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Exorcist, The: Steelbook (Blu-ray) (BD) Exorcist, The: Steelbook (Blu-ray)

Udgivet 5. september 2019 af Fox-Paramount N095850BSP01 / UPC# 7340112749309

Exorcist, The: Steelbook (Blu-ray) (BD) - Klik her for at se billedet i stor størrelse.
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Medierådets aldersgrænse. Warner Bros. - 1973
USA - Farve - 122/132 min
Ønskeliste
GysSkrækThriller
Filmens specifikationer
Original titel: Exorcist, The
Dansk titel: Eksorcisten
Instruktør: William Friedkin
Medvirkende:
Father Merrin  Max von Sydow
Chris MacNeil  Ellen Burstyn
Regan MacNeil  Linda Blair
Father Karras  Jason Miller
Will Kinderman   Lee J. Cobb
Sharon Spencer  Kitty Winn
Burke Dennings  Jack MacGowran
Dr. Klein  Barton Heyman
Dr. Barringer  Peter Masterson
Karl  Rudolf Schündler
Vis alle medvirkende...
Stikord: The Exorcist
Dæmon
Eksorcisme
Hypnose
Ouija
Overnaturligt / okkult
Psykiater / psykolog
Religion / Kirke / Gud
Klik for alle udgaver af filmen
Same Cast
Blu-ray pladens specifikationer
Oprindelse:  Danmark Blu-ray pladen har regionalkoden B.Region:

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Antal stemmer: 40

Gennemsnit: 9.2 ud af 10

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Laserdiskens vurderinger:

Niels Ole
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Thomas
Lars
Søren
Morten K.

The scariest movie of all time.

The Exorcist er en af de mest uhyggelige film nogensinde. Der har været hed debat, om dette bare er en udspekuleret skrækfilm eller vitterlig et stykke kunst. Personligt vil jeg forsvare dens kunstneriske værdier til min dødsdag, men må modvilligt erkende, at denne version lugter lidt af pengespekulation. Da Friedkins mesterværk udkom på DVD i 1998 som lækker 25th Anniversary Edition kunne man i den fantastiske 75 min. dokumentar Fear of God: The Making of the Exorcist se nogle få fraklip, som Friedkin meget mod forfatteren og producenten William Peter Blattys vilje havde fjernet fra den endelige film. Blattys gode overtagelsesevner eller (nok snarere) Friedkins manglende succes med Rules of Engagement gjorde, at en 11 min. længere version nu har set dagens lys. En lang række scener er blevet forlænget, og et par helt nye er tilføjet. Bl.a. den notorisk berygtede “Spider Walk” og en afsluttende diskussion om Wuthering Heights(!?). Alt sammen interessant, men ikke nødvendigvis noget, der gør en i forvejen fremragende film bedre.

I 1973 modtog filmen to Oscars for "Bedste Manuskript" og "Bedste Lyd". Selv 25 år efter forbliver The Exorcist stadig en af de mest chokerende og gribende film, der nogensinde er skabt.
Peter J

Brugerne skriver om Exorcist I: The Exorcist:

Anmeldt af lookalot, København K 14. februar 2019
Besat i sengen!
Jeg synes at filmen er alt for lang tid om at komme igang og jeg sad og kedede mig i store perioder! Der er en række effektive scener hen imod slutningen der stadigvæk er pænt skræmmende - (spoiler!)blandtandet der hvor Linda Blair (helt uden glidecreme!) meget voldsomt knepper sin (lille?) blodige fisse med et jernkors imens hun råber knep mig! Knep mig! Men generelt synes jeg ikke at filmen er så uhyggelig som alle siger! Og scenen hvor sengen hopper er ufrivilligt komisk! Men filmen er dog bedre end the Guardian af samme instruktør!

