document_title: Jeepers Creepers (2001 film)

question_text: who plays the creeper in jeepers creepers 1

text: Jeepers Creepers (2001 film)

text: Plot[edit]

text: Trish Jenner and her brother Darry are traveling home from college for spring break. As they drive through the Florida countryside, an old rusty truck tries to run them off the road. The vehicle eventually passes them, and they later see the same truck parked next to an abandoned church with a man sliding what appears to be bodies wrapped in blood-stained sheets into a large pipe sticking out of the ground. The man notices Trish and Darry watching him and attempts to run them off the road a second time.

text: After escaping, Darry convinces Trish to go back to the church and investigate. At the church, Darry hears noises coming from within the pipe and crawls inside with Trish holding on to his feet, but ends up falling in. At the bottom, he finds a dying man with stitches running down his stomach, and hundreds of other bodies sewn to the basements walls and ceiling. After Darry escapes, the two flee the scene and attempt to contact the police at a diner. At the diner, they are phoned by a strange woman who warns them that they are in danger. Confused and frightened, they ignore her warning. Later, Trish and Darry leave, with two police officers providing a security escort. As they travel, the police learn that the church has caught fire, and any evidence of bodies has been destroyed. The police are then attacked and killed by the mysterious driver, who loads their bodies into his truck.

text: Trish and Darry stop at a reclusive old woman's house, and beg her to call the police. The woman complies until she notices the driver hiding in her yard. She attempts to kill him, but the driver kills her and reveals his inhuman face to Trish and Darry, before pursuing them once again. Trish runs the driver over with her car, but they are horrified to see a giant wing tear through his trench coat and flap in the air. They drive to the local police station, where they are approached by psychic Jezelle Gay Hartman. She reveals herself as the woman who called them at the diner and tells them the true nature of their pursuer: It is an ancient creature, known as "the Creeper", which awakens every twenty-third spring for twenty-three days to feast on human body parts, which then form parts of its own body. She also tells them that it seeks out its victims through fear, and, by smelling the fear from Trish and Darry, it has found something it likes, but she does not know what.

text: The wounded Creeper arrives and attacks the police station. After cutting off the power, it gains entrance to the cells and eats prisoners to heal. The Creeper is swarmed by police but kills a number of them and evades capture. Trapped, Jezelle warns Trish and Darry that one of them will die a horrible death. Darry demands to know who, and Jezelle looks at Trish. The Creeper finds them, but spares Jezelle as she does not have anything it wants. The Creeper corners Trish and Darry in an upstairs interrogation room, and after sniffing and tasting them, the Creeper throws Trish aside and chooses Darry. Trish offers her life for her brother's, but the Creeper escapes out of the window and flies away with Darry. The next day, Trish is picked up by her parents, and Jezelle returns home in regret. In the Creeper's new hideout, an abandoned factory, it is revealed that the Creeper has removed the back of Darry's head and taken his eyes.

text: Cast[edit]

text:
Gina Philips as Patricia "Trish" Jenner
Justin Long as Darius "Darry" Jenner
Jonathan Breck as the Creeper / Bald Cop
Patricia Belcher as Jezelle Gay Hartman
Brandon Smith as Sergeant Davis Tubbs
Eileen Brennan as the Cat Lady
Jon Beshara as Trooper Robert Gideon
Avis-Marie Barnes as Trooper Natasha Weston
Tom Tarantini as Roach

text: Production[edit]

text: This section needs expansion. You can help by adding to it. (October 2016)

text: Jeepers Creepers was filmed in Dunnellon, Florida in the summer of 2000.[4]

text: Reception[edit]

text: This section needs expansion. You can help by adding to it. (March 2018)

text: Rotten Tomatoes, a review aggregator, reports that 45% of 108 surveyed critics gave the film a positive review; the average rating was 5.1/10. The sites consensus reads: "Jeepers Creepers has a promising start. Unfortunately, the tension and suspense quickly deflates into genre cliches as the movie goes on."[5] Metacritic rated it 49/100.[6] Scott Foundas of Variety wrote that it is "the most conventional and least imaginative of the recent crop of high-class fright movies".[7] Stephen Holden of The New York Times called it "a cannier-than-average teen horror movie" that "disintegrates into a shoot-by-numbers monster hunt".[8] Kevin Thomas of the Los Angeles Times wrote that the film "has the scariest opening sequence of any horror picture in recent memory" but becomes an "amusing horror-comedy, spooky and jolting but too literally preposterous to regain its initial aura of suspense."[9] Peter Bradshaw of The Guardian wrote that the film starts off well but quickly degenerates into cliche.[10]

