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BFI Film Classics
جن گیر
آیا همان‌طو� که بیلی گراهام(مبلغ یسوعی) گفته بود، خود نوار سلولوئید فیلم «جنگیر� را شیاطین تسخیر کرده‌اند�! یک سال پس‌ا� سخنرانی پاپ پل ششم، «جنگیر� ویلیام فردکین اکران شد. همان سخنرانی مشهور که: «شیطان صرفا به معنای فقدان چیزی نیست، بلکه خود عاملی موثر است، وجودی روحانی و زنده که گمراه شده و دیگران را گمراه می‌کن�. واقعیت هولناکی است...» همین واقعیت هولناک، همین واقعی بودن این واقعیت هولناک است که فیلم بزرگ فردکین را به فیلمی تاریخ‌سا� مبدل کرده که حتا اگر خودش در تسخیر شیاطین باشد، بازهم تأییدی‌س� بر خواست درونی «ویلیام پیتر بلتی»، نویسنده� رمانی که فیلم از آن اقتباس شده: «اگر شیاطین واقعی باشند، پس فرشتگان و احتمالا خدا و زندگی جاودان نیز حقیقت خواهند داشت.» اهمیت فیلم و البته ابعاد تأثیرش بر سینما، ورای یک روایت ژنریک در باب الهیات مسیحیت کاتولیک است. «مارک کرمود» در کتاب «جنگیر»� مسیر شکل‌گیر� فیلم از متن تا اجرا و پس‌ازآ� را همچو� یک پژوهشگر علوم طبیعی که منظر مردم‌شناسانه‌ا� از او منتقدی ریزبین و مکتشف ساخته است، طی می‌کن�. منتقدی که می‌دان� حتا فیلمی پر از شیاطین نیز اجزایی دارد برآمده از شرایط، ایده‌ها� فکرشده و فکر ناشده و مجموعه‌ا� از حقایق و ناحقایق! شاید راز جن‌گی� در همین‌هاس� و البته حاصل هوشمندی خالقش؛ هوشمندی‌ا� که نبردهای میان شیاطین و خدایان را، نبردهایی متعلق به اعصار را، به آپارتمانی در آمریکای دهه� 1970 کشانده که گویی «مکس فون سیدو» از دل «مهر هفتم» قرون وسطایی اینگمار برگمان، ردای کشیشی به تن کرده و پا به آمریکای عصر نیکسون گذاشته تا شاهد شورش بی‌بدی� ما برابر آنها باشد! کتاب کرمود راهنمای مناسبی برای ورود به لحظه� این شورش و البته مداقه در دلایل اهمیت و امکان جن‌گی� است.
188 pages, Paperback
First published February 1, 1998
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Displaying 1 - 30 of 42 reviews
February 23, 2011
BFI Modern Classics are beautiful little 100 page books. Every home should have several. This one takes us through the creation and making of one of the all time insane gonzo gross-out projectile vomiting head turning right round crucifix masturbating horror movies, and many intriguing facts are uncovered and theories booted about, but the Elephant in the Room is left disturbingly unmolested, to wit:
did Blatty (author of the novel and the screenplay), Friedkin (director) and Mark Kermode (writer of this book) actually believe the movie was representing a supernatural reality?
Because that's what it appears to be doing. Now, Blatty seems to be a true believer - he began writing the original novel based on a 1949 exorcism which had hit the press and he chose that story because he thought the case presented facts which went a long way towards "proving" that the Catholic version of reality was objectively real. But Friedkin and Kermode appear to be entirely embarrassed by that aspect, quite extraordinarily. There's a big debate to be had here, of course, but it does seem like Friedkin was in the position of Leni Riefenstahl filming the Nuremburg Rally whilst claiming not being a Nazi and just wanting to make a good strong documentary (oh yeah?) and Kermode is like a person writing about "Triumph of the Will" entirely from a film perpective and ignoring that it's actually about Hitler.
Still, v nice book, contains great stills.
did Blatty (author of the novel and the screenplay), Friedkin (director) and Mark Kermode (writer of this book) actually believe the movie was representing a supernatural reality?
