THE EXORCIST

The Exorcist is one of those films that you might not have seen but unless you've been on the moon for the last 25 years, you'll have heard something about. Ever since it promoted a burst of hysteria, faintings and general shock on its initial release in 1973, it's become an infamous feature, talked about in hushed and reverantial tones.

Widely viewed by critics as the most terrifying horror movie ever made, it's status has risen to amazing heights thanks to continued late night cinema screenings and massive word of mouth. In fact, The Exorcist was deemed to be so chilling and shocking that the British censors banned it on video in 1984, instantly cementing its legendary status and making it one of the most sought after unavailable rental title s next to "A Clockwork Orange".

A multiple award winner, with Golden Globes for Best Film, Best Director, Best Screenplay and Best Supporting Actress and Oscars for Best Screenplay and Best Sound, the movie tells the gut-wrenching tale of a 12-year old girl , Regan (Linda Blair), who becomes the victim of demonic possesion after too many goes on the Ouija board. Turning from a rosy faced sweetie into a green vomit spewing, head spinning monster with terrible self inflicted face and body wounds and a really n asty line in obscenities, Regan is beyond conventional help. Desperate to save her daughter, Regan's actress mother (Ellen Burstyn) turns to the Church and begs for someone to exorcise the child.

But as good and evil battle for suprmecy, the priests involved find their own souls very much at risk.

The Exorcist is without doubt one of the strongest, most terrifying and visually masterful features ever made. Based on the best seller by William Peter Blatty, itself inspired by real life events, its strength lie s in the deep and non-exploititative way it explores Regans' possession and exorcism. Unlike most horror flicks, all those involved were concerned to make the production feel as natural as possible, to give The Exorcist a sense of realism that would make viewers see the unfolding events as though they were first hand witnesses to the terror.

By letting the film progress without the use of traditional, cheap horror movie tricks, Friedkin and his crew ensured such a palpable build up of tension that Regan's demonic outpourings are almost torturous to watch. Since there is little outside commentary in the way of rapidly moving shots, close-ups or other celluloid wizardry, viewers are trapped there with the priests as they struggle to cast out Satan, as helples s as the holy men themselves. Consequently, some of The Exocist's strongest scenes, such as that in which Regan does almost unspeakable things to herself with a crucifix, have the equivalent impact to a swift slap around the face.