text: Audiences polled by CinemaScore gave the film an average grade of "D" on an A+ to F scale.[11]

text: Box office[edit]

text: Jeepers Creepers opened in 2,944 theaters and took in a US gross of $37.9 million; it later made $21.3 million internationally, making a total of $59.2 million worldwide.[3]

text: It broke the record for the highest ever Labor Day opening weekend four-day gross, holding the record until the 2003 release of its sequel, Jeepers Creepers 2.[12] After the 2015 Labor Day weekend, Jeepers Creepers holds the #7 spot and the #5 spot goes to its sequel.[12] Allowing for films that had been released prior to Labor Day, Jeepers Creepers holds the #16 spot for the Labor Day four-day weekend, with the #9 spot going to Jeepers Creepers 2.[13]

text: Awards[edit]

text:
Nominated: 28th Saturn Awards – Best Horror Film
Nominated: 28th Saturn Awards – Best Young Actor: Justin Long
Nominated: International Horror Guild Award – Best Movie[14]
Nominated: 34th Sitges Film Festival - Best Film[15]

text: Sequels[edit]

text: In 2003, a sequel was released, Jeepers Creepers 2. Events in the second film take place four days after the first film. The Creeper and Darry are the only characters to appear in both films, although they are not the only actors to appear in both films. In the first film, actor Tom Tarantini appears as the minor character "Austin McCoy" AKA "Roach" who is a car thief and regular in the Poho County jail. In the second film, he portrays "Coach Dwayne Barnes".

text: On September 11, 2015, Jeepers Creepers 3 was officially greenlit.,[16] with a planned 2017 release.[17] Victor Salva returns as director, Jonathan Breck returns as "the Creeper",[16] and Gina Philips returns as "Trish Jenner", her first screen role in five years.[17] Production was halted in 2016 until it resumed in February 2017,[18] and completed in April. The film opened for what was said would be only a one-night showing on September 26, 2017; it was then shown again October 4 and it was announced that it would air on the SyFy channel on October 28, with a Blu-ray/digital release on December 28, 2017.[19]


document_title: Global 500 Roll of Honour

question_text: global 500 award is given for rare achievement in the field of

root

text: Global 500 Roll of Honour

text: This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2016) (Learn how and when to remove this template message)

tag: table

text: The United Nations Environment Programme (UNEP) established the Global 500 Roll of Honour in 1987 to recognize the environmental achievements of individuals and organizations around the world.

tag: p

text: The last Global 500 Roll of Honour awards were made in 2003. A successor system of UNEP awards called Champions of the Earth started in 2005.

text: Awardees[edit]

text: Since the inception of the award in 1987, over 719 individuals and organizations, in both the adult and youth categories, have been honoured with the Global 500 award. Among prominent winners are:

text:
Anil Agarwal, the prominent environmentalist from India
Sir David Attenborough, producer of environmental television programmes
Idelisa Bonnelly, 1987 Dominican Republic marine biologist who created the first Humpback Whale Sanctuary
Gro Harlem Brundtland, former Prime Minister of Norway
Jimmy Carter, former President of the United States. He later won the Nobel Peace prize.
Jacques-Yves Cousteau, French marine explorer
Jane Goodall of the United Kingdom whose research on wild chimpanzees and olive baboons provided insight into the lives of non-human primates
Gabriel Lewis-Charles, the prominent environmentalist from St Lucia
Wangari Maathai, founder of the Green Belt Movement, a Kenyan grassroots environmental organisation. She later won the Nobel Peace prize.
Harada Masazumi, Japanese medical researcher heavily involved in the study of Minamata disease
Shoaib Sultan Khan, Pioneer of Rural Development Programmes in South Asia.
Chico Mendes, the Brazilian rubber tapper who was murdered during his fight to save the Amazon rainforest
George Monbiot, British journalist and researcher
Nikita Moiseyev a prominent Russian scientist, leading expert on consequences of nuclear war - "nuclear winter"
Ken Saro-Wiwa, the environmental and human rights activist from Nigeria who was executed for leading the resistance of the Ogoni People against the pollution of their Delta homeland
the Worldwide Fund for Nature (WWF)

