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Hi again,
I’d like to know something about two sequences in this film. (Surely its Director’s Cut version) Both are related to the window of Regan’s room.
1. After the first visit of Damian Karras, we see Damian cross the street before the MacNeil’s house. And the camera slide to the front glass of a car inside which the detective Kinderman investigating the crime about Dennings’ death, keeps observing what’s going on in the house. He sees, as we see, a human silhouette moving inside a curtained window of Regan’s room. The room is lighted. It must not be Regan, because she is already restrained by straps to the bed. Whose silhouette is it? What is this person doing at the possessed Regan’s bedside? It this sequence meaning something?
2. After the death of Merrin, Karras let the devil come into him. At the same moment than his being taken by the evil spirit (his facial expressions change in one instance and he sees over the window a vague image of his mother’s face), the curtains move up as if they were blown by a wind. And he pushes himself outside. What I don’t understand is why the very firmly close window during the ritual, with shutters and blinds down, as the instructions about exorcisme ritual indicate, happens here suddenly to be open (at least the outside shutters). Is there a “trick” of the film maker? Or is there any meaning related to the story (demonstrating a demoniac power)?
Thank you for all replies!!
Ok, First of all I really am not sure about the 2nd question so I will leave that for someone else to reply.
Now as for the first question I can only explain it the way I understood it. I believe that the silhouette you see is Regan. Yes she is restrained but I have the opinion that she could free herself at anytime. Just like her opening the dresser drawer she did it once then Fr. Karras asked her to do it again she then says, “That’s much to vulgar a display of power.” So in a sense she is saying I can do what I want whenever I want and there is a purpose for everything I do. Now am I reaching? Maybe?
Also you could read it as like an apparition type thing. Or and maybe the most sensible version would be that it is Sharon up in her room taking care of her. But I like my first version the best. It gives more of a sense of mystery and it shows a higher level of the unknown power of the demon to the story line. Well, I hope I have helped! I may not know just what the screenwriter intended I can only tell you how I see it.
Later!
EricaI’m also unsure of the second question, besides the filmmakers leaving out that aspect of the exorcism ritual. According to the ritual, there is also supposed to be a member of the family, same sex, in the room to help with restraints, but that was left out in the novel and film.
As for the first question, in the novel the shadow was Karl, the butler. In the film, I think it’s supposed to be Regan. It adds a very creepy aspect to the movie (one of my top 3 scariest scenes, if you think the shadow is Regan, of course). To my knowledge, it’s never been explained by Friedkin who exactly it is, but like Erica said, it makes the movie that much creepier if you view the shadow as Regan. Kind of like the straps are useless since the demon can move about freely, but it allows itself to be tied down to give the household a false sense of security.
Thank you Erica and Strawberry-field!
So, both of you think the shadow inside the closed window is Regan (Devil)… I tried once again to figure out its form: in fact, the person appearing in shadow seems to have long hair (the only one person in the film with long hair down on the shoulder is Regan). But I still keep thinking that there is not that much room for fantasy in this film. Symptoms of possession are of course “fantastics”, meaning supernatural (bed’s shaking, mirages of ancient demon, levitation of body, etc.)… neverthless it is definitely not a “fantastic” film. Do you see what I mean? It was quite laborious for the devil himself to slide inside Regan’s body and mind. And it was as difficult as that for him to “display the power”… not because he didn’t want to. There are several dead persons in Regan and It seems to me that the evil spirit borrows his force to their synchronicity in suffering and their utmost need for recalling the Biss Boss (Pazuzu), which seems to be quite difficult, at least rare, to realize in the film. I want to say that I have had no impression during this story’s evolving that the devil be almighty and capable to rule the physical world without effort.
The shadow, wasnt’t it Regan’s spirit in despair?
Q. 1: If you watch the movement of the figure in the window, it is that of Regan who casts the shadow. The body literally glides along the path versus that of a figure who walks. Friedkin was clever enough to show us this quick scene that ultimately ties several scenes together; e.g., the bed shaking, Regan’s body being thrust back and forth on the mattress, and the levitation scene toward the end of the exorcism. While Kinderman has no clue what Regan looks like, the shadow piques his investigative mind because Chris told Kinderman earlier that Regan is “heavily sedated.†This is one of my favorite scenes because it adds another element of the supernatural.
As an aside, WB tampered with this scene on a VHS version in the early 1990’s by adding the sound of a heartbeat just after Karras asks Chris if Regan knew about his mother’s death. When Chris finally asks, “Why?,†Karras responds, “It doesn’t matter. Good night.†WB played a heartbeat sound effect when the scene goes back to Chris’ worried look.
Q. 2: The window scene is interesting and interpretation on whether it’s concrete vs. abstract is really up to the individual’s judgment. I believe we could all interpret that scene one way or another. For instance, the window opens through Godly powers and the face of Karras’ mother is the guiding and spiritual way for Karras to save Regan from the demon. Another interpretation could be that the demon instills this image of his mother into his mind to prod Karras to dive out the window to his death. In that instance, the demon has a win-win situation because both Merrin and Karras are dead.