Anmeldt af Det Burde Være forbudt At Sælge VHS :) Og Snart Dvd'er, Aalborg SØ 21. maj 2014
perfekt gys
The Exorcist: 40th Anniversary Edition

Street Date:
October 8th, 2013
Reviewed by:
Joshua Zyber
Review Date:
October 30th, 2013
Movie Release Year:
1973

Studio:
Warner Bros. Entertainment
Length:
132 Minutes
MPAA Rating:
Rated R
Release Country
United States

Editor's Notes

Portions of this article first appeared in our review of the 2010 Blu-ray release of 'The Exorcist'.
The Movie Itself: Our Reviewer's Take

'The Exorcist' has garnered a reputation and is frequently promoted by its studio as "the scariest film of all time." The movie's staying power over the years would seem to back that up. Unlike many so-called scary movies that quickly seem dated and cheesy, 'The Exorcist' continues to be regarded fondly, even four decades after its release. I don't know that I would personally call it the scariest film of all time. Familiarity and imitation over the years have unavoidably diluted its visceral impact, and we as a culture have perhaps grown too jaded to feel scared by any movie (or fiction in general) anymore. Nonetheless, it's clear why 'The Exorcist' stands out as an exemplary model of horror filmmaking. Scary or not, it's an excellent movie.

The film is based on a novel by William Peter Blatty, which is in turn allegedly based (in some very loose way) on a true incident of an exorcism that was performed in Maryland in 1949. Ellen Burstyn stars as Chris MacNeil, a Hollywood actress living in Georgetown to film a movie at the university there. Her 12-year-old daughter Regan (Linda Blair) begins behaving very oddly, such as urinating on a carpet in the middle of a crowded party and lashing out in violent outbursts that are far out of character for the normally sweet and good-natured girl. Doctors chalk this up to a case of "nerves" and subject her to a barrage of torturous psychological and medical tests, to no avail. When the problem eventually escalates to a shaking bed, speaking in tongues and inexplicable physical transformations, the mother calls in a pair of priests, Father Karras (Jason Miller) and Father Merrin (Max von Sydow), to perform an exorcism. After this point, the iconic scenes of head spinning and pea soup vomiting come into play.

This is a very famous movie, and I hardly feel the need to spell out the plot more than that. Author Blatty (who also wrote the screenplay) and director William Friedkin have both long insisted that 'The Exorcist' isn't really a horror film, but rather a story about "the mystery of faith." That's at least somewhat supported by storylines in which the previously-agnostic Chris finds no help from modern medical science and must turn back to the church to save her daughter, and the young Father Karras has his faith in God tested by the demon named Pazuzu.

However, I find the claims that this isn't a horror film to be rather disingenuous. It clearly is, and relies heavily on horror movie tropes like gross-out special effects and blunt shock scares. The filmmakers gleefully throw in scenes of the little girl masturbating with a crucifix, puking on a priest and telling him that, "Your mother sucks cocks in Hell," as if pleased with themselves for leaving the audience aghast at the crassness and blasphemy on display.

Nevertheless, 'The Exorcist' balances these elements with Friedkin's truly masterful control of atmosphere and tone. The first half of the movie is a very slow burn that builds to an intense frenzy when the exorcism itself finally begins. At this stage of his career, the director was most famous for the gritty realism of his police thriller 'The French Connection'. He used that background to likewise anchor 'The Exorcist' in a palpable sense of reality. This isn't a fantastical supernatural tale set on an overly art-directed studio soundstage. It could take place next door or just around the corner.

More than that, there's actually a great story at the heart of the film, with a tremendous amount of both psychological and theological depth. Ellen Burstyn delivers a remarkable performance as a mother dragged to the ragged edge of sanity by her desperation to save her daughter. Even young Linda Blair displays an impressive naturalness in her scenes before possession, and a frightening commitment afterwards. (Sadly, Blair would become another young Hollywood burn-out. Her career after 'The Exorcist' was marked by crummy exploitations movies and drug problems.)

I know at least one critic who has complained that, "The film is conservative propaganda: It insists that The Church is the only way, and everything secular, especially science, is heretical." I suppose that's a legitimate reading, from a certain perspective. It's clear that Blatty's own Catholic upbringing, beliefs and guilt infuse every aspect of the story. He's indisputably arguing for faith over science (and was upset with Friedkin for decades when the director cut a few dialogue passages that spell out this theme even more overtly).

Personally, I think this view of the film misses the boat on what makes the picture so effective. Even if you don't have any particular religious convictions (Friedkin claims that he didn't at the time he made the movie), the story plays on very elemental fears that transcend religious dogma: the fear of forces beyond our control or comprehension, and the fear of loss of self to a mysterious "other." You can easily transplant these to a non-religious setting (as in 'Invasion of the Body Snatchers' or 'The Thing') and still retain their power. Though Blatty may feel differently, the religious trappings of 'The Exorcist' are just set dressing when all is said and done.