Because that's what it appears to be doing. Now, Blatty seems to be a true believer - he began writing the original novel based on a 1949 exorcism which had hit the press and he chose that story because he thought the case presented facts which went a long way towards "proving" that the Catholic version of reality was objectively real. But Friedkin and Kermode appear to be entirely embarrassed by that aspect, quite extraordinarily. There's a big debate to be had here, of course, but it does seem like Friedkin was in the position of Leni Riefenstahl filming the Nuremburg Rally whilst claiming not being a Nazi and just wanting to make a good strong documentary (oh yeah?) and Kermode is like a person writing about "Triumph of the Will" entirely from a film perpective and ignoring that it's actually about Hitler.
Still, v nice book, contains great stills.
June 30, 2018
I'm currently writing a book about demons, and The Exorcist plays a larger-than-life role in the perception of said evil beings. Kermode is a film critic and it shows in his masterful treatment of the film in this book. Not gossip or rumor, this is good critical work. And enjoyable to read. I blogged about it as well ().
For those who've never seen the film, there's a strange divide. Younger viewers tend to find it laughable, but guys my age—perhaps because we grew up hearing how terrifying it was—found it very scary. But there's more to it than that. Kermode does a good job of showing how the movie was carefully and thoughtfully made. The collaboration of William Friedkin and William Peter Blatty was a fruitful one. The film always leaves me feeling pensive after I watch it. If it's during a period when I believe in demons it'll make me sleep with the lights on. If I'm skeptical at the time it won't frighten so much as make me wonder. Like my post on Werewolf, I would maintain that the story is tragic, although with a hopeful ending.
There was a "true story" behind the novel and cinematic adaptation. Kermode doesn't go into this much, beyond noting that Blatty wanted to write a factual account, but was denied access to the records. This led to a fictional, and arguably superior story because it wasn't constrained by the facts of the case.
Horror is often accused of being puerile, and honestly, at times it is. Some horror films, however, transcend this and become works of art. The Exorcist is one such film. And I'm not the only one to think so. I've got a film critic here that wholeheartedly agrees.
For those who've never seen the film, there's a strange divide. Younger viewers tend to find it laughable, but guys my age—perhaps because we grew up hearing how terrifying it was—found it very scary. But there's more to it than that. Kermode does a good job of showing how the movie was carefully and thoughtfully made. The collaboration of William Friedkin and William Peter Blatty was a fruitful one. The film always leaves me feeling pensive after I watch it. If it's during a period when I believe in demons it'll make me sleep with the lights on. If I'm skeptical at the time it won't frighten so much as make me wonder. Like my post on Werewolf, I would maintain that the story is tragic, although with a hopeful ending.
There was a "true story" behind the novel and cinematic adaptation. Kermode doesn't go into this much, beyond noting that Blatty wanted to write a factual account, but was denied access to the records. This led to a fictional, and arguably superior story because it wasn't constrained by the facts of the case.
Horror is often accused of being puerile, and honestly, at times it is. Some horror films, however, transcend this and become works of art. The Exorcist is one such film. And I'm not the only one to think so. I've got a film critic here that wholeheartedly agrees.
May 15, 2021
I was initially worried that Kermode's obvious love for the film would cloud his critical view and analysis, but the level of expertise and actual criticism of the film's production, meaning and impact makes for a fascinating yet celebratory read. Hello to Jason Isaacs.
December 30, 2022
A satisfying, if brief look at the making of The Exorcist and the (sometimes debatable) meaning behind it. Added focus is given in this more recent edition to the version of the film from 2000 with various scenes reinstated; this enhances the story the book seeks to put across, further highlighting the back and forth between Friedkin and Blatty (who wanted less clarity in the story and more, respectively) that inadvertently inspired some of the differing reactions experienced by film audiences. I suspect a longer work could be written on the subject but that may not be fair to the BFI Classics range or their word counts! It’s a thoughtful and informative read and it made me want to rewatch both versions of the film.
December 21, 2022
I'm always up for learning more about a classic film. "The Exorcist" is perhaps the first film that truly scared me. I would jump at shadows after seeing it.
