like Chris, witness Regan suffering to find out how to end her suffering. In any event, it was amazing to read more about the decisions to re-cut the film, and the challenges that Friedkin faced in finding soundtracks and footage to include in the new version. I also didn’t realize that there were montages of Regan and Chris exploring DC on their own, and as Kermode explained, these were not included because there were no audio tracks for this scene. Regardless, I loved the 1999 version and seeing it on the big screen was so exciting. Reading this book is also exciting and fascinating. Not only did I gain a deeper insight into elements of the film, but I also loved learning more about the decisions and choices that went into making the film, whether it involved editing decisions, soundtracks, or characters and dialogue. It was amazing to read about all of these different aspects of The Exorcist and how they can impact the meaning and themes of the film. Highly recommended.
One of the best parts of the book is in Chapter 2 where Kermode explores the beginning of The Exorcist, which takes place in Iraq, and involves the discovery of a Christian medal in an ancient tomb that pre-dates Christianity. I’ve always loved this opening scene since there isn’t really any dialogue, but a series of images that viewers are left to assemble and assign meaning to. What I didn’t realize, though, was that some of the sounds are heard again later in the film when Father Merrin is battling the demon in Regan. The tone of this part is so menacing, especially when the dogs fight. Kermode also notes the visual cues that appear again, from the statue of Pazuzu to the cataract in a man’s eye, which appears like the whites of Regan’s eyes when she is possessed. It also helps to show that this battle between good and evil, between old and new, is something that is continuous and has spanned generations and many different eras in time.
From there Kermode moves the analysis to Georgetown, where the actress Chris MacNeil is working on a new film that seems to be about campus protests, again highlighting the kind of battle between older generations and younger generations, who seemingly have different values and ideas about achieving their goals. This was something I had previously read about in other books about the film, but it makes sense that part of what was so appealing and frightening for adults watching The Exorcist was that it was about teenage rebellion, about growing and changing, and the challenges that these kinds of changes have on the relationships between parents and kids. Kermode doesn’t necessarily frame the analysis this way, looking at it more from generational differences, but it is interesting to consider that element of it, even if Regan represents extreme changes. In fact, some of the doctors in the film who are looking for an organic or physiological explanation for Regan’s behavior changes seem to think that her outbursts are related to mental or physical disorders possibly occurring before puberty. While Chris begins to experience these challenges with Regan, Father Damien Karras, a young Jesuit priest in Georgetown, is also struggling with relationship with his mother, who lives in New York and requires support for her ailing health. Karras also seems to struggle with his faith, wondering whether he still believes in God, as he sees suffering all around him. Again, Kermode notes some of the visual cues that Friedkin emphasizes and returns to throughout the film, especially in his analysis of Karras’s dream after his mother passes away. Again, I’ve always thought that these kind of surreal montages in the film are what distinguishes it from other films. It’s an incredible way of telling the story and conveying emotion and empathy in viewers.
In addition to analyzing the film choices from Blatty and Friedkin, Kermode also explores the innovative special and make-up effects that made so many people frightened and fascinated with The Exorcist. It was really cool to find out more about how some of the effects were pulled off, although it’s sad to read about the injuries that Linda Blair and Ellen Burstyn sustained on the set. Furthermore, we learned about the stunt double and voice actor who weren’t credited for their work initially. If you don’t know about this story, it’s an interesting piece of trivia for the film, especially since the stunt double was the one who wore the Captain Howdy makeup in which there are some jump cuts to show her face randomly in the film. Kermode also mentions a few of the “cursed” elements of the film, like the injuries that the actors sustained, as well as the deaths of some of the other actors shortly after, and the set burning at one point that delayed shooting. However, what I really enjoyed reading about what the attempts to recut the film in the late 90s, and how Friedkin’s decision to re-evaluate the themes and meaning of the film led him to seek out footage in the Warner Brothers vaults and recut the film to add in different scenes. This included the infamous spider walk scene that apparently couldn’t be included in the film until digital editing was available to remove the appearance of the wires. Kermode also interviews the effect coordinator who devised the wire harness that allowed for the spider walk. It was really amazing to learn more about the decisions that went into editing the film, and about how ordering certain scenes and conversations altered meaning and understanding of the plot points. Interestingly, in the original theatrical cut, Regan is never prescribed pills, but they are mentioned at some point prior to the exorcism. As Kermode explains Friedkin’s directing skills prevented many viewers from catching this flaw. The story and pace of the film moved so well with the action that people didn’t really notice. It wasn’t until the recut of the film in 1999 where they incorporated the doctor’s prescription in. I remember seeing that version in the theater, and the medical scenes are almost more horrifying than the exorcism itself. The cold, clinical setting of the hospital paired with the industrial soundtrack of the diagnostic machines added to an anxious feeling as we, like Chris, witness Regan suffering to find out how to end her suffering. In any event, it was amazing to read more about the decisions to re-cut the film, and the challenges that Friedkin faced in finding soundtracks and footage to include in the new version. I also didn’t realize that there were montages of Regan and Chris exploring DC on their own, and as Kermode explained, these were not included because there were no audio tracks for this scene. Regardless, I loved the 1999 version and seeing it on the big screen was so exciting. Reading this book is also exciting and fascinating. Not only did I gain a deeper insight into elements of the film, but I also loved learning more about the decisions and choices that went into making the film, whether it involved editing decisions, soundtracks, or characters and dialogue. It was amazing to read about all of these different aspects of The Exorcist and how they can impact the meaning and themes of the film. Highly recommended.