'The Exorcist' was a sensation upon release. For a brief period, it was the highest-grossing movie of all time (until being surpassed by 'Jaws' two years later). Reverend Billy Graham denounced the film as a work of evil, which no doubt only inspired more people to flock to theaters to see it. It was nominated for ten Oscars, including most of the big ones – Best Picture, Best Director, Best Actor (Jason Miller), Best Actress (Ellen Burstyn), Best Supporting Actress (Linda Blair) – and won for Best Adapted Screenplay and Best Sound. These were all unprecedented achievements for a work of horror fiction.

Despite its success and acclaim, William Peter Blatty remained upset with the film for many years. In his editing, William Friedkin did what any good director is supposed to; he cut out parts that weren't working and those that weren't truly essential to tell the story. Unfortunately, Blatty is the type of author who's extremely protective of his precious words, and felt that the audience really needed some of the religious themes of the story unambiguously hammered home. The two men didn't speak for a number of years over this issue.

In 2000, Warner Bros. asked Friedkin to throw together an extended cut of the film so that the studio could re-release it to theaters. At the time, the director agreed primarily to appease Blatty. The longer cut of the movie (titled "The Version You've Never Seen") could have been called a "Writer's Cut." The changes include a new opening shot outside the house in Georgetown, a lengthy discussion between Fathers Karras and Merrin about the intentions of the demon (which are already perfectly clear without the characters having to talk about it), and an incredibly ridiculous epilogue in which two supporting characters chat about movies and walk off into the sunset together. Friedkin also took the opportunity to add in extremely cheesy CGI images of the demon's face to the background of random shots in the movie (in one scene, it appears hovering over a stove), and to digitally spruce up a goofy "spider walk" scene that was originally cut due to technical issues, but really had no place in the movie anyway.

For a while, Friedkin continued to assert that the 1973 theatrical cut was his preferred version of the movie. Sadly, in recent years, he has turned around on the issue and now claims that he sides with Blatty about the longer version being better. Consequently, "The Version You've Never Seen" (a silly title whose stupidity has exponentially increased as more and more people have seen that version) has now been renamed the "Extended Director's Cut." Other than William Peter Blatty and now William Friedkin, I don't know of too many people who would agree with them about preferring the long version of the movie over the vastly superior theatrical cut. Even if a few of the additions may seem worthwhile, it's quite laughable overall, and should only be viewed as a misguided curiosity.

The Blu-ray: Vital Disc Stats
[The Exorcist 40th Anniversary Edition]

Warner Bros. Entertainment previously released 'The Exorcist' on Blu-ray in a 2-disc set that contained both the original theatrical version and the Extended Director's Cut on separate discs packaged together in a nice Digibook. Later, the Director's Cut was issued on its own in a standard keepcase. Because the studio loves to repackage and re-release its catalog titles at any possible excuse, we now have a new 40th Anniversary Edition. (At least, that's what the press release calls it. That title is not reflected anywhere on the packaging.) This new set has three discs, all held in a keepcase, which is stored inside a sturdy cardboard box (much thicker than a standard flimsy slipcover). Also in the box resting next to the keepcase is a small hardcover Digibook with a printed excerpt from William Friedkin's memoir 'The Friedkin Connection'. This Digibook does not hold any discs, and the memoir essay is different than the text of the prior Blu-ray Digibook release.

The first two discs in the 40th Anniversary Edition are absolutely identical to those released in 2010. Neither version of the movie has been remastered or re-authored. The discs have the same menus, the same video and audio encodes, and the same selection of bonus features from the earlier Blu-ray edition. New and exclusive to the anniversary set is a third disc with additional supplements (detailed below). The package also includes a redemption code for an UltraViolet Digital Copy.