I picked up this analysis of the film from my library. The edition I read is not the revised edition that also discusses the footage restored to a special version of the film. The one I read is the 1997 edition. That's okay because another book about the film is coming out in 2023, and I'll definitely read that.
Between this book and a documentary I recently watched about the film, I've learned a lot, including things I missed and did not pick up on. I want to read the novel and see the film yet again with these new perspectives in mind.
This book is very short and is worth your time if you have any interest in the film. The power of Christ compels you! (Sorry - I had to.)
I picked up this analysis of the film from my library. The edition I read is not the revised edition that also discusses the footage restored to a special version of the film. The one I read is the 1997 edition. That's okay because another book about the film is coming out in 2023, and I'll definitely read that.
Between this book and a documentary I recently watched about the film, I've learned a lot, including things I missed and did not pick up on. I want to read the novel and see the film yet again with these new perspectives in mind.
This book is very short and is worth your time if you have any interest in the film. The power of Christ compels you! (Sorry - I had to.)
October 7, 2018
At best, an insightful and most readable companion to the Exorcist movie in relation to its marvellous source material by William Peter Blatty.
October 8, 2018
I share Mark's love for The Exorcist so I absolutely loved this book. Brilliant.
January 12, 2020
Amazing book about one of my all time (if not absolute) favourite films. Definitely worth a read if you like the film - don’t read before seeing though as it does contain spoilers!!
October 12, 2016
A good book about the production history of The Exorcist. Fascinating look at how Blatty and Friedkin's competing visions actually created something much better (if kinda jagged) than either could have made on their own. Disappointingly, lacks much analysis of the narrative though.
March 27, 2024
This book holds deep sentimentality for me. It dates to the library I had during my first marriage. Lost to the divorce along with my desire to major in film. As I'm rediscovering this passion, I stumbled on this old BFI Modern Classics book and just had to get it.
The content is dated compared to the 50th annivesary text I read (and listed here) late last year. One of my "meet my heros" regrets is that I never got to meet Blatty or Friedkin.
The content is dated compared to the 50th annivesary text I read (and listed here) late last year. One of my "meet my heros" regrets is that I never got to meet Blatty or Friedkin.
November 13, 2009
One of the greatest American films of all time gets the deluxe analytical treatment viz Mark Kermode, who has an obvious passion for Friedkin and his art. This, the third edition of the book, was re-published to include depth on the newest cut of the film- "The Version You've Never Seen"; this revision is probably my favorite part of this text, particularly a bonus interview attached to the end which finds Friedkin and Blatty discussing the good and the bad about the new cut.
With this film there was a tremendous clash between literary and filmic intention, which Kermode is careful to examine. By starting with Blatty's source material and working his way up the evolution, he creates a fascinating historical and theoretical look at this classic film.
With this film there was a tremendous clash between literary and filmic intention, which Kermode is careful to examine. By starting with Blatty's source material and working his way up the evolution, he creates a fascinating historical and theoretical look at this classic film.
June 9, 2023
I acquired The Exorcist by Mark Kermode, part of the BFI [British Film Institute] Modern Classics series as a Christmas present from my friend June in 1998. The cover of the 1997 edition comes from a subliminal scene in the movie, one that has haunted me for decades, yet in my pursuit of finding the perfect image to accompany the review I posted to my own blog, I have had to scan the cover and tweak it at least half a dozen times, so I consider my fear of that subliminal movie mask now cured.
The Exorcist is my second favourite movie of all time, and since the function of the BFI Modern Classics series is for authors to “write on a film of their choice, making the case for its elevation to the status of classic�, I could tell that Kermode was a big fan of this film too. He covered the movie from beginning to end, writing about tiny details that I had often wondered about and was so excited to see in a critique. The cover image alone I felt must be addressed within, as there was no other point in the movie that lasted so briefly yet affected me more than that haunting visage.
