Professional Or Personal.
Friedkin’s medicinal procedure is a masterpiece on paper and an arguably a decent one on screen. But this can easily be excused by the limitations of technology and the cheesiness of 70’s. Having said that, it doesn’t suggest that the concept is a mere old testament read from an infamous book. The concept that it attempts to achieve is ahead of its time, since despite of the horror being animated for the most part of the film, the sinister ideology of it that keeps you at the brisk of your seat, is thought provoking. The various tactics it uses to push the characters surrounding the protagonist to a cornered position is a smart-smart act. The entirety of the sequences brimmed with awe struck violence is the last bit of shock that impresses you, a girl at such an age crossing line on social margin is what amps up the charge.
The literal head spinning remedies that the protagonist’s caretakers bring in and the counterargument that she has, feels like a flat out brutal war weaved out with meticulous eye. As anticipated the mythological aspect that denses characters’ perspective may feel mechanical but in its latter stages punches its way out with a knockout. Personally, Blair seemed much more convincing in a brutal antagonist’s cape than an illuminating adolescent teenage girl.
The irony of her pulling off a grin like a leader of an outlaw group is enough to give you the chills. Von Sydow in his brief period as a supporter elevates the momentum much more than Burstyn, Cobb or Miller ever could. There are few weak moments where the makers do take things too far that shucks away the integrity and raises questions. But, all in all, The Exorcist Friedkin, conjures over the horror genre with a large margin than it does on drama.