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A truly outstanding film, not just a brilliant horror film, but a brilliant film all round.
The film opens in an unexpected way, I was expecting a film about a possession of a American girl but it opens with Arabic voices, a sunset and workers digging in the hot sunlight of Iraq. You think you’ve put the wrong disk in, it’s so unexpected. The cinematography is gorgeous, there’s no way this film looks like it was shot way back in 1973. The image looks beautiful in the clear warm light of the Iraq skies. Colours are strong, the picture is sharp, clean and clear. A western man with a haunted look to him supervisors the dig, it’s clear he’s after something and seems disturbed to discover several demonic looking statues during the dig. Without quite knowing why there’s something disturbing about these sequences, the sound is unsettling and something is just not right.
Next we get a long slow zoom to a home in the USA, we meet a set of new characters, a mother and daughter, strange noises plague their home, but it seems fair to assume that it might be some rats. The mother is a wealthy actress we learn, her daughter seems to live a carefree happy childhood, and there’s lots of love and affection between the two. Without this warm idealised beginning what follows wouldn’t be so terrible. The film also it’s nicely paced and doesn’t rush to get to the horror, it doesn’t have a modern sensibility but takes it’s time. This affluent setting is contrasted with the rough streets, unruly children and grimy rundown buildings our catholic priest walks down. We learn about his worried attitude towards his solitary mother and his lack of conviction in Catholicism. The production design is superb for both settings. We learn the mother and daughter Regan have recently rented the house they are staying in while away from their California home. Regan it’s revealed has been playing with an Ouija board and has met a person called Captain Howdy. You could immediately get into a lot of subtext here, is this an attack on the morals of the rich in America? A family broken up? Is it there atheism they are punished for?
What follows is a series of slow escalations. The mother finding her daughter asleep in her bed, complaining her own bed was shaking, the daughter spoiling a party, her personality starting to change, the visits to the hospital, the drugs and treatments not working.
At the same time this happens the film also expertly mixes in the experience of other psychiatric patients housed in the same hospital as the priests mother. The film also takes a pretty rational and realistic approach to it’s subject matter. Doctor’s and shrinks are called in to investigate, they don’t just jump to the idea she’s possessed. The films does a superb job of transforming the daughter from a cheerful affectionate likeable child into an offensive, wild, profane personality, it seems now there is no way back for her. The colour palette for the film gets increasingly cold, with lots of black, white, grey and a steel blue lighting by the time we get to the finale. The camerawork is also smooth and assured, with a mixture of tripod shots, handheld, tracking shots, this film has it all. The priest is also a boxer, and we see this nicely contrasted with the strength and rage that develops in the daughter. While all this is going on and the story of the priest and daughter are starting to be joined together for the final third we also have a detective investigating a suspicious death which may also be connected to Regan. The probing dialogue and questions, the way he slowly starts to piece together what’s happening is all very well done. Other things are left unspoken, we see though the mother’s discomfort through her actions, quickly locking the door as soon as he’s left. There’s always a lot going on. Scenes also sometimes feel safe or happy followed by a sudden shocking escalation of violence, the scenes play on too, keeping you gripped to the film. There’s another twists to during the pre-exorcist investigation, we are not quite sure if we can believe what we’re being told and neither is the priest. There’s also the horrible fear of self inflicted injuries and the fear of being institutionalised. As things seem increasingly tense and desperate our expert priest from the beginning of the film returns for the final big showdown. The sound design is superb in this film, the bangs, the knocks, the swirling wind, the crackling of the head, cries which sound more animal like than human. It’s all excellent for 1973 and it’s technical limitations. The film is also about faith, doubt, accepting your limitations and flaws yet still striving to overcome them. The final 20 minutes does not disappoint and again it’s full of the conflict and twists you’d hope for, the film keeps you guessing right up until it’s final scene over it’s outcome. In the end the film is so well written, the realism, the constant struggle, the escalation of stakes and horror and the way it comes so unpredictably.
