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The Exorcist did not just terrify audiences but it turned its own set into the stuff of cinematic legend. You see, long before social media turned “cursed films” into algorithm-chasing rabbit holes, stories surrounding its production became whispered warnings among filmmakers and horror fans alike.
The film’s reputation, after being released in 1973 under the direction of the unpredictable William Friedkin, goes way beyond its satanic subject matter. It’s not just the scenes of levitating beds and spinning heads that keep it alive in conversation, but rather what happened behind the scenes is going to send shivers down your spine, even to the extent that you may not want to watch the movie at all.
The Exorcist marked a turning point in horror from the beginning. It certainly was not the first to scare audiences, but it was the first to do so with such relentless conviction. Its arrival changed what people thought a horror film could be and helped define a decade of fear that felt too real alongside The Omen and The Texas Chain Saw Massacre.
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People didn’t just watch The Exorcist, but they reacted with such intensity that medical staff had to be stationed at theaters. Whether from spiritual dread or sheer psychological trauma, viewers were walking out, passing out and even throwing up. A film, that powerful, naturally invites speculation and when the cameras stop rolling but disasters keep coming, the line between fiction and folklore begins to blur.
According to Collider, the so-called curse of The Exorcist gained fuel fast. Fires broke out during production and destroyed entire sets while sparing one room, the bedroom of possessed Regan and that eerie preservation became central to the myth.
Besides, crew members died and actors and their families suffered sudden illnesses and accidents. The energy surrounding the film felt hostile naturally. The studio even called in a Jesuit priest to bless the set and that strange act somehow added credibility to what sounded like tabloid fodder. Friedkin himself requested the blessing, though his motives were probably less spiritual and more about maintaining control in a production spiraling beyond his grip.
As cameras rolled in 1972, it quickly became apparent that the most unsettling thing about The Exorcist wasn’t the demon Pazuzu but it was Friedkin’s approach to filmmaking. His quest for realism crossed lines which included real gunshots and temperatures dropping to sub-zero levels just to capture authentic breath vapor. Besides, the performers were physically yanked across the room on barely secure rigs and both Linda Blair and Ellen Burstyn walked away with lifelong spinal injuries.
These weren’t ghostly misfortunes but were direct results of a director more interested in a perfect shot than his actors’ safety.
However, even among the orchestrated madness, there were events no amount of poor planning could explain away.
Jack MacGowran, whose role was completed, died of the flu just before the film’s premiere. Vasiliki Maliaros, also cast in a brief but memorable role, passed away shortly after filming her scenes. The production dragged on for over nine months, which was twice its intended schedule, mainly due to constant interruptions, financial inflation, illness, and location issues.
When The Exorcist finally reached theaters, it brought the hysteria full circle. What might have been remembered as just another scary film, slowly became a cultural earthquake. The religious groups started to protest. The audiences debated whether the film itself was evil, and amid all these, Warner Bros. embraced every bit of it. They knew that the controversy was fuel and honestly, the whispers of curses, possessions, and demonic interference kept people coming in droves, which worked.
Now, decades later, The Exorcist still holds power, some of it earned through artistry and some through myth. There’s no doubt that the film broke new ground but the fascination with its so-called curse is more telling of how humans deal with tragedy. When accidents pile up, it’s easier to invoke the supernatural than face the reality of recklessness. Besides, calling it a cursed film almost excuses those responsible and allows mystique to mask malpractice.
For more such Hollywood throwbacks, stay tuned to Koimoi!
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