Two years before director William Friedkin made a sensation with “The Exorcist”, he made an unforgettable neo-or thriller. The 1971 “The French Connection” has a gentle and immediate sensation, and although it is full of thrills, the representation of its main themes seems honest. Friedkin captures the bureaucratic nature of the fight against crime, which often goes hand in hand with the most despicable form of prejudices which extends to all strata of society. Each of these deeply rooted feelings is woven with a frantic intensity that pushes the limits, culminating in one of the most tense and exhilarating prosecution sequences ever turned. This natural talent for amazing craftsmanship has borne fruit in all the good manners of its next film “The Exorcist”, which is always considered the norm for manifest visceral horror in the kind of demonic possession.
Friedkin’s horror brand in “The Exorcist” is more complex than what is promised by the dominant reputation of the film. Yes, the 1973 film is supposed to scare and shock by engraving an uncomfortable and exaggerated portrait of demonic possession, but it is also much more. Friedkin presents to us interior fights from Regan (Linda Blair) from Regan before she even begins to levitate or turn her head all around.
REGAN is a shy and lonely kid who is looking for refuge in art to get the most out of his situation, with few friends to confide. While her eyes once begin to look cloudy and she begins to feel frightened and confused, the real sense of fear is revealed to us. The helpless redoubt that her mother Chris (Ellen Burstyn) feels as she sees her daughter suffering is the nightmare fabric, because no parent can ever be ready to protect their children as unimaginable. But Chris perseveres, doing everything she can, even when all hope is lost. Friedkin draws from this unconscious fear of being unable to help a loved one while in a spiral, transform and ultimately become unrecognizable.
Given the deep understanding of Friedkin of horror (and his many nuances), what films of the genre managed to scare him? Let’s take a look.
Friedkin has a penchant for horror films with a founded premise
In an interview ViceFriedkin talked about the reason why he returned to horror throughout his career, highlighting the capacity of the genre to adapt to “high intensity films on the characters who have their backs against a wall And no place to go. ” This led to a conversation on the films that did terrify it:
“The films that terrified me are” Alien “,” Psycho “, a Japanese film entitled” Onibaba “(1964) – one of the most terrifying films I have ever seen. And I loved this recent Film “The Babadook”.
While “Psycho” and Alien “are classic horror offers that evoke completely different types of terror,” Onibaba “uses a medieval framework to emphasize that each excess of humanity is capable, framed by a lens which is time scary and breathtaking. The most passionate horror, its strangely without bottom being a little too strong.
The absence of authenticity can ruin even the most intentioned horror films, such as “The Guardian”, which Friedkin directed in 1990. Although overflowing with potential, the film is a failure, devoid of the punch His title of famous horror of 1973. In addition, the story is completely based on the horror of the coded escaping of “Evil Dead” but does not have the ingenuity (and the tripe) to remove it. However, Friedkin returned to his love for horror based on realism in his psychological horror of 2006 “bug”, which is as disturbing, intense and claustrophobic as that of waiting for the one who made “exorcist” .