Director William Friedkin explained the origin of the subliminal mask:
“Those are frames from a make-up test that didn’t work which we did with Linda Blair’s double, Eileen Dietz. The make-up was intended for use on Linda Blair. I rejected it as having no organic validity as to what was happening with the girl in the film; it was just make-up. But it seemed to me that it had a power if used briefly like that, so I took these frames that were not meant to be in the original production and cut them in experimentally. It seemed to work.�
This book was published in 1997 and Kermode was delighted to have found a screen shot of the deleted “spider-walk� scene, where Regan descends a staircase on her back, crawling down on all fours head first. Only one year later the movie was rereleased in a special 25th anniversary box set edition and included this scene as bonus footage. I have this edition. The author also wrote about many more deleted scenes and an alternate ending, plus the major editing Friedkin made. In order to do so he had to banish the author and producer William Peter Blatty from the set. Blatty comments on the editing, and while much of the work was done without his approval, he does acknowledge that some scenes do in fact work better in that state.
Kermode made me aware of aural and visual motifs that seemed all the more obvious when he mentioned them. I was always riveted by the pneumoencephalogram scene, especially by the anvil-clanging that accompanies the skull images. The author linked all these particular sounds together, and reprised instances where such clanging was heard before, as in the opening Iraq sequence.
The book was enhanced by many stills from the film which illustrated whatever part the author was writing about. The read was as thrilling as the movie itself: it was exciting to turn the pages and learn more about the scenes I knew that were coming up. This weekend I am definitely watching this movie again.
August 1, 2021
Mark Kermode es un declarado admirador de "El exorcista". Son pocos los críticos de cine que entienden bien el terror y que lo hacen dialogar con la tradición cinematográfica, y en particular, como es el caso de Kermode, lo hacen de manera entusiasta y profunda. Este librito transmite esa obsesión con la película principalmente a través de un manejo enciclopédico de los hechos de la filmación. Kermode es un excelente compañero de ruta para quien quiera verla: nos informa de los detalles técnicos de la filmación, las diferencias artísticas entre WP Blatty (el autor del libro) y W Friedkin (el director de la película) y las diferencias entre el corte original (1973) y la "nueva versión" (2000, "The Exorcist: The Version You've Never Seen"). Los dos primeros capítulos (de un total de cinco) me resultaron particularmente informativos al presentar el "hecho real" en que Blatty habría basado su novela y una muy aguda lectura del primer acto (hasta el sueño de Karras), donde Kermode menciona el choque generacional entre la cultura juvenil y el ethos social m��s tradicional que la percibe como amenazante (con tintes de pedofobia, para usar la expresión de él). Su lectura del prólogo en Irak es un ejemplo de hermenéutica cinematográfica: cuidadosa, atenta al detalle, imaginativa, estimulante. Sin embargo, quedé un poco decepcionado con el resto del libro, en particular por la tendencia a rehuir el análisis y refugiarse en un desfile de hechos y anécdotas. El propio Kermode, en otros medios, ha expresado el profundo impacto que la película le provoca, en particular al reivindicar el terror como una experiencia corporal, una suerte de rehabilitación de los sentidos, así como también, en el caso de "El exorcista", el problema espiritual/teológico/filosófico que acecha detrás, a saber el problema del mal (que es precisamente lo que emerge en la conversación en la escalera entre Merrin y Karras, una escena recuperada en el nuevo corte). Estas tres cuestiones -digamos: la experiencia subjetiva del propio Kermode, la posición del género terror en el canon, y el problema filosófico del mal- podrían haber sido presentadas con mayor expansión. El volumen (edición 2020, con la cubierta de Regan como cruz invertida) está hermosamente editado, con muchos fotogramas, y un apéndice que transcribe un diálogo entre Blatty y Friedkin.
May 8, 2019
The hyperbole surrounding The Exorcist since it’s initial theatrical release is almost as legendary as the movie itself. Once dubbed the scariest movie ever made (is it still?), Blatty’s story of a young girl possessed has endured the passage of time not because of its controversy but because of its layers. While Horror aficionados will revel in the guttural language, subliminal imaginary and not so subtle displays of possession using a crucifix, those with a greater appreciation of narrative structure, of endearing prose and existential rhetoric, will enthusiastically grasp the subtext of adolescence rebellion, a family unit breaking apart, and of course, the existence of God with gusto. And, in the hands of the former, this book may have glossed over these more weighty issues. Instead, Mark Kermode’s love, nay, obsessed for this possession, makes for a good read.