December 21, 2022
I'm always up for learning more about a classic film. "The Exorcist" is perhaps the first film that truly scared me. I would jump at shadows after seeing it.
I picked up this analysis of the film from my library. The edition I read is not the revised edition that also discusses the footage restored to a special version of the film. The one I read is the 1997 edition. That's okay because another book about the film is coming out in 2023, and I'll definitely read that.
Between this book and a documentary I recently watched about the film, I've learned a lot, including things I missed and did not pick up on. I want to read the novel and see the film yet again with these new perspectives in mind.
This book is very short and is worth your time if you have any interest in the film. The power of Christ compels you! (Sorry - I had to.)
I picked up this analysis of the film from my library. The edition I read is not the revised edition that also discusses the footage restored to a special version of the film. The one I read is the 1997 edition. That's okay because another book about the film is coming out in 2023, and I'll definitely read that.
Between this book and a documentary I recently watched about the film, I've learned a lot, including things I missed and did not pick up on. I want to read the novel and see the film yet again with these new perspectives in mind.
This book is very short and is worth your time if you have any interest in the film. The power of Christ compels you! (Sorry - I had to.)
November 13, 2009
One of the greatest American films of all time gets the deluxe analytical treatment viz Mark Kermode, who has an obvious passion for Friedkin and his art. This, the third edition of the book, was re-published to include depth on the newest cut of the film- "The Version You've Never Seen"; this revision is probably my favorite part of this text, particularly a bonus interview attached to the end which finds Friedkin and Blatty discussing the good and the bad about the new cut.
With this film there was a tremendous clash between literary and filmic intention, which Kermode is careful to examine. By starting with Blatty's source material and working his way up the evolution, he creates a fascinating historical and theoretical look at this classic film.
With this film there was a tremendous clash between literary and filmic intention, which Kermode is careful to examine. By starting with Blatty's source material and working his way up the evolution, he creates a fascinating historical and theoretical look at this classic film.
December 30, 2022
A satisfying, if brief look at the making of The Exorcist and the (sometimes debatable) meaning behind it. Added focus is given in this more recent edition to the version of the film from 2000 with various scenes reinstated; this enhances the story the book seeks to put across, further highlighting the back and forth between Friedkin and Blatty (who wanted less clarity in the story and more, respectively) that inadvertently inspired some of the differing reactions experienced by film audiences. I suspect a longer work could be written on the subject but that may not be fair to the BFI Classics range or their word counts! It’s a thoughtful and informative read and it made me want to rewatch both versions of the film.
October 12, 2016
A good book about the production history of The Exorcist. Fascinating look at how Blatty and Friedkin's competing visions actually created something much better (if kinda jagged) than either could have made on their own. Disappointingly, lacks much analysis of the narrative though.
October 8, 2018
I share Mark's love for The Exorcist so I absolutely loved this book. Brilliant.
October 7, 2018
At best, an insightful and most readable companion to the Exorcist movie in relation to its marvellous source material by William Peter Blatty.
January 12, 2020
Amazing book about one of my all time (if not absolute) favourite films. Definitely worth a read if you like the film - don’t read before seeing though as it does contain spoilers!!
March 27, 2024
This book holds deep sentimentality for me. It dates to the library I had during my first marriage. Lost to the divorce along with my desire to major in film. As I'm rediscovering this passion, I stumbled on this old BFI Modern Classics book and just had to get it.
