document_title: Olympic symbols

question_text: meaning of the rings of the olympic games

text: Olympic symbols

text: Motto[edit]

text: The Olympic motto is the hendiatris Citius, Altius, Fortius, which is Latin for "Faster, Higher, Stronger".[1] It was proposed by Pierre de Coubertin upon the creation of the International Olympic Committee in 1894. Coubertin borrowed it from his friend Henri Didon, a Dominican priest who was an athletics enthusiast.[2] Coubertin said "These three words represent a programme of moral beauty. The aesthetics of sport are intangible."[2] The motto was introduced in 1924 at the Olympic Games in Paris.[3] A more informal but well-known motto, also introduced by Coubertin, is "The most important thing is not to win but to take part!" Coubertin got this motto from a sermon by the Bishop of Pennsylvania during the 1908 London Games.[4]

text: Rings[edit]

text: The rings are five interlocking rings, colored blue, yellow, black, green, and red on a white field, known as the "Olympic rings". The symbol was originally designed in 1912 by de Coubertin.[5] He appears to have intended the rings to represent the five participating continents: Africa, Asia, America, Australia and Europe.[6] According to Coubertin, the colors of the rings together with the white of the background included the colors composing every competing nation's flag at the time. Upon its initial introduction, Coubertin stated the following in the August 1912 edition of Olympique:[7]

text: ... the six colors [including the flag's white background] combined in this way reproduce the colours of every country without exception. The blue and yellow of Sweden, the blue and white of Greece, the tricolor flags of France, England, the United States, Germany, Belgium, Italy and Hungary, and the yellow and red of Spain are included, as are the innovative flags of Brazil and Australia, and those of ancient Japan and modern China. This, truly, is an international emblem.

text: In his article published in the Olympic Revue the official magazine of the International Olympic Committee in November 1992, the American historian Robert Barney explains that the idea of the interlaced rings came to Pierre de Coubertin when he was in charge of the USFSA, an association founded by the union of two French sports associations and until 1925, responsible for representing the International Olympic Committee in France: The emblem of the union was two interlaced rings (like the vesica piscis typical interlaced marriage rings) and originally the idea of Swiss psychiatrist Carl Jung: for him, the ring symbolized continuity and the human being.[8]

text: The 1914 Congress was suspended due to the outbreak of World War I, but the symbol and flag were later adopted. They would first officially debut at the Games of the VII Olympiad in Antwerp, Belgium, in 1920.[9]

text: The symbol's popularity and widespread use began during the lead-up to the 1936 Summer Olympics in Berlin. Carl Diem, president of the Organizing Committee of the 1936 Summer Olympics, wanted to hold a torchbearers' ceremony in the stadium at Delphi, site of the famous oracle, where the Pythian Games were also held. For this reason he ordered construction of a milestone with the Olympic rings carved in the sides, and that a torchbearer should carry the flame along with an escort of three others from there to Berlin. The ceremony was celebrated but the stone was never removed. Later, two American authors, Lynn and Gray Poole, when visiting Delphi in the late 1950s, saw the stone and reported in their History of the Ancient Games[10] that the Olympic rings design came from ancient Greece. This has become known as "Carl Diem's Stone".[11] This created a myth that the symbol had an ancient Greek origin.

text: The current view of the International Olympic Committee (IOC) is that the symbol "reinforces the idea" that the Olympic Movement is international and welcomes all countries of the world to join.[12] As can be read in the Olympic Charter, the Olympic symbol represents the union of the "five continents" of the world and the meeting of athletes from throughout the world at the Olympic Games. However, no continent is represented by any specific ring. Prior to 1951, the official handbook stated that each color corresponded to a particular continent: blue for Europe, yellow for Asia, black for Africa, green for Australia and Oceania and red for the Americas; this was removed because there was no evidence that Coubertin had intended it (the quotation above was probably an afterthought).[13] Nevertheless, the logo of the Association of National Olympic Committees places the logo of each of its five continental associations inside the ring of the corresponding color.

text: Flag[edit]

text: The Olympic flag was created by Pierre de Coubertin in 1925.

text: The Olympic flag has a white background, with five interlaced rings in the centre: blue, yellow, black, green and red. This design is symbolic; it represents the five continents of the world, united by Olympism, while the six colours are those that appear on all the national flags of the world at the present time.

text: Specific flags[edit]

text: There are specific Olympic flags that are displayed by cities that will be hosting the next Olympic games. During each Olympic closing ceremony in what is traditionally known as the Antwerp Ceremony,[15] the flag is passed from the mayor of one host city to the next host, where it will then be taken to the new host and displayed at city hall. These flags should not be confused with the larger Olympic flags designed and created specifically for each games, which are flown over the host stadium and then retired. Because there is no specific flag for this purpose, the flags flown over the stadiums generally have subtle differences, including minor color variations, and, more noticeably, the presence (or lack) of white outlines around each ring.

text: Antwerp flag[edit]

text: The first Olympic flag was presented to the IOC at the 1920 Summer Olympics by the city of Antwerp, Belgium. At the end of the Games, the flag could not be found and a new Olympic flag had to be made for the 1924 Summer Olympics in Paris. Despite it being a replacement, the IOC officially still calls this the "Antwerp Flag" instead of the "Paris Flag".[16] It was passed on to the next organizing city of the Summer Olympics or Winter Olympics until the 1952 Winter Olympics in Oslo, Norway, when a separate Olympic flag was created to be used only at the Winter Olympics (see below). The 1924 flag then continued to be used at the Summer Olympics until the Games of Seoul 1988 when it was retired.

text: In 1997, at a banquet hosted by the US Olympic Committee, a reporter was interviewing Hal Haig Prieste who had won a bronze medal in platform diving as a member of the 1920 US Olympic team. The reporter mentioned that the IOC had not been able to find out what had happened to the original Olympic flag. "I can help you with that," Prieste said, "It's in my suitcase." At the end of the Antwerp Olympics, spurred on by teammate Duke Kahanamoku, he climbed a flagpole and stole the Olympic flag. For 77 years the flag was stored away in the bottom of his suitcase. The flag was returned to the IOC by Prieste, by then 103 years old, in a special ceremony held at the 2000 Games in Sydney.[17] The original Antwerp Flag is now on display at the Olympic Museum in Lausanne, Switzerland, with a plaque thanking him for donating it.[18]

text: Oslo flag[edit]

text: The Oslo flag was presented to the IOC by the mayor of Oslo, Norway, during the 1952 Winter Olympics. Since then, it has been passed to the next organizing city for the Winter Olympics. Currently, the actual Oslo flag is kept preserved in a special box, and a replica has been used during recent closing ceremonies instead.[19]

text: Seoul flag[edit]

text: As a successor to the Antwerp Flag,[20] the Seoul flag was presented to the IOC at the 1988 Summer Olympics by the city of Seoul, South Korea, and has since then been passed on to the next organizing city of the Summer Olympics. The Seoul flag is currently on display at the Tokyo Metropolitan Government Building.

text: Rio de Janeiro flag[edit]

text: As a successor to the Seoul Flag,[21] the Rio flag was presented to the IOC at the 2016 Summer Olympics by the city of Rio de Janeiro, Brazil, and has since then been passed on to the next organizing city of the Summer Olympics, Tokyo.

text: Singapore flag[edit]

text: For the inaugural Youth Olympic Games, an Olympic flag was created for the junior version of the Games. The flag is similar to the Olympic flag, but has the host city and year on it and was first presented to Singapore by IOC President Jacques Rogge.[22][23] During the closing ceremony on 26 August 2010, Singapore officials presented it to the next organizing committee, Nanjing 2014.[24]

text: Innsbruck flag[edit]

text: For the inaugural winter Youth Olympic Games, an Olympic flag was presented to the IOC at the 2012 Winter Youth Olympics by the city of Innsbruck, Austria, and has since then been passed on to the next organizing city of the Winter Youth Olympics.