tag: ul


document_title: Segmentation (biology)

question_text: what is an animal that has a segmented body

text: Segmentation (biology)

text: Definition[edit]

text: Segmentation is a difficult process to satisfactorily define. Many taxa (for instance the molluscs) have some form of serial repetition in their units, but are not conventionally thought of as segmented. Segmented animals are those considered to have organs that were repeated, or to have a body composed of self-similar units, but usually it is the parts of an organism that are referred to as being segmented.[1]

text: Animals[edit]

text: Segmentation in animals typically falls into three types, characteristic of different arthropods, vertebrates, and annelids. Arthropods such as the fruit fly form segments from a field of equivalent cells based on transcription factor gradients. Vertebrates like the zebrafish use oscillating gene expression to define segments known as somites. Annelids such as the leech use smaller blast cells budded off from large teloblast cells to define segments.[2]

text: Arthropods[edit]

text: Although Drosophila segmentation is not representative of the arthropod phylum in general, it is the most highly studied. Early screens to identify genes involved in cuticle development led to the discovery of a class of genes that was necessary for proper segmentation of the Drosophila embryo.[3]

text: To properly segment the Drosophila embryo, the anterior-posterior axis is defined by maternally supplied transcripts giving rise to gradients of these proteins.[2][3][4] This gradient then defines the expression pattern for gap genes, which set up the boundaries between the different segments. The gradients produced from gap gene expression then define the expression pattern for the pair-rule genes.[2][4] The pair-rule genes are mostly transcription factors, expressed in regular stripes down the length of the embryo.[4] These transcription factors then regulate the expression of segment polarity genes, which define the polarity of each segment. Boundaries and identities of each segment are later defined.[4]

text: Within the arthropods, the body wall, nervous system, kidneys, muscles and body cavity are segmented, as are the appendages (when they are present). Some of these elements (e.g. musculature) are not segmented in their sister taxon, the onychophora.[1]

text: Annelids: Leech[edit]

text: While not as well studied as in Drosophila and zebrafish, segmentation in the leech has been described as “budding” segmentation. Early divisions within the leech embryo result in teloblast cells, which are stem cells that divide asymmetrically to create bandlets of blast cells.[2] Furthermore, there are five different teloblast lineages (N, M, O, P, and Q), with one set for each side of the midline. The N and Q lineages contribute two blast cells for each segment, while the M, O, and P lineages only contribute one cell per segment.[5] Finally, the number of segments within the embryo is defined by the number of divisions and blast cells.[2] Segmentation appears to be regulated by the gene Hedgehog, suggesting its common evolutionary origin in the ancestor of arthropods and annelids.[6]

text: Within the annelids, as with the arthropods, the body wall, nervous system, kidneys, muscles and body cavity are generally segmented. However, this is not true for all of the traits all of the time: many lack segmentation in the body wall, coelom and musculature.[1]

text: Chordates: Zebrafish[edit]

text: Although perhaps not as well studied as Drosophila, segmentation in zebrafish is actively studied. The process is similar in zebrafish and other chordates, such as the chicken and the mouse. Segmentation in chordates is characterized as the formation of a pair of somites on either side of the midline. This is often referred to as somitogenesis.

text: In the zebrafish, segmentation is coordinated by the clock and wavefront model. The "clock" refers to the periodic oscillation of specific genes, such as Her1, a hairy/Enhancer of split- gene. Expression starts at the posterior end of the embryo and moves towards the anterior. The wavefront is where the somites mature, defined by gradients of retinoic acid and FGF. Retinoic acid is high in the anterior and FGF is high in the posterior; the wavefront is the point at which both concentrations are at their lowest. Cells at this point will mature and form a pair of somites.[7] Elaboration of this process with other signalling chemicals allows for structures such as muscles to span the basic segments.[citation needed]

text: Other taxa[edit]

text: In other taxa, there is some evidence of segmentation in some organs, but this segmentation is not pervasive to the full list of organs mentioned above for arthropods and annelids. One might think of the serially repeated units in many Cycloneuralia, or the segmented body armature of the chitons (which is not accompanied by a segmented coelom).[1]

text: Origin[edit]