The content is dated compared to the 50th annivesary text I read (and listed here) late last year. One of my "meet my heros" regrets is that I never got to meet Blatty or Friedkin.
The content is dated compared to the 50th annivesary text I read (and listed here) late last year. One of my "meet my heros" regrets is that I never got to meet Blatty or Friedkin.
June 9, 2023
I acquired The Exorcist by Mark Kermode, part of the BFI [British Film Institute] Modern Classics series as a Christmas present from my friend June in 1998. The cover of the 1997 edition comes from a subliminal scene in the movie, one that has haunted me for decades, yet in my pursuit of finding the perfect image to accompany the review I posted to my own blog, I have had to scan the cover and tweak it at least half a dozen times, so I consider my fear of that subliminal movie mask now cured.
The Exorcist is my second favourite movie of all time, and since the function of the BFI Modern Classics series is for authors to “write on a film of their choice, making the case for its elevation to the status of classic”, I could tell that Kermode was a big fan of this film too. He covered the movie from beginning to end, writing about tiny details that I had often wondered about and was so excited to see in a critique. The cover image alone I felt must be addressed within, as there was no other point in the movie that lasted so briefly yet affected me more than that haunting visage.
Director William Friedkin explained the origin of the subliminal mask:
“Those are frames from a make-up test that didn’t work which we did with Linda Blair’s double, Eileen Dietz. The make-up was intended for use on Linda Blair. I rejected it as having no organic validity as to what was happening with the girl in the film; it was just make-up. But it seemed to me that it had a power if used briefly like that, so I took these frames that were not meant to be in the original production and cut them in experimentally. It seemed to work.”
This book was published in 1997 and Kermode was delighted to have found a screen shot of the deleted “spider-walk” scene, where Regan descends a staircase on her back, crawling down on all fours head first. Only one year later the movie was rereleased in a special 25th anniversary box set edition and included this scene as bonus footage. I have this edition. The author also wrote about many more deleted scenes and an alternate ending, plus the major editing Friedkin made. In order to do so he had to banish the author and producer William Peter Blatty from the set. Blatty comments on the editing, and while much of the work was done without his approval, he does acknowledge that some scenes do in fact work better in that state.
Kermode made me aware of aural and visual motifs that seemed all the more obvious when he mentioned them. I was always riveted by the pneumoencephalogram scene, especially by the anvil-clanging that accompanies the skull images. The author linked all these particular sounds together, and reprised instances where such clanging was heard before, as in the opening Iraq sequence.
The book was enhanced by many stills from the film which illustrated whatever part the author was writing about. The read was as thrilling as the movie itself: it was exciting to turn the pages and learn more about the scenes I knew that were coming up. This weekend I am definitely watching this movie again.
August 1, 2021
Mark Kermode es un declarado admirador de "El exorcista". Son pocos los críticos de cine que entienden bien el terror y que lo hacen dialogar con la tradición cinematográfica, y en particular, como es el caso de Kermode, lo hacen de manera entusiasta y profunda. Este librito transmite esa obsesión con la película principalmente a través de un manejo enciclopédico de los hechos de la filmación. Kermode es un excelente compañero de ruta para quien quiera verla: nos informa de los detalles técnicos de la filmación, las diferencias artísticas entre WP Blatty (el autor del libro) y W Friedkin (el director de la película) y las diferencias entre el corte original (1973) y la "nueva versión" (2000, "The Exorcist: The Version You've Never Seen"). Los dos primeros capítulos (de un total de cinco) me resultaron particularmente informativos al presentar el "hecho real" en que Blatty habría basado su novela y una muy aguda lectura del primer acto (hasta el sueño de Karras), donde Kermode menciona el choque generacional entre la cultura juvenil y el ethos social más tradicional que la percibe como amenazante (con tintes de pedofobia, para usar la expresión de él). Su lectura del prólogo en Irak es un ejemplo de hermenéutica cinematográfica: cuidadosa, atenta al detalle, imaginativa, estimulante. Sin embargo, quedé un poco decepcionado con el resto del libro, en particular por la tendencia a rehuir el análisis y refugiarse en un desfile de hechos y anécdotas. El propio Kermode, en otros medios, ha expresado el profundo impacto que la película le provoca, en particular al reivindicar el terror como una experiencia corporal, una suerte de rehabilitación de los sentidos, así como también, en el caso de "El exorcista", el problema espiritual/teológico/filosófico que acecha detrás, a saber el problema del mal (que es precisamente lo que emerge en la conversación en la escalera entre Merrin y Karras, una escena recuperada en el nuevo corte). Estas tres cuestiones -digamos: la experiencia subjetiva del propio Kermode, la posición del género terror en el canon, y el problema filosófico del mal- podrían haber sido presentadas con mayor expansión. El volumen (edición 2020, con la cubierta de Regan como cruz invertida) está hermosamente editado, con muchos fotogramas, y un apéndice que transcribe un diálogo entre Blatty y Friedkin.