text: Flame and torch relay[edit]

text: The modern tradition of moving the Olympic Flame via a relay system from Greece to the Olympic venue began with the Berlin Games in 1936. Months before the Games are held, the Olympic Flame is lit on a torch, with the rays of the Sun concentrated by a parabolic reflector, at the site of the Ancient Olympics in Olympia, Greece. The torch is then taken out of Greece, most often to be taken around the country or continent where the Games are held. The Olympic torch is carried by athletes, leaders, celebrities, and ordinary people alike, and at times in unusual conditions, such as being electronically transmitted via satellite for Montreal 1976, submerged underwater without being extinguished for Sydney 2000, or in space and at the North Pole for Sochi 2014. On the final day of the torch relay, the day of the Opening Ceremony, the Flame reaches the main stadium and is used to light a cauldron situated in a prominent part of the venue to signify the beginning of the Games.

text: Medals and diplomas[edit]

text: The Olympic medals awarded to winners are another symbol associated with the Olympic games. The medals are made of gold-plated silver – for the gold medals – silver, or bronze, and are awarded to the top three finishers in a particular event. Each medal for an Olympiad has a common design, decided upon by the organizers for the particular games. From 1928 until 2000, the obverse side of the medals contained an image of Nike, the traditional goddess of victory, holding a palm in her left hand and a winner's crown in her right. This design was created by Giuseppe Cassioli. For each Olympic games, the reverse side as well as the labels for each Olympiad changed, reflecting the host of the games.

text: In 2004, the obverse side of the medals changed to make more explicit reference to the Greek character of the games. In this design, the goddess Nike flies into the Panathenic stadium, reflecting the renewal of the games. The design was by Greek jewelry designer Elena Votsi.[25]

text: Olympic diplomas are given to competitors placing fourth, fifth, and sixth since 1949, and to competitors placing seventh and eighth since 1981.

text: Anthems[edit]

text: The "Olympic Hymn", officially known as the "Olympic Anthem", is played when the Olympic Flag is raised. It was composed by Spyridon Samaras with words from a poem of the Greek poet and writer Kostis Palamas. Both the poet and the composer were the choice of Demetrius Vikelas, a Greek Pro-European and the first President of the IOC. The anthem was performed for the first time for the ceremony of opening of the 1896 Athens Olympic Games but wasn't declared the official hymn by the IOC until 1958. In the following years, every hosting nation commissioned the composition of a specific Olympic hymn for their own edition of the Games until the 1960 Winter Olympics in Squaw Valley.

text: Other notable Olympic anthems and fanfares include:

text:
"Olympische Hymne": A composition for orchestra and mixed chorus composed by Richard Strauss for the 1936 Berlin Summer Olympics.
The "Olympic Fanfare" for the 1952 Helsinki Summer Olympics was originally composed by Aarre Merikanto for the 1940 Summer Olympics, which were cancelled. Merikanto's Fanfare won the fanfare contest organized in Finland in 1939, but the score was lost for over a decade; when rediscovered in 1951, it was decided to use it in 1952. It was recorded in 1953.[26]
"Bugler's Dream": Written in 1958 by Leo Arnaud as part of his Charge Suite, the theme is often thought of by Americans as the Olympic Theme" due to its usage in television coverage by ABC and NBC, starting with the 1964 Olympics.
The "Olympic March": The theme written by Yūji Koseki for the Tokyo 1964 Summer Olympics theme song.
"Olympic Fanfare 1972": The winning submission for the Munich 1972 Summer Olympics theme song, used as the TV signature tune of the German Olympic Center (Deutsches Olympia-Zentrum, DOZ) and the prelude to the medal ceremonies, composed by Herbert Rehbein.[27] It was performed by the Orchestra of the Bavarian Broadcasting Company (Orchester des Bayerischen Rundfunks) and members of the Air Force Band Neubiberg, conducted by Willy Mattes.[citation needed]
"Olympic Fanfare and Theme": Composed by John Williams for the Los Angeles 1984 Summer Olympics, the theme was performed in the opening ceremonies by the United States Army Herald Trumpets conducted by then-Captain David Deitrick.[28] The first recording, performed by an orchestra composed of Los Angeles-area musicians, was released in its entirety on the LP and cassette album The Official Music of the XXIIIrd Olympiad Los Angeles 1984, with a concurrent Japan-only CD release (which went on to win a Grammy in 1985).[29] A slightly different arrangement of the piece was released on the Philips album By Request: The Best of John Williams and the Boston Pops Orchestra. In 1996, an alternate version of "Olympic Fanfare and Theme" was released on the album Summon the Heroes for the Atlanta Olympic Games, replacing the first part of the piece with Arnaud's Bugler's Dream. The theme was also used in closing ceremony of the 2010 Olympic Games, as the nations' flagbearers entered BC Place Stadium surrounding the Olympic Flame and when the Olympic Flag was brought into the stadium by Vancouver mayor Gregor Robertson.
"The Olympic Spirit": The theme written by John Williams for the 1988 Olympics in Seoul and used in the corresponding NBC broadcasts.
"Summon the Heroes": The theme written by John Williams for the 1996 Summer Olympics in Atlanta.
"Theme from The Adventures of Brisco County, Jr.": The theme song to this television show, composed by Randy Edelman, has been used by NBC for teaser commercial and promo spots since the 1996 Summer Olympics.[30]
"Call of the Champions": The theme written by John Williams for the 2002 Salt Lake Winter Olympics.

text: Several other composers have contributed Olympic music, including Henry Mancini, Francis Lai, Marvin Hamlisch, Philip Glass, David Foster, Mikis Theodorakis, Ryuichi Sakamoto, Vangelis, Basil Poledouris, Michael Kamen, and Mark Watters.

text: Kotinos[edit]

text: The kotinos (Greek: κότινος),[31] is an olive branch, originally of wild olive-tree, intertwined to form a circle or a horse-shoe, introduced by Heracles.[32] In the ancient Olympic Games there were no gold, silver, or bronze medals. There was only one winner per event, crowned with an olive wreath made of wild olive leaves from a sacred tree near the temple of Zeus at Olympia. Aristophanes in Plutus makes a sensible remark why victorious athletes are crowned with wreath made of wild olive instead of gold.[33] The victorious athletes were honored, feted, and praised. Their deeds were heralded and chronicled so that future generations could appreciate their accomplishments.

text: Herodotus describes the following story which is relevant to the olive wreath. Xerxes was interrogating some Arcadians after the Battle of Thermopylae. He inquired why there were so few Greek men defending the Thermopylae. The answer was "All other men are participating in the Olympic Games". And when asked "What is the prize for the winner?", "An olive-wreath" came the answer. Then Tigranes, one of his generals uttered a most noble saying: "Good heavens! Mardonius, what kind of men are these against whom you have brought us to fight? Men who do not compete for possessions, but for honour."[34]

text: However, in later times, this was not their only reward; the athlete was rewarded with a generous sum of money by his country. The kotinos tradition was renewed specifically for the Athens 2004 Games, although in this case it was bestowed together with the gold medal. Apart from its use in the awards-ceremonies, the kotinos was chosen as the 2004 Summer Olympics emblem.

text: Olympic salute[edit]

text: The Olympic salute is a variant of the Roman salute, with the right arm and hand are stretched and pointing upward, the palm is outward and downward, with the fingers touching. However, unlike the Roman Salute, the arm is raised higher and at an angle to the right from the shoulder.[35][36]The greeting is visible on the official posters of the games at Paris 1924[35] and Berlin 1936.[37]

text: The Olympic salute has fallen out of use since World War II because of its strong resemblance to the Nazi salute.[38] It was used for the last time by the French team in the opening ceremony of the 1948 Winter Olympics. [39]

text: Mascots[edit]

text: Since the 1968 Winter Olympics in Grenoble, France, the Olympic Games have had a mascot, usually an animal native to the area or occasionally human figures representing the cultural heritage. The first major mascot in the Olympic Games was Misha in the 1980 Summer Olympics in Moscow. Misha was used extensively during the opening and closing ceremonies, had a TV animated cartoon and appeared on several merchandise products. Nowadays, most of the merchandise aimed at young people focuses on the mascots, rather than the Olympic flag or organization logos.

