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The Exorcist

Dundead

Is there any film in the history of cinema with a more ubiquitous reputation than 1973’s The ExorcistImmediately controversial upon its release, the film was also a genuine cultural phenomenon and a box office smash; despite initially mixed reviews, audiences flocked to cinemas, and it was nominated for ten Academy awards, including Best Picture. Today it is still regarded by many to be the scariest film ever made, and by some, including Mark Kermode, one of the very best.

“…still regarded by many to be the scariest film ever made”

The plot is, at its core, devastatingly simple: The Exorcist is a classic tale of the eternal battle between good and evil, in this case, fought tooth and nail over one young girl’s soul. In surely one of the most extraordinary onscreen child performances, Linda Blair (who was 13 years old at the time of production) plays Regan MacNeil, the innocent on the cusp of her teen years who lives with her actress mother Chris (Ellen Burstyn) and whose possession will test the faith of two priests, Father Karras (Jason Miller), and Father Merrin (Max von Sydow).

It can be tempting to simply list the reasons why The Exorcist continues to enthral today: from the screenplay by William Peter Blatty, author of the original novel, the terrifying, unsettling imagery (including that iconic poster), the myriad urban legends around its production, the remarkable soundtrack (including the genius use of Mike Oldfield’s Tubular Bells), to the work of so many creatives at the top of their game, including make-up artist Dick Smith (not only responsible for Linda Blair’s haunting, grotesque transformation, but also for adding some 30 years to the 40-something von Sydow) and composer Krzysztof Penderecki (whose music was used on the soundtrack) and of course, von Sydow - sadly the latter two we unfortunately lost earlier this year.

Nearly 50 years later, The Exorcist is more than the sum of its parts: somehow it cuts through the praise, the accolades and its own mystique and is simply put, essential viewing. 


When you’re booking your cinema ticket you’ll notice the cinema has been divided into ‘bubbles’ of one or two in order to maintain social distancing. You won’t be able to book part of a bubble, but you can book more than one: for instance a group of four can book two bubbles of two. 

If you can’t find a combination of seats that suits your group please get in touch and we’ll try to help, although capacity is very limited in all screenings.

If you need to book one of our wheelchair seats please contact our box office team on 01382 432 444, or email dca@dca.org.uk.