text: Segmentation can be seen as originating in two ways. To caricature, the 'amplification' pathway would involve a single-segment ancestral organism becoming segmented by repeating itself. This seems implausible, and the 'parcellization' framework is generally preferred – where existing organization of organ systems is 'formalized' from loosely defined packets into more rigid segments.[1] As such, organisms with a loosely defined metamerism, whether internal (as some molluscs) or external (as onychophora), can be seen as 'precursors' to eusegmented organisms such as annelids or arthropods.[1]


document_title: Raising of school leaving age in England and Wales

question_text: when did school leaving age rise to 15

question_tokens: when did school leaving age rise to 15

text: 19th century[edit]

text: Prior to the 19th century, there were very few schools. Most of those that existed were run by the church, for the church, stressing religious education. In the latter part of the 19th Century, compulsory attendance at school ceased to be a matter for local option, with the introduction of the Elementary Education Act 1870 a milestone in the British school education system.[4] Children had to attend between the ages of 5 and 10 though with some local discretion such as early leaving in agricultural areas.[5]

text: The introduction of the Elementary Education Act 1870 (applying to England and Wales), commonly known as Forster's Education Act having been drawn up by William Edward Forster, created the concept of compulsory education for children under thirteen, although the decision to make education compulsory was at the discretion of school boards; education was compulsory in approximately 40% of schools by 1873.[6] In areas where education was considered a problem, elected school boards could be set up. These boards could, at their discretion, create local by-laws, confirmed by Parliament, to require attendance and fine the parents of children who did not attend.[4] There were exemptions for illness, living more than a certain distance (typically one mile) from a school, or certification of having reached the required standard (which varied by board) which were made mandatory across England and Wales by the 1880 Act.

text: The Elementary Education Act 1880 insisted on compulsory attendance from 5–10 years.[4] For poorer families, ensuring their children attended school proved difficult, as it was more tempting to send them working if the opportunity to earn an extra income was available. Attendance Officers often visited the homes of children who failed to attend school, which often proved to be ineffective. Children under the age of 13 who were employed were required to have a certificate to show they had reached the educational standard; employers of these children who weren't able to show this were penalised.[7] An act brought into force thirteen years later went under the name of the Elementary Education (School Attendance) Act 1893, which stated a raised minimum leaving age to 11. Later the same year, the act was also extended for blind and deaf children, who previously had no means of an official education. This act was later amended in 1899 to raise the school leaving age up to 12 years of age.[7][8]

text: 20th century[edit]

text: The start of the 20th century saw school boards abolished in 1902 and replaced with local education authorities, which are still in use to the present day.[4]

text: The Fisher Act of 1918[edit]

text: The year 1918 saw the introduction of the Education Act 1918, commonly also known as the Fisher Act as it was devised by Herbert Fisher. The act enforced compulsory education from 5–14 years, but also included provision for compulsory part-time education for all 14 to 18-year-olds. There were also plans for expansion in tertiary education, by raising the participation age to 18 though cuts in public spending after World War I made this impractical. This is the first act which starting planning provisions for young people to remain in education until the age of 18.[9] The 1918 act was not implemented until a further act of 1921 was passed.[10]

text: Butler's post-war education changes[edit]

text: In 1944, Rab Butler introduced the Education Act 1944 which amongst other changes, including the introduction of the Tripartite System, included raising the school leaving age to 15. Although the act should have been brought into effect as from September 1939, it was not implemented because of the effects of World War II, but was eventually enforced from April 1947.[7][3] The Comprehensive school system has since replaced the Tripartite System brought in by this act across most of England.[11] This act also recommended compulsory part-time education for all children until the age of 18, but was dropped, in similar fashion to the 1918 Act, to cut spending after World War II.[9]

text: Reasons[edit]

text: Changes in government approaches towards education meant that it was no longer regarded adequate for a child to leave education aged 14, as that is the age when they were seen to really understand and appreciate the value of education, as well as being the period when adolescence was at its height. It was beginning to be seen as the worst age for a sudden switch from education to employment, with around 80% of children in 1938 leaving education at this age, many having only had primary-school level education.[12] Although there were concerns about the effects of having less labour from these children, it was hoped that the outcome of a larger quantity of more qualified, skilled workers would eliminate the deficit problem from the loss of unskilled labour.[13]

text: Effects[edit]

text: This act introduced the 11+ examination to determine if a child should be eligible for a grammar school, secondary modern or technical college, under the Tripartite System,[3] but has since been phased out across the majority of the United Kingdom, with just several boroughs in England[14] and Northern Ireland[15] still using it. League tables published in March 2007 showed grammar schools throughout the country were outperforming comprehensive schools;[16] data published ten years later in 2017 suggested a similar clear division between student attainment in grammar schools compared to comprehensive schools.[17]

text: Changes in society and approaches towards education, including equal opportunities, has meant that it is now recognised that all children deserve to have the same educational opportunities without singling out those who learn at a slower rate than others, thus every child has the opportunity to gain secondary school level qualifications or similar, regardless of background or intelligence.