text: Intellectual property[edit]

text: The Olympic movement is very protective of its symbols; as many jurisdictions have given the movement exclusive trademark rights to any interlocking arrangement of five rings, and usage of the word "Olympic". The rings are not eligible for copyright protection, both because of their date of creation and because five circles arranged in a pattern do not reach the threshold of originality required to be copyrighted.

text: The movement has taken action against numerous groups alleged to have violated their trademarks, including the Gay Games; the Minneapolis-based band The Hopefuls, formerly The Olympic Hopefuls; the Redneck Olympics or Redneck Games; Awana Clubs International, a Christian youth ministry who used the term for its competitive games; and Wizards of the Coast, publisher at the time of the IOC's complaint of the card game Legend of the Five Rings.

text: In 1938, the Norwegian brewery Frydenlund patented a label for its root beer which featured the five Olympic rings. In 1952, when Norway was to host the Winter Olympics, the Olympic Committee was notified by Norway's Patent Office that it was Frydenlund who owned the rights to the rings in that country. Today, the succesor company Ringnes AS owns the rights to use the patented five rings on its root beer.[40] In addition, a few oher companies have been successful in using the Olympic name, such as Olympic Paint, which has a paintbrush in the form of a torch as its logo, and the former Greek passenger carrier Olympic Airlines.

text: Certain other sporting organizations and events have been granted permission by the IOC to use the word "Olympics" in their name, such as the Special Olympics, an international sporting event held every four years for people with intellectual disabilities.

text: In recent years, organizing committees have also demanded the passing of laws to combat ambush marketing by non-official sponsors during the Games – such as the London Olympic Games and Paralympic Games Act 2006 – putting heavy restrictions on using any term or imagery that could constitute an unauthorized association with the games, including mere mentioning of the host city, the year, and others.[41][42]


document_title: The Exorcist (film)

question_text: when did the original exorcist movie come out

root

text: The Exorcist (film)

text: Plot[edit]

text: Lankester Merrin is a veteran Catholic priest and exorcist who is shown to be on an archaeological dig in the ancient city of Hatra in Iraq. There he finds an amulet that resembles the statue of Pazuzu, a demon of ancient origins whose history Merrin is familiar with.

tag: p

text: In Georgetown, actress Chris MacNeil is living on location with her 12-year-old daughter Regan, where she has just wrapped the final scene of a film about student activism directed by her friend and associate Burke Dennings. After playing with a Ouija board and contacting a supposedly imaginary friend whom she calls Captain Howdy, Regan begins acting strangely, including making mysterious noises, stealing, constantly using obscene language and exhibiting abnormal strength. Chris hosts a party, only for Regan to come downstairs unannounced, telling one of the guests, who is an astronaut, "You're gonna die up there" and then urinating on the floor. Later, Regan's bed begins to shake violently, adding further to her mother's horror. Chris consults a number of physicians, but Dr. Klein and his associates find nothing physiologically wrong with her daughter, despite Regan undergoing a battery of diagnostic tests.

text: One night when Chris is out, Burke Dennings is babysitting Regan, only for Chris to come home to hear he has died falling out the window. Although this is assumed to have been an accident, given Burke's history of heavy drinking, his death is investigated by Lieutenant William Kinderman, who interviews Chris, as well as priest and psychiatrist Father Damien Karras, who has recently been emotionally shaken after the death of his frail mother.

text: The doctors, thinking that Regan's aberrations are mostly psychiatric in origin, recommend an exorcism be performed. Chris arranges a meeting with Karras. After recording Regan speaking backwards and witnessing the apparent effect of the scarification of her flesh with the words "Help Me" on her stomach, Karras is convinced that Regan is possessed. Believing her soul is in danger, he decides to perform an exorcism. The experienced Merrin is selected for performing the actual exorcism with Karras present to assist.

text: Both priests witness Regan perform a series of bizarre, vulgar acts and confine her to her bedroom. They attempt to exorcise the demon, but a stubborn Pazuzu toys with them, especially Karras. Karras shows weakness and is dismissed by Merrin, who attempts the exorcism alone. Karras enters the room and discovers Merrin has died of a heart attack. After failing to revive Merrin, the enraged Karras confronts the mocking, laughing spirit of Pazuzu, tackling the demon to the ground. At Karras's furious demand, Pazuzu then possesses Karras, leaving Regan's body. In a moment of self-sacrifice, the priest throws himself out of the window before allowing Pazuzu to compel him to harm Regan and is himself mortally injured. Father Dyer, an old friend of Karras, happens upon the scene and administers the last rites to his friend.

text: A few days later, Regan, who is now back to her normal self, prepares to leave for Los Angeles with her mother. Although Regan has no apparent recollection of her possession, she gives Father Dyer a kiss on the cheek. Kinderman, who narrowly misses their departure, befriends Father Dyer as he investigates Karras' death.

text: Cast[edit]

text:
Ellen Burstyn as Chris MacNeil
Max von Sydow as Father Lankester Merrin
Jason Miller as Father/Dr. Damien Karras S.J.
Linda Blair as Regan MacNeil
Lee J. Cobb as Lieutenant William F. Kinderman
Kitty Winn as Sharon Spencer
Jack MacGowran as Burke Dennings
Father William O'Malley as Father Joseph Dyer
Peter Masterson as Dr. Barringer
Robert Symonds as Dr. Taney
Barton Heyman as Dr. Samuel Klein
Arthur Storch as the psychiatrist
Mercedes McCambridge as the voice of The Demon

tag: ul

text: Production[edit]

text: Writing[edit]

text: Aspects of Blatty's fictional novel were inspired by the 1949 exorcism performed on an anonymous young boy known as "Roland Doe" or "Robbie Mannheim" (pseudonyms) by the Jesuit priest Fr. William S. Bowdern, who formerly taught at both St. Louis University and St. Louis University High School. Doe's family became convinced the boy's aggressive behavior was attributable to demonic possession, and called upon the services of several Catholic priests, including Bowdern, to perform the rite of exorcism. It was one of three exorcisms to have been sanctioned by the Catholic Church in the United States at that time. Later analysis by paranormal skeptics has concluded that Doe was likely a mentally ill teenager acting out, as the actual events likely to have occurred (such as words being carved on skin) were such that they could have been faked by Doe himself.[7] The novel changed several details of the case, such as changing the gender of the allegedly possessed victim from a boy into a girl and changing the alleged victim's age.[6][7]

text: Although Friedkin has admitted he is very reluctant to speak about the factual aspects of the film, he made the film with the intention of immortalizing the events involving Doe that took place in St. Louis in 1949, and despite the relatively minor changes that were made, the film depicts everything that could be verified by those involved. In order to make the film, Friedkin was allowed access to the diaries of the priests involved, as well as the doctors and nurses; he also discussed the events with Doe's aunt in great detail. Friedkin has said that he does not believe that the "head-spinning" actually occurred, but this has been disputed. Friedkin is secular, despite coming from a Jewish family.[19]

text: Casting[edit]

text: Although the agency representing Blair did not send her for the role, Blair's mother took her to meet with Warner's casting department and then with Friedkin.[20] Pamelyn Ferdin, a veteran of science fiction and supernatural drama, was a candidate for the role of Regan, but was ultimately turned down because her career thus far had made her too familiar to the public.[21] April Winchell was considered, until she developed pyelonephritis, which caused her to be hospitalized and ultimately taken out of consideration. Denise Nickerson, who played Violet Beauregarde in Willy Wonka & the Chocolate Factory, was considered, but the material troubled her parents too much, and they pulled her out of consideration.[21] Anissa Jones, known for her role as Buffy in Family Affair, auditioned for the role, but she too was rejected, for much the same reason as Ferdin. The part went instead to Blair, a relative unknown until the film's success.

