CaptainHowdy.com The #1 Exorcist Fansite Since 1999
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Hi GhettoExorcist,
I got an authentic Exorcist poster that was signed by Linda Blair, Ellen Burstyn, Max von Sydow, and Jason Miller at the 2000 TVYNS premiere, and I got it on Ebay. A couple years ago they were more common to be seen there, but alas they turn up seldomly now, but that’s my best bet. 🙂
That’s very interesting! Who would’ve thought that the African Pazuzu would be found there? The placement of it there is very odd as people have noted.
And Justin, that Regan possessed shot of Heretic is in that first teaser trailer in quick cuts when they mention Linda Blair’s name. 🙂
Not that much money fortunately. I think we’ve got all we wanted on Exorcist and then some (which we actually didn’t want). 🙁
I meant it was on the Exorcist II DVD. There are two trailers on that DVD where as our beloved 25th anniversary of our original film only sports one trailer for EII.
One of the things I’ve noticed when watching ETB and Dominion back to back comparatively was that ETB was more of an extension of the Heretic formula, which can be labeled as ‘Mythological Epic Good vs. Evil romp’ where Dominion is closer to the Exorcist, Exorcist III formula of ‘reality-based psychological expose.’ So trying to combine them would have made a very uneven film as far as storytelling scope was concerned. Essentially, I always felt that ETB was a remake of II considering both had the same pursuits of giant special effects stylized scenes minus the locusts, US scenes, and supposed 70’s technology. Yet both tackle this massive mythological premise, which frankly The Exorcist was never really about. Exorcist, Legion, and Dominion tackled its premise in a more ‘closer to home’ scenario where the horror was within you as opposed to a sumperimposed effect outside on the dunes. Frankly both Heretic and ETB make the mistake of not grasping the paradigm of horror The Exorcist made: the fear of losing yourself and your body to something else. 😮
Hi Cap’n, I didn’t say BETTER. I said a sequel that honors the original. Hell, if you thought that what’s I meant you could have dogged me more for implying that Dominion or Godfather Part II was better, but I didn’t say that. Jaws is a masterpiece no doubt and J2 is not, but it is a film that does make its good salute. Aliens and T2 salute as well, but I was being general and didn’t say better. Where as I agree with T2 being better technically, I’ve felt equal about Alien and Aliens. Ridley Scott has a more painterly eye with his film whereas Cameron is more about well orchestrated action. So they handle their pursuits differently, but with equally good results.
And Granville, the kids are never insinuated in the film as ‘rich.’ As said in the critique I put the link up for in my previous post, they are supposed to be an allegory for the sinking/shark attacks of the U.S.S. Indianapolis as indicated by co-writer Howard Sackler. Putting more people in danger raises the stakes while Scheider becomes more alone in his fight when he is the only guy out to sea in the boat. A different, but fresh scenario from J1.
Hi Cap’n, according to contemporary film exposes, J2 (and not the other sequels) has become an important note in cinema history as the film that ushered and made the sequel market doable. Yes, the studios experimented with the ‘idea’ of a sequel with unsuccessful attempts such as Exorcist II (serial designed films had sequels of course, but not for standalone designed films) as we’ve found out, but according to this critique a good amount of intellectual thought actually did go into this film. Otherwise, there wouldn’t be documentaries on this film:
I think Dominion (Beginning was a remake of this film) actually has a lot of insight and social commentary that the original had, but I agree that the original is undeniably a masterpiece, but every so often a sequel comes along that does honorably salute the original (i.e. Godfather Part II, Aliens, Terminator sequels, Jaws 2) and I think Dominion: Prequel to the Exorcist was the only sequel out of the rest that does this; well written and well intended. 🙂
I think it does depend on how she is photographed. She looked good in the Fear of God doc and in the E! THS Linda Blair story, but she looked strange in the E! THS Curse of the Exorcist doc. Her photographs at humanitarian causes look good and of course she had her bad photos even during the Heretic days, so I guess good cinematography always plays a role.
That is really cool indeed.
By the way, how did you get it to post that image in the actual thread box? What Javascript tags did you use? 😮
Constantine wasn’t an appropriate adaptation of Alan Moore’s comics anyway. I remember my best friend and I (where we were the only people in the whole theatre) laughed uproariously when the bewitched Mexican got hit by the car in slow motion and lived. My friend suddenly exclaimed, “Rewind that!” It was just that kind of movie unfortunately.
Movies like Constantine do make a mockery out of the serious spiritual subjects that The Exorcist delves into, so in a sense we have to wait until this comic book take on spiritual subjects goes away first so that the realistic nature of doing a miniseries can be credible again.
I don’t see how you can make a TV series out of The Exorcist either. Every episode would be about either an exorcism or some spiritual/metaphysical thing, which would be excrutingly predictable. Since exorcisms are supposed to be very rare, the show’s credibility would also go out the window. The closest show that came to that (not the X-Files) was Kolchak: The Night Stalker from the 70’s, which wasn’t that great anyway.
We talked about this on the jawsmovie.com forum and a lot of people were against the idea. To me, it sounds like the studio had to wait for Moustapha Akkad to die before they could even consider doing a remake. That’s just shameful in my honest opinion. Besides, Halloween is pretty much THE usherer of the slasher genre, so what can else be done to a film whose main strength is its ultimate simplicity?
I think Zombie would add a lot of unnecessary gore and shock tactics that were beautifully unacceptable in Carpenter’s perception of what he felt was a realistic film about a serial killer.