Easily consumable within one sitting, the book takes you from the true life story of a boy’s possession that inspired the book, to an interesting, if not tense, conversation between Friedkin and Blatty in the late 1990s where they engage in a verbal tennis match of you were wrong and I was right. Though I found myself less interested in Kermode’s précis of the movie, he shoehorns enough behind the scenes info to keep you from skim reading. Having watched and read a lot of interviews with Blatty, and owning not only copies of the book, as well as various versions of the movie, and the far superior sequel Exorcist 3 directed by Blatty than that abomination The Heretic, there wasn’t too much I learnt from reading this. Nonetheless, if only to relive the story again by someone so passionate and committed to the book and movie that they helped find missing dialogue that went to restore the Kinderman/Dyer ending, I have no qualms for the hour or so I spent in its pages. To this end, if you’re just mildly curious to understand more about the movie and the differing opinions between Blatty and Friedkin, then your time and money would not be wasted here.
Easily consumable within one sitting, the book takes you from the true life story of a boy’s possession that inspired the book, to an interesting, if not tense, conversation between Friedkin and Blatty in the late 1990s where they engage in a verbal tennis match of you were wrong and I was right. Though I found myself less interested in Kermode’s précis of the movie, he shoehorns enough behind the scenes info to keep you from skim reading. Having watched and read a lot of interviews with Blatty, and owning not only copies of the book, as well as various versions of the movie, and the far superior sequel Exorcist 3 directed by Blatty than that abomination The Heretic, there wasn’t too much I learnt from reading this. Nonetheless, if only to relive the story again by someone so passionate and committed to the book and movie that they helped find missing dialogue that went to restore the Kinderman/Dyer ending, I have no qualms for the hour or so I spent in its pages. To this end, if you’re just mildly curious to understand more about the movie and the differing opinions between Blatty and Friedkin, then your time and money would not be wasted here.
April 11, 2023
"The Exorcist" by Mark Kermode is a fascinating and insightful read that offers a deep dive into the making of one of the most iconic horror films of all time. Kermode, a renowned film critic and horror enthusiast, draws on his wealth of knowledge and expertise to provide a comprehensive behind-the-scenes look at the production of "The Exorcist," from its inception to its release and legacy.
What sets this book apart is Kermode's engaging writing style and his ability to balance analysis with storytelling. He weaves together interviews, anecdotes, and historical context to create a vivid picture of the film's creation and reception. I particularly appreciated the way he delves into the cultural and social context of the 1970s, showing how "The Exorcist" reflected and contributed to the anxieties of the era.
Kermode's attention to detail is also commendable. He provides fascinating insights into the production process, from the casting of the actors to the special effects that made the film so memorable. Even for someone who has seen "The Exorcist" numerous times, Kermode's analysis sheds new light on the film and deepens one's appreciation for its artistry.
The only reason I did not give this book a full five stars is that, at times, Kermode's writing can be a bit dry or academic. While this may be a matter of personal preference, I found myself occasionally getting bogged down in the details. However, this is a minor quibble, and overall, "The Exorcist" is a must-read for fans of horror films and film history in general.
In summary, Mark Kermode's "The Exorcist" is a well-researched, engaging, and insightful read that sheds new light on one of the most iconic horror films of all time. Whether you're a longtime fan of the movie or simply interested in the art of filmmaking, this book is well worth your time.
What sets this book apart is Kermode's engaging writing style and his ability to balance analysis with storytelling. He weaves together interviews, anecdotes, and historical context to create a vivid picture of the film's creation and reception. I particularly appreciated the way he delves into the cultural and social context of the 1970s, showing how "The Exorcist" reflected and contributed to the anxieties of the era.
Kermode's attention to detail is also commendable. He provides fascinating insights into the production process, from the casting of the actors to the special effects that made the film so memorable. Even for someone who has seen "The Exorcist" numerous times, Kermode's analysis sheds new light on the film and deepens one's appreciation for its artistry.