Both movie discs prompt a main menu before playback. Neither has any ads or trailers before those menus, but the 1973 cut has been programmed to automatically play an annoying video introduction from William Friedkin at the start of the movie. The best way to avoid this is to jump right to Chapter 2 in the Scene Selections menu.
The Video: Sizing Up the Picture

As mentioned above, Discs 1 and 2 in the 40th Anniversary Edition (neither is actually numbered, so you can decide for yourself whether to put the theatrical cut or Director's Cut first) are identical to the Blu-rays released back in 2010. Nothing here has changed at all in the ensuing three years, not even my general feelings about the quality of the 1080p/VC-1 video transfer(s). For the most part, that's a good thing.

Both versions of the movie are presented at a 16:9 aspect ratio, slightly (and negligibly) opened up from the 1.85:1 theatrical framing, as is Warner's policy. The movie has always had rather erratic and frequently rough-looking photography. This is emphasized perhaps more than ever in high definition. The opening sequence in the Iraq desert, for example, features some shots with stunning clarity and detail mixed with other very soft and heavily grainy shots in the same scene, alternating with seemingly no rhyme or artistic reason. It's possible that production logistics required compromises during certain times of shooting.

As far as I can tell, both versions of the movie look basically the same as one another, aside from the obvious content changes, so I will lump my comments about both together. By and large, the Blu-ray video transfer has a strong representation of detail. Wood grain textures in the production design and the stitching of the wardrobe are nicely resolved. With that said, it's worth noting that significant portions of the movie were shot with diffusion filters over the lens, as was the style of the day.

Unfortunately, the discs' digital compression leaves something to be desired. While film grain has been retained without any overt Digital Noise Reduction, that grain sometimes comes across as noisy or blocky, and color banding intrudes in a few scenes. Fortunately, these issues aren't severe enough to detract from an overall favorable impression.

Colors appear mostly realistic and natural, except when exaggerated for effect during some of the exorcism scenes. 'The Exorcist' suffers none of the idiotic "pastel" revisionism that plagued the first Blu-ray release of Friedkin's 'The French Connection'. However, the "Original Theatrical Version" disc contains at least one revisionist change in which a jump cut has been corrected with a noticeable CG transition. It's brief and not terribly distracting (no more so than the original jump cut, anyway), but still represents an alteration of the film. If other changes are also present, I'm not familiar enough with the movie to have spotted them.
The Audio: Rating the Sound

'The Exorcist' originally played theatrically with a mono soundtrack. The film was remixed into 5.1 surround for the 25th Anniversary DVD and the "Version You've Never Seen" theatrical re-release in 2000. The Blu-ray copies of both cuts are based on that remix. The Original Theatrical Version is encoded in DTS-HD Master Audio 5.1 format, while the Extended Director's Cut adds a matrixing metadata flag for 6.1. There is no mono option (in the original English) on either disc.

For a surround remix of monaural sound design, this one is pretty tasteful. The music has a fair stereo dimensionality, without too many gimmicky directional effects. The mix remains primarily focused in the center channel. Honestly, any practical differences between the 5.1 and 6.1 flagging are subtle and didn't stand out to me. (My A/V receiver is programmed to matrix rear channels in either case.)

As a film from 1973, the soundtrack can't help but show its age. While auditory detail is good, fidelity is often a little strident. Even so, many sound effects are sharp and clear, and the mix has a few impressively bassy moments (surely goosed during the remix).

The two Blu-ray discs are packed to the gills in dubs and subtitle options in almost every language known to man, short of Na'vi or Klingon.
The Supplements: Digging Into the Good Stuff

Because they're the same discs as before, it stands to reason that the first two discs in the 40th Anniversary Edition have all the same bonus features as the 2010 Blu-ray release.