text: The question of whether or not such a young actress, even a talented one, could carry the film on her shoulders was an issue from the beginning, with film directors asked to do the project such as Mike Nichols being skeptical.[6] As well, the studio wanted Marlon Brando for the role of Father Lankester Merrin.[22] Friedkin immediately vetoed this by stating it would become a "Brando movie." Jack Nicholson was up for the part of Karras before Stacy Keach was hired by Blatty. According to Friedkin, Paul Newman also wanted to portray Karras.[23] Friedkin then spotted Jason Miller following a performance of Miller's play That Championship Season in New York.[24] Even though Miller had never acted in a film, Keach's contract was bought out by Warner Brothers, and Miller was signed.

text: Jane Fonda, Audrey Hepburn, and Anne Bancroft were under consideration for the role of Chris.[24] Blatty also suggested his friend, Shirley MacLaine, for the part, but Friedkin was hesitant to cast her, given her lead role in another possession film, The Possession of Joel Delaney (1971) two years prior.[24] Ellen Burstyn received the part after she phoned Friedkin and emphatically stated that she was going to play Chris.[25]

text: Friedkin originally intended to use Blair's voice, electronically deepened and roughened, for the demon's dialogue. Although Friedkin felt this worked fine in some places, he felt scenes with the demon confronting the two priests lacked the dramatic power required and selected legendary radio actress Mercedes McCambridge, an experienced voice actress, to provide the demon's voice.[20] After filming, Warner Brothers did not include a credit for McCambridge during early screenings of the film, which led to Screen Actors Guild arbitration before she was credited for her performance.[26] Ken Nordine was also considered for the demon's voice, but Friedkin thought it would be best not to use a man's voice.[27]

text: Direction[edit]

text: Warners had approached Arthur Penn, Stanley Kubrick, and Mike Nichols, to direct, all of whom turned the project down.[28] Originally Mark Rydell was hired to direct, but William Peter Blatty insisted on Friedkin instead, because he wanted his film to have the same energy as Friedkin's previous film, The French Connection.[28] After a standoff with the studio, which initially refused to budge over Rydell, Blatty eventually got his way. Principal photography for The Exorcist began on August 21, 1972.[29] The shooting schedule was estimated to run 105 days, but ultimately ran well over 200.[29]

text: Friedkin went to some extraordinary lengths, reminiscent of some directors from the old Hollywood directing style, manipulating the actors, to get the genuine reactions he wanted. Yanked violently around in harnesses, both Blair and Burstyn suffered back injuries and their painful screams went right into the film.[20] Burstyn injured her back after landing on her coccyx when a stuntman jerked her around using a special effects cable during the scene when Regan slaps her mother.[20] According to the documentary Fear of God: The Making of the Exorcist, however, the injury did not cause permanent damage, although Burstyn was upset the shot of her screaming in pain was used in the film. After asking Father William O'Malley if he trusted him and being told yes, Friedkin slapped him hard across the face before a take to generate a deeply solemn reaction that was used in the film as a very emotional Father Dyer read last rites to Father Karras; this offended the many Catholic crew members on the set. He also fired blanks[23] without warning on the set to elicit shock from Jason Miller for one of the takes, and only told Miller that pea soup would hit him in the chest rather than the face concerning the projectile-vomiting scene, resulting in his disgusted reaction. Lastly, he had Regan's bedroom set built inside a freezer so that the actors' breath could be visible on camera, which required the crew to wear parkas and other cold-weather gear.[20]

text: Filming[edit]

text: The film's opening sequences were filmed in and near the city of Mosul, Iraq. The archaeological dig site seen at the film's beginning is the actual site of ancient Hatra, south of Mosul.[30]

text: The "Exorcist stairs" are concrete stairs located in Georgetown at the corner of Prospect St NW and 36th St NW, leading down to M Street NW. The stairs were padded with 1/2"-thick rubber to film the death of the character Father Karras. Because the house from which Karras falls is set back slightly from the stairs, the film crew constructed an extension with a false front to the house in order to film the scene.[31] The stuntman tumbled down the stairs twice. Georgetown University students charged people around $5 each to watch the stunt from the rooftops.[32]

text: Although the film is set in Washington, D.C., many interior scenes were shot in various parts of New York City. The MacNeil residence interiors were filmed at CECO Studios in Manhattan.[33] The bedroom set had to be refrigerated to capture the authentic icy breath of the actors in the exorcism scenes. The temperature was brought so low that a thin layer of snow fell onto the set one morning. Blair, who was only in a thin nightgown, says to this day she cannot stand being cold.[34] Exteriors of the MacNeill house were filmed at 36th and Prospect in Washington, using a family home and a false wall to convey the home's thrust toward the steps.

text: The scenes involving Regan's medical tests were filmed at New York University Medical Center and were performed by actual medical staff that normally carry out the procedures.[35] In the film Regan first undergoes an electroencephalography (EEG), then an early type of cerebral angiography and finally a pneumoencephalography.

text: The scene in which Father Karras listens to the tapes of Regan's dialogue were filmed in the basement of Keating Hall at Fordham University in the Bronx.[36] William O'Malley, who plays Father Joseph Dyer in the film, was a real-life Jesuit and assistant professor of theology at Fordham at the time.[37]

text: The interior of Karras' room at Georgetown was a meticulous reconstruction of Theology professor Father Thomas M. King, S.J.'s "corridor Jesuit" room in New North Hall. Fr. King's room was photographed by production staff after a visit by Blatty, a Georgetown graduate, and Friedkin. Upon returning to New York, every element of King's room, including posters and books, was recreated for the set, including a poster of Pierre Teilhard de Chardin, S.J., a theologian on whom the character of Fr. Merrin was loosely based. Georgetown was paid $1,000 per day of filming, which included both exteriors, such as Burstyn's first scene, shot on the steps of the Flemish Romanesque Healy Hall, and interiors, such as the defilement of the statue of the Virgin Mary in Dahlgren Chapel, or the Archbishop's office, which is actually the office of the president of the university. One scene was filmed in The Tombs, a student hangout across from the steps that was founded by a Blatty classmate.[38]

text: Father Merrin's arrival scene[edit]

text: Father Merrin's arrival scene was filmed on Max von Sydow's first day of work. The scene where the elderly priest, Father Merrin (portrayed by Max von Sydow) steps out of a cab and stands in front of the MacNeil residence, between the open gates of the driveway — silhouetted in a misty streetlamp's glow and staring up at an intense beam of light shining from a bedroom window above — is one of the most famous scenes in the movie. The shot was used for film posters and home DVD/VHS release covers. The scene and photo was inspired by the 1954 painting "Empire of Light" ("L'Empire des lumières") by René Magritte.[39]

text: The spider-walk scene[edit]

text: Stuntwoman Ann Miles performed the spider-walk scene in November 1973. Director Friedkin deleted this scene just prior to the December 26, 1973 premiere, as he judged the scene as appearing too early in the film's plot and chose to remove it, despite screenplay writer William Peter Blatty's objection. In the book, the spider-walk is somewhat more muted, consisting of Regan following Sharon around near the floor and flicking a snake-like tongue at her ankles.

text: Editing[edit]

text: Special effects[edit]

text: The Exorcist contained a number of special effects, engineered by makeup artist Dick Smith. In one scene from the film, Max von Sydow is actually wearing more makeup than the possessed girl (Linda Blair). This was because director Friedkin wanted some very detailed facial close-ups. When this film was made, von Sydow was 44, though he was made up to look 74.[40] Alan McKenzie stated in his book Hollywood Tricks of the Trade that the fact "that audiences didn't realize von Sydow was wearing makeup at all is a tribute to the skills of veteran makeup artist Dick Smith."

