Directed by William Friedkin
Screenplay by William Peter Blatty, based upon his novel
Starring Ellen Burstyn, Jason Miller, Linda Blair, Max Von Sydow, Lee J. Cob and Jack MacGowran
Confession is an appropriate place to start this entry, given the heavily Catholic tone of The Exorcist, so here goes: I’ve seen The Exorcist before.
See, when I started this Project – The Also Ran’s – I had the idea I’d use it to see Best Picture nominees I’d not seen before as a way to force new viewing experiences on myself. Given I’d already seen many of the Best Pictures, that made the Best Picture Project as much about revisiting films as it was about discovery. By definition then, The Also Rans was explicitly meant to be about discovery because it excluded movies I’d already seen. Moreover, it would also give me a unique look at the workings of prior generations, in that by looking at what lost, I might find something very instructive.
But while this is my aim, here I am throwing the rule away and using this project as an excuse to re-visit The Exorcist. Why? Because it’s my Project, so it’s my rules to break. Also, because with The Exorcist, any viewing will be a discovery.
Directed by Wesley Ruggles
Screenplay by Howard Estabrook, based upon the novel by Edna Ferber
Starring Richard Dix and Irene Dunne
Here we are friends – after these many, long years together, with you diligently consuming every entry of The Best Picture Project, and me, less-diligently, producing them, we’ve reached the end of the road, where it all comes to an end. And coming here almost feels bittersweet, like somebody should cue Simon and Garfunkel’s Bridge Over Troubled Water, or Boyz II Men’s End of the Road, to play us out. And don’t worry about neither being appropriate for this occasion, because they’re hardly appropriate for the other occasion for which they are most associated – high school graduations. If they work there, why not here?
But I digress. Continue reading
When I was a young man – no, not even a young man, a boy, really – a certain type of film appealed to me. Like most other boys my age I had no interest in earnest dramas about families or relationships or anything that had to do with feelings, unless the feeling was fright. Not surprisingly, my taste, like many of my contemporaries, ran to horror.
(Author’s note: This piece was originally a four part essay that has been joined together here as one)
It’s generally accepted that since the advent of motion pictures, movies have gotten longer the further we’ve gotten away from the first motion picture. However, pinpointing the exact reason for the increase may be impossible, probably because there is no one cause. Still, while it might be impossible to pinpoint exactly why, I’ve been curious to know just how the ‘auteur theory’of filmmaking might have played into the ballooning of run times, specifically, does the more revered a director becomes, either critically or financially, result in longer films? Continue reading