Tag: The Exorcist

  • Exorcist 50th Anniversary Tie-Dye Sci-Fi Horror

    Exorcist 50th Anniversary Tie-Dye Sci-Fi Horror

    This week on Roy’s Tie-Dye Sci-Fi Corner, we’ll lend some pizzazz to Pazuzu, with a discussion of one of the most disturbing horror movies ever made.

    When “The Exorcist” was released 50 years ago, the shock was so intense that there were widespread reports of viewers becoming physically ill, fainting, or fleeing theaters. My stepfather still thinks it’s the scariest thing he’s ever seen and recalls that he couldn’t stop shaking. Of course, you can’t buy that kind of publicity, and people lined up around the block in all weather for Warner Brothers’ hottest ticket.

    Critical reaction was mixed, and it’s interesting to read some of the contemporary reviews now, with those who disliked it dismissing it as exploitation and those who praised it wondering why on earth anyone would ever want to put themselves through it.

    William Friedkin’s transgressive masterpiece became the highest-grossing film of 1973 and established itself as the horror highwater mark of the decade. While the subject matter may be repellent, I challenge anyone to look away. It’s a resonant film, and a haunting one, particularly for those who remember seeing it at the time.

    Now, I fear, audiences have become so jaded and desensitized, and so irreverent, that they may not be as impressed or even take it entirely seriously. Funny to see Roger Ebert expressing his concern about our thickening skins all the way back in 1973: “Are people so numb they need movies of this intensity in order to feel anything at all?” I don’t know, maybe I’ve become a little inured myself. When reading William Peter Blatty’s novel that inspired it, decades after the fact, I found to my surprise that it was not at all scary.

    I stand by the movie, though, which is most effective in its theatrical cut.

    The greatest trick the Devil ever pulled was convincing the world he doesn’t exist. It will be split pea soup for dinner, as Roy and I mark 50 years of blasphemy and obscenity with a conversation about “The Exorcist.” Bring your Ouija boards to the comments section. The power of Tie-Dye compels you, when we livestream on Facebook, YouTube, etc., this Friday evening at 7:00 EDT!

    https://www.facebook.com/roystiedyescificorner

  • Lalo Schifrin Turns 90 A Scoring Legend

    Lalo Schifrin Turns 90 A Scoring Legend

    On the first day of summer (winter in his native Argentina), Lalo Schifrin turns 90.

    Schifrin is the composer of over 100 film and television scores, including those for “Cool Hand Luke,” “Bullitt,” “Dirty Harry,” “Enter the Dragon,” “Mannix,” “Starsky and Hutch,” “Rush Hour,” and of course “Mission: Impossible.”

    Not everyone was a fan. Director William Friedkin was so displeased with Schifrin’s music for “The Exorcist,” he hurled the master tape out into the parking lot, in the presence of the composer. Schifrin had written music for the trailer, which had reportedly scared the pants off preview audiences, so the executives at Warner Bros. told Friedkin they wanted him to tone it down. Friedkin being Friedkin – this is, after all, the guy who fired guns on set to unnerve his actors and filmed the chase scene in “The French Connection” without a permit – he didn’t convey the message. Instead, he fired Schifrin and crammed his soundtrack with equally disturbing music by avant-garde masters Krzysztof Penderecki, George Crumb, Anton Webern, and Hans Werner Henze, not to mention Mike Oldfield.

    Happily, most of Schifrin’s other collaborators were more genial. A highly respected jazz pianist, he was discovered by Dizzy Gillespie, who hired him on the sight. Schifrin composed for Dizzy an extended work for big band, “Gillespiana,” in 1958. He worked frequently with Clint Eastwood and scored George Lucas’ first feature, “THX-1138.” In all, he earned 22 Grammy nominations (winning five), four Primetime Emmy nominations, and six Academy Award nominations. He received an honorary Oscar in 2018.

    Schifrin has lived in the United States since 1958, making a very healthy living arranging and composing across genres, including bossa nova, jazz, bebop, rock, and classical, all the while cashing those lucrative Hollywood paychecks – and collecting royalties for the continued use of his indelible theme in the “Mission: Impossible” film franchise.

    Happy birthday, Lalo Schifrin!


    “Concierto Caribeño” for flute and orchestra

    Lalo Schifrin and Dizzy Gillespie

    “Cool Hand Luke”

    Rejected score from “The Exorcist”

    https://www.youtube.com/watch?v=uVxZt_2qSCk

    The disturbing trailer

    https://www.youtube.com/watch?v=6XuB8DJ0AI8

    Lalo receives his honorary Academy Award from Eastwood

    Schifrin’s greatest hit

  • Max von Sydow Dies at 90 A Cinema Legend

    Max von Sydow Dies at 90 A Cinema Legend

    Legend of world cinema Max von Sydow has died. Bergman’s leading man. Pazuzu’s nemesis. Woody Allen’s greatest misanthrope.

    Sydow was 90 years-old. May the gods of Asgard guide his steps toward their gates.

    https://www.nytimes.com/2020/03/09/movies/max-von-sydow-dead.html

  • George Crumb Turns 86 American Original

    George Crumb Turns 86 American Original

    Today is the 86th birthday of George Crumb. Crumb is another one of our great American originals, perhaps the reigning Grand Old Man of American Music. He produces works with an economy and elegance that seem to contradict and yet, somehow, paradoxically, to reinforce an Ivesian tendency to suggest greater vistas beyond their seemingly modest means.

    On a more visceral level, sometimes he can be downright scary. Which is especially amusing, since by all accounts – as well as on the perhaps five or six occasions I have met him – he has been unfailingly approachable, modest and even cheerful.

    It’s fortuitous indeed that his birthday falls so close to Hallowe’en. It’s not for nothing that his work for electric string quartet, “Black Angels,” was used in “The Exorcist.”

    In the last 15 years or so, Crumb has been enjoying a productive Indian summer, mining the hymns and folk songs of his West Virginia boyhood, lending them a unique resonance through his imaginative and colorful use of percussion.

    Happy birthday, George Crumb!


    “Black Angels”:


    From his “American Songbook,” “All the Pretty Horses”:

    And “Poor Wayfaring Stranger”:

    PHOTOS: George Crumb (left) with The Exorcist’s Pazuzu

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