Another side note: The difference between the original film and TVYNS is that WB added an extra bit of sound effects and the superimposition of the mother’s face onto the window. Does it change the way that scene is interpreted? I say definitively that it does. There are so many unnecessary and forced sequences in TVYNS that it corrupts the intention of the original film in many aspects.
No matter, these are just my opinions. Either version of the film is a spectacle of wonderment. I don’t think all parts of the film must make sense to everyone in the same way, and indeed can be up for interpretation. However, if you don’t take things too literal, you may see the undertones that Blatty and Friedkin offered in the best horror film of all time.
Father Bowdern
Oh, I just read some old news that Friedkin will be working on the transfers of both the 1973 and 2000 versions for the blu-ray with Owen Roizman. I’m happy to read that because Friedkin “supervised” the transfer of The French Connection to BD. He doesn’t know Jack about digital transfers if you watched that film and were as disappointed as I was.
IF (yep, capital “IF”) Friedkin truly had a hand in TVYNS, he needs stay clear on the film’s tonal values for the BD transfer and get off his high horse name, Mr. Egotistical. Interestingly, Friedkin is quick to slice and dice 3D to shreds, yet he blessed TVYNS with all the CGI gimmicks that look exactly like CGI gimmicks? Give me a break!
From the article, “On converting The Exorcist to 3D: “No. Never. Providing I’m still alive. Warner Brothers is obligated to come to me. And they do. The point is, it’s a totally different medium. I don’t like 3D. I don’t believe there is any film that I have seen and loved that would have been improved by a scintilla in 3D. To me, it’s just a gimmick.†Again, give me a break. If WB wants a 3D version, let’s see how obligated they are to you. The Exorcist remains a cash cow for WB. If they want to re-re-re-release the film on 3D in IMAX theaters that is exactly what they will do. With the advent of home theater 3D, it’s another great way to sell this classic to new and old audiences alike.
Please, Mr. Friedkin, you WERE brilliant and you don’t have to destroy your masterpieces with mediums you don’t understand. Personally, I think Regan’s vomit should remain green versus blue! Listen to Roizman. And for God’s sake, stop using CGI to paint lipstick on this Mona Lisa.
Father Bowdern
I’m Chiming in again, bumping threads, etc.
Regarding the digital addition of visual elements (Mother Karras’ face in the window), I really, reeeally wish they hadn’t digitally altered Regan’s face right before she grabs the hypnotist’s crotch. It resembled a wolf’s face! They even recycled a growl sound effect from the scene just before Merrin uses his thumb to make a cross sign on Regan’s head.
Now, I sort of remember reading in the novel, during Karras’ initial encounter with Regan, how the demon let Karras “see” Regan’s face for a split-second moment:
‘Then Karras saw Regan’s face, contorted with fear, then back to the grinning demon’ or something like that. I thought, *How* would they do that on film?
Well, they did it best during the exorcism. When the bed comes crashing down after floating, the lights flick on and off, Regan is writhing and thrashing and – Pazuzu face!! Karras even does a double-take.But that face, just before the crotch grab? Sorry, didn’t work for me.
Completely agree with you, Ceru.
Actually the face morph before the crotch grab gave be a bit of a shock when I first watched TVYNS because I didn’t expect it, but looking at it now it is a case of too much too soon. And the digital effects are not all that great, either. The very subtle morph between Regan and the Captain Howdy face as Merrin arrives at the house is a much better effect, and that was done in 1973…
All the added effects were fun to spot the first few of viewings but the novelty soon wore off. What I would love is a definitive version of the film that included the extra scenes (I guess I’m in the minority of those who like all the added scenes and extended ending) without all the silliness.
I know this is off the subject but a question I’m still obsessing about is when did Regan go down to the church and do Number #2 on the altar and what time did she do it. I know when the elderly sacristan came into the chapel in the morning to set up for mass he found a steaming pile of excrement on the altar so Regan must have done it recently. I just can’t figure out how she got out of the house,number 2’d on the altar and got back home all without being seen. This bothers me cause I can’t make sense of that shysty move.
Hmmm … I will listen to my audiobook narrated by WPB on the plane (yes, vacation time!). I’ll be sure to catch the part about Regan taking a dump on the alter if it’s there. I just can’t remember reading about that before.
Better yet, SOFIA! Rescue time. 🙂
Father Bowdern
I wasn’t sure where to mention this, so I’ll just add it here.
That line of dialog about Merrin in Africa:
“The exorcism supposedly lasted months. Heard it damn near killed him.”Um, “months”?? Not hours, days, or even weeks, but months.
Sounds like hearsay. You know how a story’s facts get embellished over a long period of time until fact becomes a sort of legend or myth.
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