text: Alleged subliminal imagery[edit]

text: The Exorcist was also at the center of controversy due to its alleged use of subliminal imagery introduced as special effects during the production of the film. Wilson Bryan Key wrote a whole chapter on the film in his book Media Sexploitation alleging repeated use of subliminal and semi-subliminal imagery and sound effects. Key observed the use of the Pazuzu face (in which Key mistakenly assumed it was Jason Miller made up in a death mask makeup, when it was actress Eileen Dietz) and claimed that the safety padding on the bedposts were shaped to cast phallic shadows on the wall and that a skull face is superimposed into one of Father Merrin's breath clouds. Key also wrote much about the sound design, identifying the use of pig squeals, for instance, and elaborating on his opinion of the subliminal intent of it all. A detailed article in the July/August 1991 issue of Video Watchdog examined the phenomenon, providing still frames identifying several uses of subliminal "flashing" throughout the film.[41] In an interview from the same issue, Friedkin explained, "I saw subliminal cuts in a number of films before I ever put them in The Exorcist, and I thought it was a very effective storytelling device... The subliminal editing in The Exorcist was done for dramatic effect—to create, achieve, and sustain a kind of dreamlike state."[42] However, these quick, scary flashes have been labeled "[not] truly subliminal"[43] and "quasi-" or "semi-subliminal".[44] In an interview in a 1999 book about the film, The Exorcist author Blatty addressed the controversy by explaining that, "There are no subliminal images. If you can see it, it's not subliminal."[45]

text: Titles[edit]

text: The editing of the title sequence was the first major project for the film title designer Dan Perri. As a result of the success of The Exorcist, Perri went on to design opening titles for a number of major films including Taxi Driver (1976), Star Wars (1977) and Gangs of New York (2002).[46]

text: Music[edit]

text: Lalo Schifrin's working score was rejected by Friedkin. Schifrin had written six minutes of music for the initial film trailer but audiences were reportedly too scared by its combination of sights and sounds. Warner Bros. executives told Friedkin to instruct Schifrin to tone it down with softer music, but Friedkin did not relay the message. It has been claimed Schifrin later used the music written for The Exorcist for The Amityville Horror,[47] but he has denied this in interviews. According to "The Fear of God: The Making of the Exorcist" on the 25th Anniversary DVD release of the film, Friedkin (known for his temper) literally took the tapes that Schifrin had recorded and threw them away in the studio parking lot.

text: In the soundtrack liner notes for his 1977 film, Sorcerer, Friedkin said that if he had heard the music of Tangerine Dream earlier, then he would have had them score The Exorcist. Instead, he used modern classical compositions, including portions of the 1972 Cello Concerto No. 1, of Polymorphia, and other pieces by Polish composer Krzysztof Penderecki, Five Pieces for Orchestra by Austrian composer Anton Webern as well as some original music by Jack Nitzsche. The music was heard only during scene transitions. The 2000 "Version You've Never Seen" features new original music by Steve Boddacker, as well as brief source music by Les Baxter.

text: What is now considered the "Theme from The Exorcist", the opening suite of Tubular Bells, the 1973 debut album by English progressive rock musician Mike Oldfield, became very popular after the film's release, although Oldfield himself was not impressed with the way his work was used.

text: In 1998 a restored and remastered soundtrack was released by Warner Bros. (without Tubular Bells) that included three pieces from Lalo Schifrin's rejected score. The pieces are "Music from the unused Trailer", an 11-minute "Suite from the Unused Score", and "Rock Ballad (Unused Theme)".

text: That same year, the Japanese version of the original soundtrack LP did not include the Schifrin pieces but did include the main theme Tubular Bells by Mike Oldfield, and the movement titled Night of the Electric Insects from George Crumb's string quartet Black Angels.

text: The Greek song playing on the radio when Father Karras leaves his mother's house is called "Paramythaki mou" (My Tale) and is sung by Giannis Kalatzis. Lyric writer Lefteris Papadopoulos has admitted that a few years later when he was in financial difficulties he asked for some compensation for the intellectual rights of the song. Part of Hans Werner Henze's 1966 composition Fantasia for Strings is played over the closing credits.[48][49]

text: Release[edit]

text: Upon its December 26, 1973, release, the film received mixed reviews from critics, "ranging from 'classic' to 'claptrap'."[50]

text: Home media[edit]

text: Special edition 25th anniversary VHS and DVD release[edit]

text: A limited special edition box set was released in 1998 for the film's 25th anniversary; it was limited to 50,000 copies, with available copies circulating around the Internet. There are two versions: a special edition VHS released on November 10, 1998,[51] and a special edition DVD released on December 1, 1998.[52] The only difference between the two copies is the recording format.

text: DVD features[edit]

text:
The original film with restored film and digitally remastered audio, with a 1.85:1 widescreen aspect ratio.
An introduction by director Friedkin
The 1998 BBC documentary The Fear of God: The Making of "The Exorcist"
Two audio commentaries
Interviews with the director and writer
Theatrical trailers and TV spots

text: Box features[edit]

text:
A commemorative 52-page tribute book, covering highlights of the film's preparation, production, and release; features previously unreleased historical data and archival photographs
Limited edition soundtrack CD of the film's score, including the original (unused) soundtrack ("Tubular Bells" and "Night of the Electric Insects" omitted)
8 lobby card reprints
Exclusive senitype film frame (magnification included)

text: Extended edition DVD releases[edit]

text: The extended edition labeled "The Version You've Never Seen" (which was released theatrically in 2000) was released on DVD on February 3, 2004.[53]

text: The extended edition was later re-released on DVD (and released on Blu-ray) with slight alterations under the new label "Extended Director's Cut" on October 5, 2010.[54]

text: Blu-ray[edit]

text: In an interview with DVD Review, Friedkin mentioned that he was scheduled to begin work on The Exorcist Blu-ray on December 2, 2008.[55] This edition features a new restoration, including both the 1973 theatrical version and the 2000 "Version You've Never Seen" (re-labeled as "Extended Director's Cut").[56] It was released on October 5, 2010.[57][58][59] A 40th Anniversary Edition Blu-ray was released on October 8, 2013, containing both cuts of the film and many of the previously released bonus features in addition to two featurettes that revolve around author William Peter Blatty.[60]

text: The Exorcist: The Complete Anthology[edit]

text: The Exorcist: The Complete Anthology (box set) was released on DVD on October 10, 2006,[61] and on Blu-ray on September 23, 2014.[62] This collection includes the original theatrical release version of The Exorcist, the extended version (labelled The Exorcist: The Version You've Never Seen on the DVD release and The Exorcist: Extended Director's Cut on the Blu-ray release), the sequels Exorcist II: The Heretic and The Exorcist III, and the prequels Exorcist: The Beginning and Dominion: Prequel to the Exorcist.

text: Reception[edit]

text: Box office[edit]

text: The film earned $66.3 million in distributors' domestic (US/CAN) rentals during its theatrical release in 1974, becoming the second most popular film of that year (trailing The Sting).[63] After several reissues, the film eventually grossed $232,671,011 in North America,[64] which if adjusted for inflation, would be the ninth highest-grossing film of all time and the top-grossing R-rated film of all time.[65] To date, it has a total gross of $441,071,011 worldwide.[64] Adjusted to 2014 prices, The Exorcist has grossed $1.794 billion.[66]

text: Critical response[edit]

text: Stanley Kauffmann, in The New Republic, wrote, "This is the scariest film I've seen in years—the only scary film I've seen in years ... If you want to be shaken—and I found out, while the picture was going, that that's what I wanted—then The Exorcist will scare the… (shit) out of you."[67] Variety noted that it was "an expert telling of a supernatural horror story ... The climactic sequences assault the senses and the intellect with pure cinematic terror."[68] In Castle of Frankenstein, Joe Dante called it "an amazing film, and one destined to become at the very least a horror classic. Director Friedkin's film will be profoundly disturbing to all audiences, especially the more sensitive and those who tend to 'live' the movies they see ... Suffice it to say, there has never been anything like this on the screen before."[69] Roger Ebert gave the film a 4-out-of-4 star review, praising the actors (particularly Burstyn) and the convincing special effects but at the end of the review wrote, "I am not sure exactly what reasons people will have for seeing this movie; surely enjoyment won’t be one, because what we get here aren’t the delicious chills of a Vincent Price thriller, but raw and painful experience. Are people so numb they need movies of this intensity in order to feel anything at all?"[70]