May 8, 2019
The hyperbole surrounding The Exorcist since it’s initial theatrical release is almost as legendary as the movie itself. Once dubbed the scariest movie ever made (is it still?), Blatty’s story of a young girl possessed has endured the passage of time not because of its controversy but because of its layers. While Horror aficionados will revel in the guttural language, subliminal imaginary and not so subtle displays of possession using a crucifix, those with a greater appreciation of narrative structure, of endearing prose and existential rhetoric, will enthusiastically grasp the subtext of adolescence rebellion, a family unit breaking apart, and of course, the existence of God with gusto. And, in the hands of the former, this book may have glossed over these more weighty issues. Instead, Mark Kermode’s love, nay, obsessed for this possession, makes for a good read.
Easily consumable within one sitting, the book takes you from the true life story of a boy’s possession that inspired the book, to an interesting, if not tense, conversation between Friedkin and Blatty in the late 1990s where they engage in a verbal tennis match of you were wrong and I was right. Though I found myself less interested in Kermode’s précis of the movie, he shoehorns enough behind the scenes info to keep you from skim reading. Having watched and read a lot of interviews with Blatty, and owning not only copies of the book, as well as various versions of the movie, and the far superior sequel Exorcist 3 directed by Blatty than that abomination The Heretic, there wasn’t too much I learnt from reading this. Nonetheless, if only to relive the story again by someone so passionate and committed to the book and movie that they helped find missing dialogue that went to restore the Kinderman/Dyer ending, I have no qualms for the hour or so I spent in its pages. To this end, if you’re just mildly curious to understand more about the movie and the differing opinions between Blatty and Friedkin, then your time and money would not be wasted here.
Easily consumable within one sitting, the book takes you from the true life story of a boy’s possession that inspired the book, to an interesting, if not tense, conversation between Friedkin and Blatty in the late 1990s where they engage in a verbal tennis match of you were wrong and I was right. Though I found myself less interested in Kermode’s précis of the movie, he shoehorns enough behind the scenes info to keep you from skim reading. Having watched and read a lot of interviews with Blatty, and owning not only copies of the book, as well as various versions of the movie, and the far superior sequel Exorcist 3 directed by Blatty than that abomination The Heretic, there wasn’t too much I learnt from reading this. Nonetheless, if only to relive the story again by someone so passionate and committed to the book and movie that they helped find missing dialogue that went to restore the Kinderman/Dyer ending, I have no qualms for the hour or so I spent in its pages. To this end, if you’re just mildly curious to understand more about the movie and the differing opinions between Blatty and Friedkin, then your time and money would not be wasted here.
April 11, 2023
"The Exorcist" by Mark Kermode is a fascinating and insightful read that offers a deep dive into the making of one of the most iconic horror films of all time. Kermode, a renowned film critic and horror enthusiast, draws on his wealth of knowledge and expertise to provide a comprehensive behind-the-scenes look at the production of "The Exorcist," from its inception to its release and legacy.
What sets this book apart is Kermode's engaging writing style and his ability to balance analysis with storytelling. He weaves together interviews, anecdotes, and historical context to create a vivid picture of the film's creation and reception. I particularly appreciated the way he delves into the cultural and social context of the 1970s, showing how "The Exorcist" reflected and contributed to the anxieties of the era.
Kermode's attention to detail is also commendable. He provides fascinating insights into the production process, from the casting of the actors to the special effects that made the film so memorable. Even for someone who has seen "The Exorcist" numerous times, Kermode's analysis sheds new light on the film and deepens one's appreciation for its artistry.
The only reason I did not give this book a full five stars is that, at times, Kermode's writing can be a bit dry or academic. While this may be a matter of personal preference, I found myself occasionally getting bogged down in the details. However, this is a minor quibble, and overall, "The Exorcist" is a must-read for fans of horror films and film history in general.
In summary, Mark Kermode's "The Exorcist" is a well-researched, engaging, and insightful read that sheds new light on one of the most iconic horror films of all time. Whether you're a longtime fan of the movie or simply interested in the art of filmmaking, this book is well worth your time.
