[jon t]

Hi everyone,

I remember that in older prints (those before the 25 birthday re-release) the film had a slightly yellow colour cast – which can be seen on the old lobby cards and the VHS copies.

I seem to recall reading an interview with Owen Roizman where he said he 'flashed' the film stock – exposing the stock to a low level light before filming, which gives a slightly yellow tint.

I personally liked the film with this slight yellow tint – the 'jaundiced' look.

Does anyone know about this, and why the film has been graded to a slightly bluer look ever since?

[Jagged]

As I recal Friedkin decided to claim he had wanted it blue all along when he did the colour timing for the 25th anniversary release.

Me I preferred the sickly yellows of the original prints. I suspect the difference of opinion had a lot to do with Roizman insisting on sitting next to him when they timed the blu ray. That and the French Connection debacle.

[fatherbowdern]

I actually saw the film in theaters when it was released. In 1973, no one debated or even noticed the tonal, gradient values like we do today such as those represented in a lot of David Fincher films, for example.

IMHO, Roizman saved The Exorcist from another disaster like The French Connection transfer that Friedkin ruled over. TFC looks like shit and Friedkin claims “it's his work.” He's right. It belongs to him and he can watch it all by himself. Never tinker with an intentionally gritty, grainy, raw film like TFC.

The Exorcist, however, is brilliant thanks to Roizman.

Father B

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