text: The reviews were not all positive. Vincent Canby, writing in The New York Times, dismissed The Exorcist as "a chunk of elegant occultist claptrap ... a practically impossible film to sit through ... It establishes a new low for grotesque special effects ..."[71] Andrew Sarris complained that "Friedkin's biggest weakness is his inability to provide enough visual information about his characters ... whole passages of the movie's exposition were one long buzz of small talk and name droppings ... The Exorcist succeeds on one level as an effectively excruciating entertainment, but on another, deeper level it is a thoroughly evil film."[72] Writing in Rolling Stone, Jon Landau felt the film was "nothing more than a religious porn film, the gaudiest piece of shlock this side of Cecil B. DeMille (minus that gentleman's wit and ability to tell a story)  ... "[73]

text: Over the years, The Exorcist's critical reputation has grown considerably. The film currently[when?] has an 87% "Certified Fresh" approval rating on the Rotten Tomatoes website, based on 67 reviews the website collected.[74] Chicago Tribune film critic Gene Siskel placed it in the top five films released that year.[75] BBC film critic Mark Kermode believes the film to be the best film ever made, saying: "There's a theory that great films give back to you whatever it is you bring to them. It's absolutely true with The Exorcist—it reflects the anxieties of the audience. Some people think it's an outright horror-fest, but I don't. It was written by a devout Catholic who hoped it would make people think positively about the existence of God. William Peter Blatty, who wrote the book, thought that if there are demons then there are also angels and life after death. He couldn't see why people thought it was scary. I've seen it about 200 times and every time I see something I haven't seen before."[76]

text: Director Martin Scorsese placed The Exorcist on his list of the 11 scariest horror films of all time.[77] In 2008, the film was selected by Empire Magazine as one of The 500 Greatest Movies Ever Made.[78] It was also placed on a similar list of 1000 films by The New York Times.[79]

text: UK reception[edit]

text: The Exorcist was available on home video from the early 1980s in the UK. After the British Board of Film Classification created the Video Recordings Act in 1984, the film was submitted for a home video certificate. James Ferman, Director of the Board, vetoed the decision to grant a certificate to the film, despite the majority of the group willing to pass it. It was out of Ferman's concerns that, even with a proposed 18 certificate, the film's notoriety would entice underage viewers to seek it out. As a result, all video copies of The Exorcist were withdrawn in the UK and remained unavailable for purchase for more than a decade.[80]

text: Following a successful re-release in cinemas in 1998, the film was submitted for home video release again in February 1999,[81] and was passed uncut with an 18 certificate, signifying a relaxation of the censorship rules with relation to home video in the UK, in part due to James Ferman's departure. The film was shown on terrestrial television in the UK for the first time in 2001, on Channel 4.[82]

text: Audience reception[edit]

text: Roger Ebert, while praising the film, believed the special effects to be so unusually graphic he wrote, "That it received an R rating and not the X is stupefying."[83] Some theaters provided "Exorcist barf bags".[84]

text: Legacy[edit]

text: Awards and honors[edit]

text: Academy Awards[edit]

text: The Exorcist was nominated for ten Academy Awards in 1974, winning two. It is the first horror film to be nominated for Best Picture.[85] At the 46th Annual Academy Awards ceremony, the film won two statuettes (highlighted in bold).[71]

text: The film was nominated for:

text:
Academy Award for Best Picture – William Peter Blatty
Academy Award for Best Actress – Ellen Burstyn
Academy Award for Best Supporting Actor – Jason Miller
Academy Award for Best Supporting Actress – Linda Blair
Academy Award for Best Director – William Friedkin
Academy Award for Best Adapted Screenplay – William Peter Blatty
Academy Award for Best Cinematography – Owen Roizman
Academy Award for Best Film Editing – Jordan Leondopoulos, Bud S. Smith, Evan Lottman, Norman Gay
Academy Award for Best Production Design – Bill Malley and Jerry Wunderlich
Academy Award for Best Sound Mixing – Robert Knudson, Chris Newman

text: Golden Globe Awards[edit]

text: The Exorcist was nominated for seven total Golden Globes in 1974. At the 31st Golden Globes ceremony that year, the film won four awards.

text:
Golden Globe Award for Best Motion Picture – Drama
Golden Globe Award for Best Director – William Friedkin
Golden Globe Award for Best Supporting Actress – Motion Picture – Linda Blair
Golden Globe Award for Best Screenplay – William Peter Blatty

text: The film was nominated for

text:
Golden Globe Award for Best Actress – Motion Picture Drama – Ellen Burstyn
Golden Globe Award for Best Supporting Actor – Motion Picture – Max von Sydow
Golden Globe Award for New Star of the Year – Actress – Linda Blair

text: Library of Congress[edit]

text: 2010 National Film Registry

text: American Film Institute Lists[edit]

text:
AFI's 100 Years...100 Thrills – #3
AFI's 100 Years...100 Heroes and Villains:

Regan MacNeil – #9 Villain

text: Alternate and uncut versions[edit]

text: Several versions of The Exorcist have been released:

text:
The 1979 theatrical reissue was converted to 70mm, with its 1.75:1 ratio[86] cropped to 2.20:1 to use all the available screen width that 70mm offers. This was also the first time the sound was remixed to six-channel Dolby Stereo sound. Almost all video versions feature this soundtrack.
The network TV version originally broadcast on CBS in the '80s was edited by William Friedkin, who also shot a replacement insert of the Virgin Mary statue crying blood, replacing the shot of a more obscenely desecrated statue. Friedkin himself spoke the Demon's new, censored lines; he was unwilling to work with Mercedes McCambridge again. The lines "Your mother sucks cocks in hell, Karras" and "Shove it up your ass, you faggot" were re-dubbed by Friedkin as "Your mother still rots in hell" and "Shut your face, you faggot." Several of Ellen Burstyn's lines were also redubbed by the actress, replacing "Jesus Christ" with "Judas Priest" and omitting the word fuck. Most of the profanity spoken by Regan is also cut out, as are the shots of her being abused with a crucifix and forcing Chris' face into her crotch. There is also a slightly alternate shot of Regan's face morphed into the white face of the demon just after Merrin arrives at the MacNeil house (the theatrical versions only show the beginning of the transformation). This network TV version is rarely if ever used for TV and cable showings today.
In the television versions, the image of the obscenely defiled statue of the Virgin Mary stays intact. It stays on longer for the TV-14 version, but not much.
In some network versions Regan is not masturbating but having another fit.
The Special Edition released on DVD for the 25th Anniversary includes the original ending as a special feature, not used in the theatrical release: after Father Dyer is seen on top of the steps behind the MacNeil's residence, he walks away and is approached by Lt. Kinderman. They talk briefly about Regan and the events that just took place there; Kinderman then invites Dyer to the movies to see Wuthering Heights and quotes Casablanca, telling Dyer "I think this is the beginning of a beautiful friendship".
The Special Edition DVD also includes a 75-minute documentary titled The Fear of God on the making of The Exorcist. The documentary includes screen tests and additional deleted scenes, including:

Chris MacNeil and Regan going sightseeing in Washington;
After Chris hears about Burke's death, Regan crawls down the stairs upside down on her arms and legs like a spider and then chases Chris and Sharon around the room;
Karras and Merrin sit on the stairs during a pause of the exorcism and exchange some words about what is happening to the girl.

The scene where the demonic entity leaves Father Karras was originally done by filming Jason Miller in possession makeup, then stopping the camera and shooting him again with the makeup removed. This creates a noticeable jump in Father Karras' position as he is unpossessed. The 25th anniversary video releases of The Exorcist smooth over the jumpy transition with a subtle computer morphing effect. This updated effect was not featured in the prints used for the Warner Bros. 75th anniversary film festivals.
A new edition labeled "The Version You've Never Seen" (later re-labelled "Extended Director's Cut") was released in theaters on September 22, 2000 and includes the following additions and changes.

