By Mark Kermode
From Amazon: "This re-creation of Mark Kermode's textual content files the deletion and restoration of key scenes that experience now been re-integrated into the movie to create "The Exorcist: The model You've by no means Seen". There also are interviews with director William Friedkin and writer/producer William Peter Blatty." Mark Kermode is a movie critic and broadcaster. He writes for Sight and Sound and The autonomous. Out of print, the e-book sells used for up to 100 cash.
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Additional resources for The Exorcist (Revised 2nd Edition) (BFI Modern Classics)
Family Viewing was an international breakthrough ﬁlm for Egoyan. In addition to winning the best Canadian feature ﬁlm award at Festival of Festivals in Toronto, it was runner-up to renowned German director Wim Wenders’s Wings Of Desire at Montreal’s Festival of New Cinema and Video. Upon receiving his award, Wenders himself promptly conferred it upon Egoyan, thereby anointing him as an emerging member of a loosely afﬁliated international club of important art house directors. This generous gesture also opened investment doors for Egoyan in Europe – indeed, his next ﬁlm was made with some European ﬁnancing.
Noah appears to exist somewhere between intimacy and detachment, perhaps on a self-styled spiritual plane, as he has no hesitation to accept a kiss of gratitude on the hand from Tom (Gerard Parkes) after having slept with Tom’s wife, Lorraine (Patricia Collins). The most obvious, revealing, absurdist example of this duality occurs with Noah and Arianne in a hotel room, itself a space of both anonymity and intimacy, having sex while discussing details relating to her insurance claim. The source of Noah’s alienation is not explained or explored: is it a result of some previous trauma in his life (as is the case of characters in Next of Kin, Family Viewing, Speaking Parts, and especially in Exotica, The Sweet Hereafter, and, in terms of collective trauma, Ararat), or is it some erotic form of deformation professionelle?
When Noah and Arianne tour the wreckage of her home, they are placed at either edge of the frame, each framed by a separate, jagged hole in the wall of the destroyed structure. This consistency of this wide-screen aesthetic is also applied to closeups. Rather than visually articulating emotional intimacy, close-ups in The Adjuster reveal drift and disconnection. For example, the ﬁlm starts with an extreme close up of Noah’s hand being lit through the skin by a ﬂashlight he is shining into his palm.