text: Leaving age raised to 16[edit]

text: In 1964, preparations began to raise the school leaving age to 16.[18] These were delayed in 1968, and eventually the decision was taken in 1971 that the new upper age limit be enforced from 1 September 1972 onwards.[7] As well as raising the school leaving age in 1972, the year also saw the introduction of the Education (Work Experience) Act, allowing LEAs to organise work experience for the additional final year school students.[19] In some counties around the country, these changes also led to the introduction of middle schools in 1968,[19] where students were kept at primary or junior school for an additional year, meaning that the number of students in secondary schools within these areas remained virtually constant through the change.[3] In others, more radical changes led to middle schools for pupils aged up to 13 opening in smaller secondary school buildings, with other schools accommodating students over 13. As of 2010, there are fewer than 300 middle schools across England, situated in just 22 local education authorities; the number of remaining middle schools has gradually fallen since the mid-1980s.[20][3]

text: ROSLA Buildings[edit]

text: For many secondary schools around England and Wales in areas without a Middle School, accommodating for the new 5th year students would be a struggle. A popular solution was to provide those schools with a pre-fabricated building (often referred to as ROSLA Buildings or ROSLA Blocks) that were in need of additional capacity,[3] providing them with the resources to cope with the new generation of 5th year students. This solution proved popular with many schools across the country, not least due to the low cost involved for materials and construction, but also the speed which these buildings could be erected. Many were supplied by F. Pratten and Co Ltd.[21][22][23][24]

text: The ROSLA Buildings were delivered to schools in self assembly packs, being assembled by a team often within days, regardless of weather conditions. Consequently, they were not intended to stand long-term, though some have proven to have stood much longer than was initially planned.[3] Many ROSLA Buildings shared similar exterior attributes such as their design, with the only difference being the separation of rooms within the building. The room separation within the building was decided upon by senior school management, hence many walls are false from being added in after construction.

text: Although the majority of schools around England and Wales have since replaced the ROSLA Building at their site, there are still numerous schools around the country which are still actively using these buildings.[citation needed]

text: Education Act 1996[edit]

text: Between 1976 and 1997, the minimum school leaving arrangements were:

text:
A child whose sixteenth birthday falls in the period 1 September to 31 January inclusive, may leave compulsory schooling at the end of the Spring term (the following Easter).
A child whose sixteenth birthday falls in the period 1 February to 31 August, may leave on the Friday before the last Monday in May.

text: Under the Education Act 1996, a new single school leaving date was set for 1998 and all subsequent years thereafter. This was set as the last Friday in June in the school year which the child reaches the age of 16.[25]

text: 21st century[edit]

text: Education and Skills Act 2008[edit]

text: Reports published in November 2006 suggested that Education Secretary Alan Johnson was exploring ways to raise the school leaving age in England to 18, just over 40 years later than the last rise in 1972, pointing to the decline in unskilled jobs and the need for young people to be equipped for modern day employment.[3]

text: Participation Age[edit]

text: A year later, on 6 November 2007, Prime Minister Gordon Brown unveiled the government's plans in his Queen's Speech. The plans included the duty for parents to assist their children in education or training participation until the date of their 18th birthday, as well as detailing proposed moves to reform the apprenticeship system and to improve achievement for children in care. The Education and Skills Act 2008, when it came into force in the 2013 academic year, initially required participation in some form of education or training until the school year in which the child turned 17, followed by the age being raised to the young person's 18th birthday in 2015.[27] This was referred to as raising the "participation age"[28] to distinguish it from the school leaving age which remains at 16.[29] To qualify as participation the young person must be in education or training for the equivalent of one day a week (at a minimum). The local council is responsible for ensuring that a suitable place is available.[28] The Act makes similar powers available to the National Assembly for Wales. A spokesperson for the Welsh Assembly indicated that it would want to encourage more young people to stay in education, but without compulsion,[30] so school leavers there are not required to continue with any education or training.[29]

text: Reasons[edit]