A slightly different opening, which shows the MacNeil's home in Georgetown, then cuts to the opening titles.
The scene where Chris MacNeil screams on the phone includes a new music cue and omits the line "I've been on this fucking line for 20 minutes!" and simply cuts to the next scene.
A new scene with Regan at the hospital receiving treatment to diagnose her "unusual" behavior. The doctor tells Chris MacNeil that Regan told him to "keep his fingers away from her Goddamn cunt," as depicted in the novel. This scene sets up her bizarre behavior earlier and clarifies the scene where Chris tells Regan "It's just like the doctor said, it's just nerves. You just take your pills and you'll be fine."
The party scene removes the shot of Regan laughing with the guests, obviously because of her "unusual" behavior in the previous scene.
In the scene where Chris returns home and the lights go out, new digital effects including Satanic faces and images of the statue, new sound effects and music have been added to the scene. However, in the later DVD and Blu-ray version, re-titled "Extended Director's Cut", one effect of the demon Pazuzu's face appearing on Regan's door has been removed.
The "spider-walk" scene has been restored and digitally altered from the original scene. Here, crude wires from the scene have been digitally removed, she comes down the stairs much faster and a second take with her mouth full of blood was used instead of a serpent's tongue. It then cuts to black, and the next scene opens.
Before Regan grabs the psychiatrist's crotch, a new digital effect of her face morphing into the devil (which is seen in subliminal cuts throughout) including a new growl has been added.
A new music cue has been added to the scene with Lt. Kinderman and Father Karras.
After Father Karras leaves for the night, a new scene of him examining a tape of Regan trying to talk to her dad has been added and a new music cue ties the new scene and the scene of Father Karras at the Mass together.
New scenes with Sharon trying to tune out the devil groans and a short moment with Chris MacNeil and Father Merrin (which hints at his vulnerability and weakness) have been added.
A new music cue has been added to the scene with Father Karras and Father Merrin going up the stairs to perform the exorcism and a short scene has been added before they enter the room, as depicted in the novel: Father Merrin asks Chris MacNeil what Regan's middle name is; she tells him it is Theresa, and he says "What a lovely name."
The scene with Father Karras and Father Merrin talking on the stairs, as depicted in the novel and which was included on the 25th Anniversary DVD, has been restored.
When Father Karras looks up at the window when he's possessed, a new digital effect with Karras' mother's face has been added, and the scene includes the "subtle morph effect" that was included on the 25th anniversary edition DVD.
When Chris MacNeil gives Father Dyer Father Karras' medal, he gives it back to her and says "I think you should keep it", as depicted in the novel and instead of simply keeping it as in the original version. A new short scene of Regan smiling and waving at Father Dyer as they drive away and Father Dyer waving back has been added.
The original ending with Father Dyer and Lt. Kinderman has been restored. The 'tubular bells' music cue plays over them walking away, and it ends before Lt. Kinderman quotes Casablanca by saying, "I think this is the beginning of a beautiful friendship," as portrayed in the novel.

In both the TV-PG and TV-14 rated network versions, the image of the obscenely defiled statue of the Virgin Mary stays intact. It stays on screen several seconds longer for the TV-14 version. On original TV airings, the shot was replaced with one where the statue's face is smashed in, but without other defilement. Edits may vary from network to network and non-premium cable networks (AMC, TNT, etc.) nearly always show only edited/censored versions of the film.
The DVD released for the 25th Anniversary retains the original theatrical ending and includes the extended ending with Dyer and Kinderman as a special feature (as opposed the "Version You've Never Seen" ending, which features Dyer and Kinderman but omits the Casablanca reference).
The Exorcist: The Complete Anthology (box set) was released on DVD in October 2006 and on Blu-ray in September 2014. This collection includes the original theatrical release version The Exorcist; the extended version, The Exorcist: The Version You've Never Seen; the sequel with Linda Blair, Exorcist II: The Heretic; the supposed end of the trilogy, The Exorcist III; and two different prequels: Exorcist: The Beginning and Dominion: Prequel to the Exorcist. As aforementioned, Morgan Creek, current owner of the franchise, in association with Fox, has now produced a television series of Blatty's novel, which is the basis for the original film.

text: In 1998, Warner re-released the digitally remastered DVD of The Exorcist: 25th Anniversary Special Edition. The DVD includes the BBC documentary, The Fear of God: The Making of The Exorcist,[87] highlighting the never-before-seen original non-bloody variant of the spider-walk scene.

text: To appease the screenwriter and some fans of The Exorcist, Friedkin reinstated the bloody variant of the spider-walk scene for the 2000 theatrically re-released version of The Exorcist: The Version You've Never Seen. In October 2010, Warner released The Exorcist (Extended Director's Cut & Original Theatrical Edition) on Blu-ray, including the behind-the-scenes filming of the spider-walk scene. Linda R. Hager, the lighting double for Linda Blair, was incorrectly credited for performing the stunt. In 2015, Warner Bros. finally acknowledged that stuntwoman Ann Miles was the only person who performed the stunt.

text: Sequels[edit]


document_title: Colt Python

question_text: when did they stop making the colt python

text: Colt Python

text: Description[edit]

text: The Colt Python is a double action handgun chambered for the .357 Magnum cartridge, built on Colt's large I-frame. Pythons have a reputation for accuracy, smooth trigger pull, and a tight cylinder lock-up.[2] They are similar in size and function to the Colt Trooper and Colt Lawman revolvers.[8]

text: History[edit]

text: The Colt Python was first introduced in 1955 as Colt's top-of-the-line model and was originally intended to be a large-frame 38 Special target revolver.[3] As a result, it features precision adjustable sights, a smooth trigger, solid construction, and extra metal. Pythons have a distinct appearance due to a full barrel underlug, ventilated rib and adjustable sights.[3] Colt originally manufactured Pythons with hollow underlugs but left them solid to work as a stabilizing barrel weight. When the revolver is at full cock, just as the trigger is pressed, the cylinder locks up for the duration of the hammer strike. Other revolvers have a hint of looseness even at full-cock. The gap between the cylinder and forcing cone is very tight, further aiding accuracy and velocity.[2] From the 1970s each Python revolver was boresighted at the factory with a laser; the first mass-produced revolver for which this was done.[3]

text: End of production[edit]

text: In October 1999, Colt Manufacturing Co. announced that it was ceasing production of Python revolvers. In a 2000 follow-up letter to distributors, the company cited changing market conditions and the costs of defending lawsuits as the reasons for the discontinuation of the Python line, as well as a number of other models.[9] The Colt Custom Gun Shop continued making a limited number of Pythons on special order until 2005, when even this limited production ceased.[2][10]

text: Models and variants[edit]

text: The Python was originally available in two finishes: Royal Blue and Bright Nickel. The Bright Nickel model was discontinued with the introduction of the more durable satin stainless and mirror-polished Ultimate Stainless models.[2] The stainless steel and Royal Blue finishes were offered until 2003 by Colt on the Python "Elite" model.[8]

text: Pythons were available with 2.5-inch (6.4 cm), 3-inch (7.6 cm), 4-inch (10 cm), 6-inch (15 cm) and 8-inch (20 cm) barrels.[2] The six-inch model was the most popular generally, and the 8-inch model was intended for hunting. A 3-inch barrel version is very collectible, although not rare.[3]

text: The Python Hunter model, with 8-inch barrel and factory-installed 2X Leupold scope, was made in 1980.[11] The Python Hunter was the first field-ready handgun hunting package made by a major handgun manufacturer.[11] The scope was mounted on the barrel using Redfield mounts and the gun was packaged in a Haliburton case.[11] It was discontinued by 1990 and briefly offered as a "Custom Shop" model afterward.[11] A Python Target model was made for several years in .38 Special only, in blue and nickel finishes.[8]