Theatrical Cut Disc
Introduction by William Friedkin (SD, 2 min.) – William Friedkin really needs to learn when to shut up and just let an audience watch his movies. Instead, he has insisted that the beginning of 'The Exorcist' be prefaced by this video introduction in which he describes his effort to make a "realistic film about inexplicable events." This annoying introduction will play every time you watch the movie unless you skip it by using the disc's Scene Selections menu.
Commentary by William Friedkin – I have to be honest; I find the director's voice very annoying. He sounds just like Donald Trump. In his commentaries, he also has a habit of merely reciting the action on screen. In this track recorded for the 25th Anniversary DVD edition of the movie, Friedkin mostly sticks to relaying a stream of facts about the history of the production. It's not the worst commentary he's recorded, but it's pretty dry.
Commentary by William Peter Blatty with Sound Effects Tests – The author's commentary is a little more interesting. He discusses the true story that inspired his novel, his career from comedy writer to this, his philosophical thoughts on good and evil, religion and the practice of exorcism. He also talks about his belief that the TV show 'Columbo' was a rip-off of his Detective Kinderman character. (Blatty's timeline is more than a little confused on that matter.) Unfortunately, Blatty only talks for about half the movie, and is then replaced with an isolated sound effects track.
The Fear of God: 25 Years of The Exorcist (SD, 77 min.) – This retrospective documentary was produced by the BBC to celebrate the movie's 25th anniversary. The piece does a pretty thorough job covering the popular reaction and phenomenon that greeted the film's release, the religious controversy around it (Friedkin still sounds angry at Billy Graham), and many aspects of the production. Among the topics discussed: the alleged true story that the novel was based on, the studio's fear that that the film would flop, Friedkin's "unconventional" (read: borderline abusive) treatment of his cast and crew, the set fire and deaths during filming, Ellen Burstyn's back injury caused by a stunt, creating the sound of the demon's voice, and working with a child actor on such adult subject matter. (Linda Blair claims she had no concept of masturbation when the crucifix scene was shot.) On the subject of the cuts that Friedkin made during editing, the director was still adamant at the time of this documentary's filming that he made the right decisions, and even has an argument on camera with William Peter Blatty about it.
Interview Gallery with William Friedkin and William Peter Blatty (SD, 9 min.) – These are extensions to the interviews filmed for the 'Fear of God' documentary. Friedkin and Blatty bicker some more about the footage that Friedkin cut from the movie. Both men argue eloquently for their respective views on the matter, especially Friedkin, who makes excellent points about the danger of revisionism in art. Unfortunately, this only makes it even more perplexing that, just a few years later, he would turn completely around on the issue and insist on making major changes to his older movies such as this one and 'The French Connection'.
Original Ending (SD, 2 min.) – Raw footage from the (originally) unused ending. Much of this was reinstated into the "Version You've Never Seen," except the last few lines of dialogue, for which the production audio is barely audible.
Sketches & Storyboards (SD, 3 min.) – A silent montage of production art.
Theatrical Trailers & TV Spots (SD, 7 min.) – Three vintage trailers (one very psychedelic) and five television ads. A couple of the commercials are intensely cheesy, but two of them are surprisingly effective.


Director's Cut Disc
Commentary by William Friedkin – If you listened to the director's commentary on the theatrical cut, there's little need to bother with this one. Friedkin tells most of the same stories again. The track mainly consists of Friedkin describing what you can see on screen, as well as cataloging some of the changes made for this version of the movie.
Raising Hell: Filming The Exorcist (HD, 30 min.) – This retrospective piece covers a lot of the same ground as the 'Fear of God' documentary on the theatrical cut disc, such as the makeup and special effects, working with a child actor, and Friedkin's goal of documentary-like realism. However, it's still worthwhile due to the significant amount of vintage behind-the-scenes footage shot by cinematographer Owen Roizman. In the end, all of the participants insist that 'The Exorcist' is not a horror film.
Exorcist Locations: Georgetown Then and Now (HD, 9 min.) – A look at the settings used in the film, why they were important to the mood and style of the story, and how they've changed or not over the last three decades. Despite the title, this featurette also discusses the locations in Iraq and the studio work shot in New York.
Faces of Evil: The Different Versions of The Exorcist (HD, 10 min.) – Friedkin explains why he cut some of the footage that didn't make the theatrical version of the movie. While his explanations seem perfectly sound, unfortunately these omissions made William Peter Blatty very upset. As the director describes it, he put together the longer version of the movie as a "favor to Bill." He claims that he has since come around to seeing things Blatty's way, and now also prefers the longer version. From an outside perspective, he was clearly right the first time around and should have left well enough alone.
Theatrical Trailers, TV Spots & Radio Spots (SD, 7 min.) – Two trailers, three television commercials, and two radio ads for the 2000 "Version You've Never Seen" theatrical re-release. All play up the film's reputation and the extensions added. Amusingly, these also bring us back to a time when advertisers gave a damn about AOL keywords.