text: Figures were published in June 2006 showing that 76.2% of all young people aged 16–18 are already in further education or training, meaning that the rise might only affect around 25% of young people who may have otherwise sought employment immediately upon finishing compulsory education. This did not specifically state that young people would remain in secondary school, but rather by law be required to continue their education full or part-time, whether that be in sixth form, college or work based training.[5][31] Around 80% of 16-year-olds stay in full-time academic or vocational education, or go on a government-financed training course.[32] In a survey of 859 people, 9/10 supported the plans for the age increase.[33]

text: Reports published by the DfES showed that although there are around 70% of 16 year olds who remain in full-time education, this declines to less than 50% by the time they reach 18, with the majority finding unskilled employment and even fewer going into employment where their training has relevance. There is also a small increase in those who become unemployed by the time they reach 18, which the government hoped to reduce with the act.[26] It is these cases of unemployment which the government believes to be the toughest, whom it classifies as NEET (Not in Education, Employment or Training). In 2006 an additional 7% of 16 year olds fell into this category and the proportion rose to 13% among 18 year olds.[26] In practice, only 1% of young people are classified as NEET during their time aged 16–18, due to churn between training, employment and NEET classification.[34] In 2015 the percentage of 16-18 classified as NEET fell to 7.5%, the lowest figure since 2000.[35]

text: The government believed that the changes were needed because of the collapse in unskilled jobs in the economy, which means that young school leavers at 16 years of age are finding it increasingly more difficult to find employment, consequentially in many cases making them unemployable. Within the last 40 years, the number of unskilled jobs available have more than halved, from 8 million in the 1960s to 3.5 by 2007, with predictions of further drops to just 600,000 by 2020 due to the increasing demand for skilled labour.[36] This, together with fewer students continuing their further education, increase the difficulty for young school leavers to find work if they were either not able, or chose not to, stay on at school and complete further education. s

text: Opposition[edit]

text: Whilst the government is eager to implement the changes, many oppose the proposal,[37] some on civil liberties grounds.[38] Compulsory school attendance is usually justified by reference to the argument that minors are incapable of making sufficiently reasoned choices. However, the 16-18 age group falls into a grey area, being regarded as effectively adult in a number of contexts. Indeed, in some jurisdictions (e.g. Scotland), individuals are considered to reach full maturity at 16.

text: The proposal of using criminal sanctions to enforce attendance under this new system was opposed by MPs from both the Conservatives and the Liberal Democrats, who believed compulsion and threats were the wrong approach to increasing participation.[9] A spokesperson for the DfES said the proposals were not about "forcing young people to do something they don't want to", and that "we are letting young people down if we allow them to leave education and training without skills at the age of 16."[39] However, the Prime Minister's Queen's Speech in November 2007, which discussed the raise in school leaving age, suggested that pupils who failed to comply with new laws are to be expected to face fines or community service, rather than custodial sentencing which had previously been proposed. Local Authorities will also be expected to ensure pupils are participating up to 18 years of age.[30]

text: Effects[edit]

text: The downward trend in the number of unskilled jobs available throughout the country is continuing. The government believes that the extension of compulsory education until the age of 18 will mean many more young people will leave education in a much better position to find skilled employment. Speaking in March 2007, Chancellor Gordon Brown stated that around 50,000 teenagers would be paid a training allowance to sign up to college-based courses, with estimates on the available number of apprenticeships available to double to around 500,000 by 2020,[40] with 80% being available in England, which will be an increase from the current 250,000 apprenticeships available, offered by 130,000 employers.[30]

text: A skills commission report released in 2013, backed by Labour MP Barry Sheerman, suggests that young people were being let down by the education system, with particular criticism aimed towards the lack of information, advice and guidance available to 14-19 year olds.[41] The government were hopeful that the changes would have an effect on preventing the increase in crime levels, as figures reported a substantial percentage of young people leaving school were turning to a life of crime, with many being unable to find suitable work due to lack of skills and qualifications.[33]


document_title: The Exorcist (film)

question_text: when was the exorcist released in the uk

text: The Exorcist (film)

text: Plot[edit]

text: Lankester Merrin, a veteran Catholic priest and exorcist, is 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.

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 a heavily sedated 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

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. A take of this version of the scene was filmed but went unused. A different take showing Regan with blood flowing from her mouth was inserted into the 2000 Director's Cut of the film however.

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]