text: Two variants of the Python were made in small numbers by Colt. The first was the Colt Boa of 1985, a limited production .357 Magnum revolver, made for the Lew Horton Distributing Company in Massachusetts. It used a Python barrel mated to a Trooper Mk V frame. Six hundred 6-inch revolvers and 600 4-inch revolvers were made, of which 100 were matched sets. Though it resembles a Python visually, it is substantially different internally. The second was the stainless steel Colt Grizzly of 1994, another limited production .357 Magnum revolver. It used a Python barrel mated to a Colt King Cobra frame. 500 of these revolvers were manufactured, with 6-inch Magna-Ported barrels and smooth, unfluted cylinders. The ported barrel includes a bear footprint. Similar to the Grizzly was the Colt Kodiak, which was a Colt Anaconda with a Magna-Ported Barrel and an unfluted cylinder. Approximately 2000 Kodiaks were manufactured.[8]

text: According to Colt historian, R.L. Wilson, Colt Pythons have been collected by Elvis Presley and various kings in the traditional sense: "H.M. (His Majesty) Hussein I of Jordan ordered a limited number of Pythons with 4-inch and 6-inch barrels, as gifts to his selected friends. Casing and barrel were embossed with His Majesty's crest. The Python for King Juan Carlos of Spain bore his name in flush gold on the sideplate. Among other celebrated recipients: King Khalid and Prince Fahd (Saudi Arabia), King Hassan (Morocco), Sheik Zayed (United Arab Emirates), President Anwar Sadat (Egypt) and President Hafez Assad (Syria)."[4]

text: Usage[edit]

text: The Python immediately made inroads into the law enforcement market when introduced, with the 6-inch barrel being popular with uniformed officers and the 4-inch barrel considered optimum for plainclothes use.[3] However, it has since fallen out of common use (along with all other revolvers) due to changing law enforcement needs that favor semi-automatic pistols. When law-enforcement agencies realized that the 9 mm semi-automatic pistols fire a round with similar characteristics to the .38 Special with higher capacity, they began a migration to these, and other, semi-automatic pistol cartridges.[12][13] The move away from the Python is also being driven by the increasing number of law enforcement agencies which require officers to carry department-issue weapons (as a way to reduce liability).

text: The Colorado State Patrol issued 4-inch blue Pythons until their switch to the S&W .40 caliber autoloader.[14] Georgia State Patrol and Florida Highway Patrol issued Pythons to their officers.[14]

text: A Python, loaded with .357 Magnum semiwadcutter bullets, was used to murder Irish crime reporter Veronica Guerin in 1996, an act which resulted in the creation of the Criminal Assets Bureau.[15][16]

text: Colt's Python revolvers are still popular on the used market and command high prices.[17]

text: In popular culture[edit]

text: The Colt Python has been used in various forms of media, most notably being popularized in the 1973 film Magnum Force, as well as The Walking Dead, as it is the main sidearm of the lead character, Rick Grimes. A french movie is named after it : Police Python 357 (1976) from the director Alain Corneau. The Colt Python is the weapon of the lead actor Yves Montand.

text: Criticisms[edit]

text: Official Colt historian RL Wilson described the Colt Python as "the Rolls-Royce of Colt revolvers",[4] and firearms historian Ian V. Hogg referred to it as the "best revolver in the world".[7] However, the revolver is not without its detractors. The downside to the Colt Python's precision is its tendency to go "out of time" with continued heavy shooting.[18] This is a condition in which the cylinder does not turn in exact alignment with the forcing cone, so a shooter may be sprayed with burning propellant when the gun is fired, or the gun may not fire when used as a double-action.[18] When this happens, the lockwork needs to be re-timed.[18]

text: Author Martin Dougherty notes the weight of the Python as a drawback, as it is quite heavy for a handgun of its caliber, ranging from 2.4 lbs (1.1 kg) to 2.6 lbs (1.2 kg). This makes it only 6 to 9 ounces lighter than Smith & Wesson's more powerful M29 .44 Magnum, which weighs 3.0 lbs in 6½-inch barrel configuration (1.36 kg).[1]


document_title: Red junglefowl

question_text: where did the red jungle fowl come from

question_tokens: where did the red jungle fowl come from

text: Red junglefowl

text: Range[edit]

text: The range of the wild form stretches from Tamil Nadu, India, eastwards across Indochina and southern China and into Malaysia, Singapore, Philippines and Indonesia. Junglefowl are established on several of the Hawaiian Islands, including Kauai, but these are feral descendants of domestic chickens. They can also be found on Christmas Island, Vanuatu, and the Mariana Islands.

text: Each of these various regions had its own subspecies of Gallus gallus, including:

text:
G. g. gallus – from Indochina
G. g. bankiva – from Java
G. g. jabouillei – from Vietnam
G. g. murghi – from India and Bangladesh
G. g. spadiceus – from Burma
G. g. domesticus – (domestic chicken)

text: Sexual dimorphism[edit]

text: The male's tail is composed of long, arching feathers that initially look black but shimmer with blue, purple and green in good light. The female's plumage is typical of this family of birds in being cryptic and adapted for camouflage. She alone looks after the eggs and chicks. She also has no fleshy wattles, and a very small comb on the head.

text: During their mating season, the male birds announce their presence with the well known "cock-a-doodle-doo" call or crowing. Male red junglefowl have a shorter crowing sound than domestic roosters; the call cuts off abruptly at the end.[4] This serves both to attract potential mates and to make other male birds in the area aware of the risk of fighting a breeding competitor. A spur on the lower leg just behind and above the foot serves in such fighting. Their call structure is complex and they have distinctive alarm calls for aerial and ground predators to which others react appropriately.[5][6]

text: Behaviour[edit]

text: Males make a food-related display called "tidbitting", performed upon finding food in the presence of a female.[7] The display is composed of coaxing, cluck-like calls and eye-catching bobbing and twitching motions of the head and neck. During the performance, the male repeatedly picks up and drops the food item with his beak. The display usually ends when the hen takes the food item either from the ground or directly from the male's beak. Breeding then occurs.[8] Males that produce anti-predator alarm calls[9] appear to be preferred by females.[10]

text: They are omnivorous and feed on insects, seeds and fruits, including those that are cultivated such as those of the oil palm.[11]

text: Red junglefowl regularly bathe in dust to keep just the right balance in their plumage. The dust absorbs extra oil and subsequently falls off.[12]

text: Flight in these birds is almost purely confined to reaching their roosting areas at sunset in trees or any other high and relatively safe places free from ground predators, and for escape from immediate danger through the day.

text: Domestication[edit]

text: In 2012, a study was published that examined mitochondrial DNA recovered from ancient bones from Europe, Thailand, the Pacific and Chile, and from Spanish colonial sites in Florida and the Dominican Republic, in directly dated samples originating in Europe at 1,000 B.P. and in the Pacific at 3,000 B.P. The study showed that chickens were most likely domesticated from wild red junglefowl, though some have suggested possible genetic contributions from other junglefowl species. Domestication occurred at least 7,400 years ago from a common ancestor flock in the bird's natural range, then proceeded in waves both east and west. The paper also states that the earliest undisputed domestic chicken remains are bones associated with a date of approximately 5,400 BC from the Chishan site, in the Hebei province of China. In the Ganges region of India, red junglefowl were being used by humans as early as 7,000 years ago. No domestic chicken remains older than 4,000 years have been identified in the Indus Valley, and the antiquity of chickens recovered from excavations at Mohenjodaro is still debated.[3]

text: Hybridisation[edit]

text: The other three members of the genus — Sri Lanka junglefowl (Gallus lafayetii), grey junglefowl (Gallus sonneratii), and the green junglefowl (Gallus varius) — do not usually produce fertile hybrids with the red junglefowl, suggesting that it is the sole ancestor of the domestic chicken. However, recent research has revealed the absence of the yellow skin gene in the wild red junglefowl found in domestic birds, which suggests hybridisation with the grey junglefowl during the domestication of the species.[2] A culturally significant hybrid between the red junglefowl and the green junglefowl in Indonesia is known as the bekisar.

text: Purebred red junglefowl are thought to be facing a serious threat of extinction because of hybridisation at the edge of forests where domesticated free ranging chickens are common.[13][14][15][16][17][18][19][20][21][22][23]