HD Bonus Content: Any Exclusive Goodies in There?

The following items are new to the 40th Anniversary Edition:

The Friedkin Connection: Memoir Excerpt – The Digibook held within the box set includes a printed essay in which director William Friedkin explains what drew him to the project, tells some anecdotes from the production, and recounts the genesis of the "Version You've Never Seen." These are all stories you can also hear in the various on-disc supplements.
Behind the Scenes: Beyond Comprehension: William Peter Blatty's The Exorcist (HD, 28 min.) – In this awkwardly-named feature (and yes, the title includes two colons), the author reads excerpts from his novel, visits his old house where he wrote it (he marvels that the new owners have installed a fan…), reminisces about his writing experience, and plugs the new 40th Anniversary republication for which he has made substantial revisions. Parts of this are interesting, but others less so. I don't feel that I learned anything here that I hadn't heard elsewhere in the various other bonus materials for the movie.
Talk of the Devil (HD/SD, 20 min.) – Now this is intriguing. In a series of vintage interviews conducted shortly after release of the film (mostly from crummy black & white videotape sources), Blatty's former Jesuit professor, Father Eugene Gallagher, discussed his history with the writer, his skepticism that the boy he knew as the class clown could tackle a serious subject like demonic possession, and his own personal experiences with religious exorcism. His attitude toward the latter is particularly fascinating. Although he was a devout believer in possession and the practice of exorcism, he also took a very pragmatic view that modern medicine and science could serve just as powerful a role in treating the afflicted.
UltraViolet Digital Copy


The Cutting Room Floor: What Didn't Make the Blu-ray?

The 40th Anniversary Edition drops the printed cast bios, production notes and trivia found in the prior Blu-ray's Digibook packaging. None of this is a significant loss.
Final Thoughts

Whether or not you actually consider 'The Exorcist' to be the scariest film of all time, it's clearly a classic of the horror genre and remains quite effective even four decades on. If you already own the 2010 Digibook Blu-ray release of the movie, this new 40th Anniversary Edition doesn't offer much of an upgrade. The video and audio on both versions of the movie are the same (which is to say pretty good), as are most of the supplements. Only a couple of new, yet inessential, features appear for the first time here. On the other hand, if you don't already own 'The Exorcist' on Blu-ray, this anniversary package offers a fine opportunity to do so.
Technical Specs

3-Disc Set
Theatrical and Extended Director's Cuts
BD-50 Dual-Layer Discs (Discs 1 & 2)
BD-25 Single-Layer Disc (Disc 3)
Region-free

Video Resolution/Codec

1080p/VC-1

Aspect Ratio(s)

1.78:1

Audio Formats

English DTS-HD Master Audio 5.1 (Both Versions)
French (Parisian) Dolby Digital 5.1 (DC)
French (Quebec) Dolby Digital 5.1 (DC)
German Dolby Digital 5.1 (DC)
Italian Dolby Digital 5.1 (DC)
Spanish (Castilian) Dolby Digital 5.1 (DC)
Spanish (Latin) Dolby Digital 2.0 (DC)
Portuguese Dolby Digital 2.0 (DC)
Hungarian Dolby Digital 2.0 (DC)
Polish Dolby Digital 2.0 (DC)
Russian Dolby Digital 5.1 (DC)
French Dolby Digital 1.0 (Theatrical)
German Dolby Digital 1.0 (Theatrical)
Italian Dolby Digital 1.0 (Theatrical)
Spanish (Latin) Dolby Digital 1.0 (Theatrical)
Spanish (Castellano) Dolby Digital 1.0 (Theatrical)
Portuguese Dolby Digital 1.0 (Theatrical)

Subtitles/Captions

English SDH (Both Versions)
Portuguese Subtitles (Both)
Estonian Subtitles (DC)
Chinese Subtitles (DC)
Russian Subtitles (DC)
Greek Subtitles (DC)
Portuguese (Brazilian) Subtitles (DC)
Icelandic Subtitles (DC)
Danish Subtitles (Both)
Chinese Subtitles (DC)
Polish Subtitles (DC)
Finnish Subtitles (Both)
Italian SDH (Both)
Romanian Subtitles (DC)
Hungarian Subtitles (DC)
Swedish Subtitles (Both)
Norwegian Subtitles (Both)
Spanish Subtitles (Both)
Turkish Subtitles (DC)
Czech Subtitles (DC)
German SDH (Both)
Slovenian Subtitles (DC)
Dutch Subtitles (Both)
Thai Subtitles (DC)
Hebrew Subtitles (DC)
Korean Subtitles (DC)
French Subtitles (Both)
Croatian Subtitles (DC)
Spanish (Castilian) Subtitles (Both)

