Movies
Unearthed Article from 1974 Recounts the Total Madness of Experiencing ‘The Exorcist’ in Theaters
You couldn’t even imagine the chaos that ensued when William Friedkin‘s The Exorcist was released during Christmastime 1973. Unearthed by a reddit user, a writer for The New York Times recounted the nightmarish release that resulted in massive lines, filthy theaters, and the unthinkable stench of stale vomit in the air. It was such an event that people braved freezing cold weather or paid bribes to jump ahead in line. It was chaos and exactly the kind of cinematic experience we both miss and crave in today’s age of reserved seating and extreme comfort.
“…people stood like sheep in the rain, cold and sleet for up to four hours to see the chilling film about a 12‐year‐old girl going to the devil,” wrote Judy Klemesrud, on Jan. 27, 1974, looking back at The Exorcist‘s extraordinary run in theaters. “They lighted bonfires at their waiting post on Second Avenue, between 59th and 60th Streets, to keep warm, littered the streets with food wrappings, got into fist fights.
“Once, on a Friday night, they even stormed Cinema [when it] looked as though they weren’t going to make it inside after four‐hour wait.”
Security at the theater reported they had been offered bribes as high as $110 to let people jump to the head of the line with scalpers getting an upwards of $50 for a pair of tickets (that’s almost $300 adjusted for inflation).
That was just the battle to get inside the theater.
A guard told the writer of The New York Times, “a number of moviegoers vomited at the very graphic goings‐on on the screen. Others fainted, or left the theater, nauseous and trembling, before the film was half over. Several people had heart attacks.” Even more insane, “One woman even had a miscarriage,” he added.
Klemesrud reflects at the strange irony of the frenzy noting that, at the time of release, The Exorcist received “mixed” reviews.
A full month after the film’s release, Klemesrud returned to the theater to experience the first showing on a Thursday morning. A screening that was still packed. She spoke to people in line and learned why many were there so late in the game, which ranged from being part of the hype to being fans of the book, or wanting to see furniture being thrown around a room.
More interestingly, was her experience “like I’d never had before in a movie theater.”
“The house was full of course, except for the first two rows. Before the movie began, there was a feeling of tenseness throughout the theater, a random scream here and there, nervous giggling. The young man to my left sat on the edge of his seat throughout the film, and kept shouting, ‘Oh, wow! Oh, wow!’ Now and then he would touch my elbow, as though for reassurance. Two girls on my right slouched deep in their seats, covering their faces with their fur chubbies when things ‘got scary’. During the exorcism, there was continuous screaming in the theater and it sounded like the old screaming‐for‐screaming’s‐sake that one used to hear at early Beatles and Rolling Stone concerts. I noticed several people leave in the middle of the film…”
The single most interesting bit from the article is Klemesrud’s shock at the film’s R rating.
“My own chief complaint was that the movie got an R rating, and, therefore, is open to little kids as long as they are with a parent or adult guardian. I think that if a movie ever deserved an X rating simply because it would keep the kids out of the theater, it is The Exorcist.”
It’s so much fun looking back at some of the biggest horror releases, especially ones that were a rare event. You can read the full article from way back in 1974 at The New York Times archive.
Here’s some actual footage from the release, also shared by reddit users.
The phrase “they don’t make them like they used to” is thrown around a lot in the context of nostalgia, but in the case of the first teaser for Magic, it’s quite accurate. Imagine sitting around the TV with your family and seeing this commercial pop up on screen back in the 1970s. The simple but terrifying ad didn’t give away much about the actual plot, but it did instill a lot of traumatic nightmares for any young viewers that happened to catch it. The TV spot was so effective that it’s arguably scarier than the actual film; it wasn’t the straightforward horror story the teaser indicated but much more a psychological thriller. Released 45 years ago on November 8, 1978, Magic is an underappreciated classic and one of horror’s most unnerving love stories.
Written by William Goldman (The Stepford Wives, The Princess Bride), and adapted from the novel he also wrote, Magic revolves around a ventriloquist seeking to renew a relationship with his former high school sweetheart. The only problem is that his dummy is the jealous type.
That ventriloquist, Corky, is played by Anthony Hopkins. Corky opens the film as an aspiring magician, but lacks the charisma of his mentor Merlin. Socially awkward, Corky chokes on stage and his subsequent outburst toward a less than enthusiastic audience has his ailing mentor warning him to develop a better stage presence and gimmick. Cut to a year later, where Corky has completely turned his show around thanks to the addition of ventriloquism in his act, with his dummy Fats. The act is so compelling that his agent Ben Greene (Burgess Meredith) has lined up a great TV deal for him. But the network requires a medical exam to close the deal, and Corky runs back home to the Catskills out of fear. Corky’s fears are amplified when he renews a relationship with married woman Peggy (Ann-Margret), and Fats isn’t thrilled about it.
Unlike the ambiguity in Goldman’s source novel, the film version of Magic doesn’t make any attempts to conceal the truth about Fats. Hopkins plays Corky always on the edge, always manic and nervous save for the fleeting moments of calm happiness with Peggy. Fats even looks just like Corky, and is voiced by Hopkins too. Fats is a manifestation of Corky’s id, and Corky is aware of his mental instability from the get-go.
There’s a sadness in Corky’s desire for normalcy despite knowing Fats won’t ever let him have it, but the true tragedy is the way Peggy is caught in the middle. Stuck in an unhappy marriage, it’s easy for her to be manipulated by Corky. Corky is always a means of escaping not just her marriage but her small town, making it easier to turn a blind eye to his erratic behavior. Ann-Margret has the tough job of playing the straight-man against Hopkins’ manic man losing his grip, and she pulls it off well. According to Goldman, he wrote Peggy with her in mind.
Though many names were tied to this film prior to production, from Roman Polanski to Steven Spielberg, the directorial duties ultimately fell to Richard Attenborough, the director behind Gandhi and A Bridge Too Far, but who fans will ultimately recognize as Professor John Hammond from Jurassic Park. Throw in the talents of cinematographer Victor J. Kemper (Audrey Rose, Xanadu, Pee-Wee’s Big Adventure) and a score by legendary composer Jerry Goldsmith (Alien, Gremlins, Poltergeist), and Magic became an impressive film inside and out.
Magic wasn’t the first time that a ventriloquist was terrorized by his own dummy, but its emphasis on the psychological, Hopkins’ intense performance, and Attenborough opting for straightforward tension without a hint of camp elevated the film into something that holds up well, even if nowhere close to being as scary as the initial TV spot suggests. Moreover, Magic served as direct inspiration for Don Mancini’s original screenplay for Child’s Play, fittingly released almost a decade apart to the day. The story of Corky and Fats may not be as well known, but the influence of Magic is still strong in horror even 45 years later.
Magic is now streaming on the Bloody Disgusting-powered SCREAMBOX.
Editor’s Note: This article was originally published on November 8, 2018.
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