Blatty’s classic ‘The Exorcist’ raised the bar for screen horror

THE EXORCIST (1973)

By TERRY R. CASSREINO

Rarely does a major motion picture succeed in frightening you while also challenging your core beliefs.

William Peter Blatty’s “The Exorcist” does just that. It’s an extremely effective and frightening film. It’s well directed by a film maker at the top of his game. And it’s a classic motion picture that has never been topped.

“The Exorcist” also is one of the most intently personal and religious stories ever put to film. This film firmly believes in the existence of good and evil, of God and Satan, and it dares you to do the same.

William Friedkin was fresh off directing the award-winning “The French Connection” when he took on Blatty’s best-selling novel. Blatty produced the film and wrote the script – which was based on the true story of the exorcism of a young boy.

As the “The Exorcist” opens, a little girl and her mom are living in a rental home in Georgetown when strange things begin to happen. Eventually, Chris MacNeil begins to believe her daughter, Reagan, is possessed by a demon. Beds levitate, bodies fling, heads spin 360 degrees. And you believe it all.

Top Five Week at Sneak Prevue continues. Today’s edition: The Top Five Horror Films.

‘Manhattan’ remains Woody Allen’s timeless masterpiece

By TERRY R. CASSREINO

MANHATTAN (1979)

One year after winning the Oscar for “Annie Hall” in 1977, Woody Allen helmed his first serious drama – an absorbing film no doubt inspired by one his favorite directors, Sweden’s Ingmar Bergman.

Diane Keaton heads an ensemble cast for “Interiors,” the story about three sisters whose lives spiral downward when their parents divorce. The drama was a milestone in Allen’s career.

And, I believe, “Interiors” made Allen a better filmmaker, someone who is unafraid to tackle honest, emotional issues. It also prepared him well for his next film, “Manhattan,” a comedy-drama that opened in theaters the following year.

Allen has created many great films in his career, from the laugh-fests of the 1970s like “Sleepers” and “Love and Death” to the rich, character-driven comedies of the 1980s like “Broadway Danny Rose” and “Radio Days.”

But of all his works, “Manhattan” is the one I enjoy the most. “Manhattan” ranks up there with “Annie Hall,” “Hannah and Her Sisters” and “Everyone Says I love You” as the best of Allen’s lengthy screen career.