The only reason I did not give this book a full five stars is that, at times, Kermode's writing can be a bit dry or academic. While this may be a matter of personal preference, I found myself occasionally getting bogged down in the details. However, this is a minor quibble, and overall, "The Exorcist" is a must-read for fans of horror films and film history in general.
In summary, Mark Kermode's "The Exorcist" is a well-researched, engaging, and insightful read that sheds new light on one of the most iconic horror films of all time. Whether you're a longtime fan of the movie or simply interested in the art of filmmaking, this book is well worth your time.
October 30, 2020
Brief, readable and interesting account of the preparation for, making of and reaction to the 1973 classic, including much fixation upon just what did, should, couldn't make the final cut(s). That the two Bills (Blatty and Friedkin) managed a working relationship among their creative differences is quite an achievement. Blatty, who seems the key source for information, seems very reasonable and devout; Friedkin comes across as having an almost Trump-like relationship with the truth but in an oddly endearing way, and his instincts in the edit seem very solid in retrospect. A worthy guide to an amazing landmark film.
June 24, 2024
The BFI Classics are wonderful pocket reads for any films that you have a great interest in and this is no exception. Obviously this is Kermode's passion project movie but he's always at his best where he is confined to follow certain constraints as his is here, rather than inane Podcast wittering bollocks and 'gags'. He breaks the film down and its history perfectly here and also adds some really interesting additions concerning the 'Version you've never seen before' and its added scenes. The contributions from Blatty and Friedkin about these in particular are fascinating.
December 29, 2023
Very familiar to anyone who has heard Mark Kermode waxing lyrical about The Exorcist over the years, but this remains a fantastic dissection of the horror masterpiece that has spent decades casting a huge shadow over the genre. Despite going into such forensic detail, I found myself wanting to rewatch the movie ASAP after reading this.
September 26, 2024
Criticism of this length on a single film is so hard to do. This is pretty fabulous by Kermode. He js very good at that balance between really deep, nuanced analysis whilst still staying firmly rooted to the text of the film. I’m a little less interested in the back and forth between the director and writer that Kermode spends a lot of his time on.
January 7, 2019
It's not this book's fault that I didn't learn much new information - I just tend to read a lot about this movie. I love that Kermode is more obsessed with it than I am, because that's saying something.
November 4, 2022
I have kind of idiosyncratic rating system designed to save a bit of room at the top for the best of the best. For me two stars means this was a fine book that clearly explained what it set out to do.
April 27, 2023
اگر به فیلم جن‌گی� علاقه داشته اید مطمئنا مطالعه ی این کتاب پشیمانتان نمیکند.
نویسنده با مدد از مصاحبه با نویسنده و کرگردان اثر و منابع جانبی دیگر توانسته جزئیات سرگرم کننده وخواندنی ای از متن و حاشیه ی جنگیر به دست دهد.
نویسنده با مدد از مصاحبه با نویسنده و کرگردان اثر و منابع جانبی دیگر توانسته جزئیات سرگرم کننده وخواندنی ای از متن و حاشیه ی جنگیر به دست دهد.
May 21, 2017
Brilliant analysis of The Exorcist movie by an obsessed fan and film critic.
August 3, 2021
Interesting, but short, read about one of my favourite films. Learned a lot of new stuff but there are a few inconsistencies in it, with some sections seeming to contradict others.
March 1, 2023
Exceptional analysis of the film, almost scene by scene, with a lot of background information. Now I want to see the film again!
July 24, 2023
Well done. Clean and specific. A solid read. Well researched. Makes you want to rewatch the film. Best of this series so far.
August 10, 2023
No huge revelations but it's pleasingly nerdy enough and the tussles between Blatty and Friedkin for the soul of the film are interesting
Read
September 13, 2023Ebook from library
November 22, 2023
RIP Friedkin. There’s no one else who could have directed this film. if you love The Exorcist by Blatty and you love the film, this is a must read.
December 25, 2023
o slime verda da regan foi tão cunt. eu amei demais o livro e percebi ainda mais a importância de o exorcista para o cinema.
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