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Customer reviews
A truly outstanding film, not just a brilliant horror film, but a brilliant film all round.The film opens in an unexpected way, I was expecting a film about a possession of a American girl but it opens with Arabic voices, a sunset and workers digging in the hot sunlight of Iraq. You think you’ve put the wrong disk in, it’s so unexpected. The cinematography is gorgeous, there’s no way this film looks like it was shot way back in 1973. The image looks beautiful in the clear warm light of the Iraq skies. Colours are strong, the picture is sharp, clean and clear. A western man with a haunted look to him supervisors the dig, it’s clear he’s after something and seems disturbed to discover several demonic looking statues during the dig. Without quite knowing why there’s something disturbing about these sequences, the sound is unsettling and something is just not right.Next we get a long slow zoom to a home in the USA, we meet a set of new characters, a mother and daughter, strange noises plague their home, but it seems fair to assume that it might be some rats. The mother is a wealthy actress we learn, her daughter seems to live a carefree happy childhood, and there’s lots of love and affection between the two. Without this warm idealised beginning what follows wouldn’t be so terrible. The film also it’s nicely paced and doesn’t rush to get to the horror, it doesn’t have a modern sensibility but takes it’s time. This affluent setting is contrasted with the rough streets, unruly children and grimy rundown buildings our catholic priest walks down. We learn about his worried attitude towards his solitary mother and his lack of conviction in Catholicism. The production design is superb for both settings. We learn the mother and daughter Regan have recently rented the house they are staying in while away from their California home. Regan it’s revealed has been playing with an Ouija board and has met a person called Captain Howdy. You could immediately get into a lot of subtext here, is this an attack on the morals of the rich in America? A family broken up? Is it there atheism they are punished for?What follows is a series of slow escalations. The mother finding her daughter asleep in her bed, complaining her own bed was shaking, the daughter spoiling a party, her personality starting to change, the visits to the hospital, the drugs and treatments not working.At the same time this happens the film also expertly mixes in the experience of other psychiatric patients housed in the same hospital as the priests mother. The film also takes a pretty rational and realistic approach to it’s subject matter. Doctor’s and shrinks are called in to investigate, they don’t just jump to the idea she’s possessed. The films does a superb job of transforming the daughter from a cheerful affectionate likeable child into an offensive, wild, profane personality, it seems now there is no way back for her. The colour palette for the film gets increasingly cold, with lots of black, white, grey and a steel blue lighting by the time we get to the finale. The camerawork is also smooth and assured, with a mixture of tripod shots, handheld, tracking shots, this film has it all. The priest is also a boxer, and we see this nicely contrasted with the strength and rage that develops in the daughter. While all this is going on and the story of the priest and daughter are starting to be joined together for the final third we also have a detective investigating a suspicious death which may also be connected to Regan. The probing dialogue and questions, the way he slowly starts to piece together what’s happening is all very well done. Other things are left unspoken, we see though the mother’s discomfort through her actions, quickly locking the door as soon as he’s left. There’s always a lot going on. Scenes also sometimes feel safe or happy followed by a sudden shocking escalation of violence, the scenes play on too, keeping you gripped to the film. There’s another twists to during the pre-exorcist investigation, we are not quite sure if we can believe what we’re being told and neither is the priest. There’s also the horrible fear of self inflicted injuries and the fear of being institutionalised. As things seem increasingly tense and desperate our expert priest from the beginning of the film returns for the final big showdown. The sound design is superb in this film, the bangs, the knocks, the swirling wind, the crackling of the head, cries which sound more animal like than human. It’s all excellent for 1973 and it’s technical limitations. The film is also about faith, doubt, accepting your limitations and flaws yet still striving to overcome them. The final 20 minutes does not disappoint and again it’s full of the conflict and twists you’d hope for, the film keeps you guessing right up until it’s final scene over it’s outcome. In the end the film is so well written, the realism, the constant struggle, the escalation of stakes and horror and the way it comes so unpredictably.
