The astronaut warning and public urination are nominated as a powerful scene.
A pet’s public urination evokes the film, while the unusual priest-and-astronaut guest list is explained as a Washington society party.
The Iraq prologue is defended for establishing Merrin’s history, heart problem and the geographic reach of evil, but explicitly not nominated as most rewatchable.
The first demonic outburst and crucifix/head-turn scene are praised for their shocking escalation.
The mother’s meeting with the priest is admired for the performances, bruises, sunglasses and shaking hands.
The entire final exorcism is praised as an extraordinary final twenty to thirty minutes.
Both detective scenes are nominated, especially the subtle conversation with the mother about her daughter killing the director.

Title and presentation; poster arrival; theme music; attic suspense; makeup; ascent imagery; dirty language; sound design; Jason Miller casting

In the discussion (6)

Approx. transcript time · 00:41:45Read transcript

The title, lettering, poster and carefully lit arrival of the exorcist are praised, including the delayed entrance of the title character.
The theme music and classic attic investigation remain effective sources of tension.
The aging makeup on the forty-four-year-old actor playing the exorcist and the detailed wounds on the possessed child are praised.
Repeated stairs and ascents are read as heaven-and-hell motifs; the demon’s dirty language also provides humor.
Loud ambient dogs, invasive medical-machine sounds and a wallet used for neck-cracking sound are praised.
Casting playwright Jason Miller over famous actors is praised as perfect and less distracting.

Slow opening; some effects; Exorcist II; Linda Blair’s later career; dangerous directing methods; Burke as party guest

In the discussion (5)

Approx. transcript time · 00:50:49Read transcript

The slow opening and some dated effects are criticized; Exorcist II is described as a notorious failed change of direction.
Exorcist 3 is praised, while the prequel production involving Paul Schrader and Harlin is described as strange.
Blair’s post-film career is reserved for later discussion; a Toyota Pazuzu story is a joke, and the gray jogging sweatsuit receives affectionate attention.
The hosts describe injuries to the actresses, a gun fired near Miller, and the director striking the real priest before his scene.
Burke’s drunken and confrontational party behavior is criticized with some nostalgia.

In the discussion (1)

Approx. transcript time · 00:57:21Read transcript

Burke; Ellen Burstyn; Karras’s possession

In the discussion (2)

Approx. transcript time · 00:58:28Read transcript

Burke and Burstyn are floated, but the extremity is defended as appropriate to demonic circumstances.
Karras’s final possession is singled out as an extraordinary, ridiculous-looking performance when viewed without context.

In the discussion (3)

Approx. transcript time · 00:59:11Read transcript

The demon voice wins, with raw eggs, smoking, whiskey and physical restraints recounted as methods used in recording.
Replacing Blair’s spoken dialogue is praised as crucial to the effect.
A ranking of internal voices is suggested: Karras’s mother and the homeless man are singled out as chilling, with a British voice also mentioned and added athlete voices imagined.

In the discussion (5)

Approx. transcript time · 01:09:33Read transcript

Friedkin’s power after two major hits and Miller’s Pulitzer, Tony and supporting-actor nomination make both clear Apex choices.
Washington films are debated against All the President’s Men; the actor playing Merrin is unresolved given The Seventh Seal and other major roles.
Blair receives a yes; Georgetown loses to its basketball era; Burstyn is debated against Alice Doesn’t Live Here Anymore and her durable later career.
Split-pea soup and the demon receive yes answers; reversed speech is compared with alleged backward music messages without settling a choice.
The demon’s name, appearance and travel inspire jokes before the explanation that Karras’s crisis of faith made him the target.

No further television remake needed

In the discussion (2)

Approx. transcript time · 01:20:56Read transcript

A ten-episode expansion is proposed before the existing television series with Davis is recalled.
The TV show is described as not great and a reason not to remake movies like this.

In the discussion (4)

Approx. transcript time · 01:26:11Read transcript

Two explicit Friedkin choices are followed by a preference for him despite initial temptation toward Miller.
The result is complicated by the argument that the film set expectations too high for Friedkin’s later work.
Later films including Cruising, Jade, Blue Chips, Bug, The French Connection and Sorcerer prompt possible future-episode discussion.
Friedkin’s generational placement, uneven career and later revival are compared with Coppola and Schrader.

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