Supplements

Two Commentaries by William Friedkin
Original ending
Interviews
Sketches & Storyboards
Radio Spots, TV Spots, and Trailers
Commentary by William Peter Blatty
Introduction by William Friedkin
1998 BBC Documentary "The Fear of God: 25 Years of the Exorcist"
Raising Hell: Filming the Exorcist Set footage produced and photographed by Owen Roizman, camera and makeup tests, and interviews with director William Friedkin, actress Linda Blair, author/screenwriter/producer William Peter Blatty and Owen Roizman.
The Exorcist Locations: Georgetown Then and Now -- Featuring a tour of the iconic locations where the film was shot.
Faces of Evil: The Different Versions of The Exorcist - with director William Friedkin and author/screenwriter/producer William Peter Blatty discussing the different versions of the film and featuring outtakes from the film.


Anmeldt af Monkeyman, København S 17. oktober 2013
A cross-fucking MASTERPIECE !
Exorcist I: The Exorcist Efter at ha' set denne klassiker mindst 117 gange, så er det utrolig hvor holdbar, effektiv, fantastisk og stadig skræmmende denne film er.

"The Exorcist" er et fænomenal gysermonoment, der aldrig går af mode. Hvor andre dæmon, djævle, exorcist film konstant fejler eller ikke kommer op på det niveau man havde håbet på, så går man aldrig galt i byen med dette værk, som altid er et hit ved filmaftner, og forstummer de mennesker, der påstår at man lavede dårlige film før CGI-effekter blev opfundet.

Alt går simpelthen op i en højere enhed hér, om det er William Friedkin gode instruktion, William Peter Blattys medrivende manuskript, det fremragende skuespil (især unge Linda Blair), den atmosfæriske billedeside, de uhyggelige lydeffekter eller Dick Smiths gennemgribende fede make up effekter!

Nej, det slet ikke så underlig endda, at nogle (de fleste) kalder dette for VERDENS BEDSTE GYSERFILM!

Anmeldt af Pinhead, Herning 18. maj 2005
God film !!!!!!!!!!!!!!!
Dette er en rigtig god film! Den er spændene hele vejen igennem og er ret uhyggelig, når man tænker på at det er en lille pige. Den levere nogle gode effekter, som når Regans hoved drejer rundt og når hun sprøjter grønt slam i hovedet på en præst. Ja der er mange, mange flere shok-scener og effekter end dem jeg nævnte. Dette er en film som bare skal ses!

Anmeldt af Holliday, Aalborg 14. marts 2005
Beezlebub
Meget enig med Beier. Exorcisten er en ypperlig kvalitets gyser, der er svær at ryste af sig og formår faktisk at levere chok hvergang man stifter bekendskab med den. Den kryber ind under huden og virker både på det rent visuelle og psykologiske plan. Sjælden kvalitet.

Anmeldt af Thomas Aquinas, Værløse 14. marts 2005
Uafrystelig
Jeg synes at den amerikanske filmkritiker Roger Ebert udtrykker det meget klart, når han påpeger hvad man egentlig skal stille op med en film som EKSORCISTEN. Hvorfor i alverden udsætte sig for den slags fysiske chok, når det overhovedet ikke er nødvendigt. Men det ER netop nødvendigt. Det irrationelle, det overnaturlige og uforklarlige er elementer i de fleste menneskers tilværelse, og behovet for at blive rystet i fiktiv form er åbenbart meget nærværende. Er det en god film, spørger Ebert. Svært at sige, men den chokerer fortsat maksimalt, selv for folk der har set den adskillige gange før! Det er jo egentlig ret ejendommeligt! Spekulation, ja i høj grad, men vel næppe lavet mere kompetent og koldblodigt manipulerende!?

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