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Top reviews from United Kingdom
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Reviewed in the United Kingdom 🇬🇧 on 11 November 2021
The film opens in an unexpected way, I was expecting a film about a possession of a American girl but it opens with Arabic voices, a sunset and workers digging in the hot sunlight of Iraq. You think you’ve put the wrong disk in, it’s so unexpected. The cinematography is gorgeous, there’s no way this film looks like it was shot way back in 1973. The image looks beautiful in the clear warm light of the Iraq skies. Colours are strong, the picture is sharp, clean and clear. A western man with a haunted look to him supervisors the dig, it’s clear he’s after something and seems disturbed to discover several demonic looking statues during the dig. Without quite knowing why there’s something disturbing about these sequences, the sound is unsettling and something is just not right.
Next we get a long slow zoom to a home in the USA, we meet a set of new characters, a mother and daughter, strange noises plague their home, but it seems fair to assume that it might be some rats. The mother is a wealthy actress we learn, her daughter seems to live a carefree happy childhood, and there’s lots of love and affection between the two. Without this warm idealised beginning what follows wouldn’t be so terrible. The film also it’s nicely paced and doesn’t rush to get to the horror, it doesn’t have a modern sensibility but takes it’s time. This affluent setting is contrasted with the rough streets, unruly children and grimy rundown buildings our catholic priest walks down. We learn about his worried attitude towards his solitary mother and his lack of conviction in Catholicism. The production design is superb for both settings. We learn the mother and daughter Regan have recently rented the house they are staying in while away from their California home. Regan it’s revealed has been playing with an Ouija board and has met a person called Captain Howdy. You could immediately get into a lot of subtext here, is this an attack on the morals of the rich in America? A family broken up? Is it there atheism they are punished for?
What follows is a series of slow escalations. The mother finding her daughter asleep in her bed, complaining her own bed was shaking, the daughter spoiling a party, her personality starting to change, the visits to the hospital, the drugs and treatments not working.
At the same time this happens the film also expertly mixes in the experience of other psychiatric patients housed in the same hospital as the priests mother. The film also takes a pretty rational and realistic approach to it’s subject matter. Doctor’s and shrinks are called in to investigate, they don’t just jump to the idea she’s possessed. The films does a superb job of transforming the daughter from a cheerful affectionate likeable child into an offensive, wild, profane personality, it seems now there is no way back for her. The colour palette for the film gets increasingly cold, with lots of black, white, grey and a steel blue lighting by the time we get to the finale. The camerawork is also smooth and assured, with a mixture of tripod shots, handheld, tracking shots, this film has it all. The priest is also a boxer, and we see this nicely contrasted with the strength and rage that develops in the daughter. While all this is going on and the story of the priest and daughter are starting to be joined together for the final third we also have a detective investigating a suspicious death which may also be connected to Regan. The probing dialogue and questions, the way he slowly starts to piece together what’s happening is all very well done. Other things are left unspoken, we see though the mother’s discomfort through her actions, quickly locking the door as soon as he’s left. There’s always a lot going on. Scenes also sometimes feel safe or happy followed by a sudden shocking escalation of violence, the scenes play on too, keeping you gripped to the film. There’s another twists to during the pre-exorcist investigation, we are not quite sure if we can believe what we’re being told and neither is the priest. There’s also the horrible fear of self inflicted injuries and the fear of being institutionalised. As things seem increasingly tense and desperate our expert priest from the beginning of the film returns for the final big showdown. The sound design is superb in this film, the bangs, the knocks, the swirling wind, the crackling of the head, cries which sound more animal like than human. It’s all excellent for 1973 and it’s technical limitations. The film is also about faith, doubt, accepting your limitations and flaws yet still striving to overcome them. The final 20 minutes does not disappoint and again it’s full of the conflict and twists you’d hope for, the film keeps you guessing right up until it’s final scene over it’s outcome. In the end the film is so well written, the realism, the constant struggle, the escalation of stakes and horror and the way it comes so unpredictably.