What sets this book apart is Kermode's engaging writing style and his ability to balance analysis with storytelling. He weaves together interviews, anecdotes, and historical context to create a vivid picture of the film's creation and reception. I particularly appreciated the way he delves into the cultural and social context of the 1970s, showing how "The Exorcist" reflected and contributed to the anxieties of the era.
Kermode's attention to detail is also commendable. He provides fascinating insights into the production process, from the casting of the actors to the special effects that made the film so memorable. Even for someone who has seen "The Exorcist" numerous times, Kermode's analysis sheds new light on the film and deepens one's appreciation for its artistry.
The only reason I did not give this book a full five stars is that, at times, Kermode's writing can be a bit dry or academic. While this may be a matter of personal preference, I found myself occasionally getting bogged down in the details. However, this is a minor quibble, and overall, "The Exorcist" is a must-read for fans of horror films and film history in general.
In summary, Mark Kermode's "The Exorcist" is a well-researched, engaging, and insightful read that sheds new light on one of the most iconic horror films of all time. Whether you're a longtime fan of the movie or simply interested in the art of filmmaking, this book is well worth your time.
October 30, 2020
Brief, readable and interesting account of the preparation for, making of and reaction to the 1973 classic, including much fixation upon just what did, should, couldn't make the final cut(s). That the two Bills (Blatty and Friedkin) managed a working relationship among their creative differences is quite an achievement. Blatty, who seems the key source for information, seems very reasonable and devout; Friedkin comes across as having an almost Trump-like relationship with the truth but in an oddly endearing way, and his instincts in the edit seem very solid in retrospect. A worthy guide to an amazing landmark film.
June 24, 2024
The BFI Classics are wonderful pocket reads for any films that you have a great interest in and this is no exception. Obviously this is Kermode's passion project movie but he's always at his best where he is confined to follow certain constraints as his is here, rather than inane Podcast wittering bollocks and 'gags'. He breaks the film down and its history perfectly here and also adds some really interesting additions concerning the 'Version you've never seen before' and its added scenes. The contributions from Blatty and Friedkin about these in particular are fascinating.
December 29, 2023
Very familiar to anyone who has heard Mark Kermode waxing lyrical about The Exorcist over the years, but this remains a fantastic dissection of the horror masterpiece that has spent decades casting a huge shadow over the genre. Despite going into such forensic detail, I found myself wanting to rewatch the movie ASAP after reading this.
September 26, 2024
Criticism of this length on a single film is so hard to do. This is pretty fabulous by Kermode. He js very good at that balance between really deep, nuanced analysis whilst still staying firmly rooted to the text of the film. I’m a little less interested in the back and forth between the director and writer that Kermode spends a lot of his time on.
January 7, 2019
It's not this book's fault that I didn't learn much new information - I just tend to read a lot about this movie. I love that Kermode is more obsessed with it than I am, because that's saying something.
November 4, 2022
I have kind of idiosyncratic rating system designed to save a bit of room at the top for the best of the best. For me two stars means this was a fine book that clearly explained what it set out to do.
April 27, 2023
اگر به فیلم جنگیر علاقه داشته اید مطمئنا مطالعه ی این کتاب پشیمانتان نمیکند.
نویسنده با مدد از مصاحبه با نویسنده و کرگردان اثر و منابع جانبی دیگر توانسته جزئیات سرگرم کننده وخواندنی ای از متن و حاشیه ی جنگیر به دست دهد.
نویسنده با مدد از مصاحبه با نویسنده و کرگردان اثر و منابع جانبی دیگر توانسته جزئیات سرگرم کننده وخواندنی ای از متن و حاشیه ی جنگیر به دست دهد.
August 22, 2025
Books do not give me nightmares...Until this cursed read. Although I enjoyed it I felt relief at reading the last page and closing the damn thing for good! Great book. I always appreciate anything that emotionally affects me. Read this one with caution lol
May 21, 2017
Brilliant analysis of The Exorcist movie by an obsessed fan and film critic.
August 3, 2021
Interesting, but short, read about one of my favourite films. Learned a lot of new stuff but there are a few inconsistencies in it, with some sections seeming to contradict others.
March 1, 2023
Exceptional analysis of the film, almost scene by scene, with a lot of background information. Now I want to see the film again!
July 24, 2023
Well done. Clean and specific. A solid read. Well researched. Makes you want to rewatch the film. Best of this series so far.
August 10, 2023
No huge revelations but it's pleasingly nerdy enough and the tussles between Blatty and Friedkin for the soul of the film are interesting
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