Amazing film
By L.W on 11 November 2021
A truly outstanding film, not just a brilliant horror film, but a brilliant film all round.By L.W on 11 November 2021
The film opens in an unexpected way, I was expecting a film about a possession of a American girl but it opens with Arabic voices, a sunset and workers digging in the hot sunlight of Iraq. You think you’ve put the wrong disk in, it’s so unexpected. The cinematography is gorgeous, there’s no way this film looks like it was shot way back in 1973. The image looks beautiful in the clear warm light of the Iraq skies. Colours are strong, the picture is sharp, clean and clear. A western man with a haunted look to him supervisors the dig, it’s clear he’s after something and seems disturbed to discover several demonic looking statues during the dig. Without quite knowing why there’s something disturbing about these sequences, the sound is unsettling and something is just not right.
Next we get a long slow zoom to a home in the USA, we meet a set of new characters, a mother and daughter, strange noises plague their home, but it seems fair to assume that it might be some rats. The mother is a wealthy actress we learn, her daughter seems to live a carefree happy childhood, and there’s lots of love and affection between the two. Without this warm idealised beginning what follows wouldn’t be so terrible. The film also it’s nicely paced and doesn’t rush to get to the horror, it doesn’t have a modern sensibility but takes it’s time. This affluent setting is contrasted with the rough streets, unruly children and grimy rundown buildings our catholic priest walks down. We learn about his worried attitude towards his solitary mother and his lack of conviction in Catholicism. The production design is superb for both settings. We learn the mother and daughter Regan have recently rented the house they are staying in while away from their California home. Regan it’s revealed has been playing with an Ouija board and has met a person called Captain Howdy. You could immediately get into a lot of subtext here, is this an attack on the morals of the rich in America? A family broken up? Is it there atheism they are punished for?
What follows is a series of slow escalations. The mother finding her daughter asleep in her bed, complaining her own bed was shaking, the daughter spoiling a party, her personality starting to change, the visits to the hospital, the drugs and treatments not working.
At the same time this happens the film also expertly mixes in the experience of other psychiatric patients housed in the same hospital as the priests mother. The film also takes a pretty rational and realistic approach to it’s subject matter. Doctor’s and shrinks are called in to investigate, they don’t just jump to the idea she’s possessed. The films does a superb job of transforming the daughter from a cheerful affectionate likeable child into an offensive, wild, profane personality, it seems now there is no way back for her. The colour palette for the film gets increasingly cold, with lots of black, white, grey and a steel blue lighting by the time we get to the finale. The camerawork is also smooth and assured, with a mixture of tripod shots, handheld, tracking shots, this film has it all. The priest is also a boxer, and we see this nicely contrasted with the strength and rage that develops in the daughter. While all this is going on and the story of the priest and daughter are starting to be joined together for the final third we also have a detective investigating a suspicious death which may also be connected to Regan. The probing dialogue and questions, the way he slowly starts to piece together what’s happening is all very well done. Other things are left unspoken, we see though the mother’s discomfort through her actions, quickly locking the door as soon as he’s left. There’s always a lot going on. Scenes also sometimes feel safe or happy followed by a sudden shocking escalation of violence, the scenes play on too, keeping you gripped to the film. There’s another twists to during the pre-exorcist investigation, we are not quite sure if we can believe what we’re being told and neither is the priest. There’s also the horrible fear of self inflicted injuries and the fear of being institutionalised. As things seem increasingly tense and desperate our expert priest from the beginning of the film returns for the final big showdown. The sound design is superb in this film, the bangs, the knocks, the swirling wind, the crackling of the head, cries which sound more animal like than human. It’s all excellent for 1973 and it’s technical limitations. The film is also about faith, doubt, accepting your limitations and flaws yet still striving to overcome them. The final 20 minutes does not disappoint and again it’s full of the conflict and twists you’d hope for, the film keeps you guessing right up until it’s final scene over it’s outcome. In the end the film is so well written, the realism, the constant struggle, the escalation of stakes and horror and the way it comes so unpredictably.
Images in this review
Reviewed in the United Kingdom 🇬🇧 on 2 December 2022
Reviewed in the United Kingdom 🇬🇧 on 7 November 2022
