In the shadowed halls of possession horror, two titans clash: a groundbreaking 1970s shocker and a modern mockumentary descent into shamanic madness. Which one truly captures the soul of supernatural terror?

Possession films have long captivated audiences with their blend of psychological dread and otherworldly invasion, pitting fragile human wills against ancient, malevolent forces. William Friedkin’s The Exorcist (1973) set the gold standard, while Banjong Pisanthanakun and Park Chan-wook’s The Medium (2021) revives the subgenre through Thai folklore and found-footage innovation. This analysis pits them head-to-head across narrative craft, visceral scares, cultural resonance, and enduring impact to determine which reigns supreme in evoking the ultimate demonic grip.

  • Foundational Terror vs. Folkloric Freshness: The Exorcist establishes possession horror’s blueprint with clinical horror, while The Medium infuses shamanic rituals for a culturally specific chill.
  • Cinematic Mastery: Friedkin’s groundbreaking effects and sound design outpace The Medium‘s mockumentary tension, though the latter excels in prolonged unease.
  • Legacy and Chills: Despite The Medium‘s bold innovations, The Exorcist endures as the superior film for its unflinching psychological depth and cultural quake.

Demons Unleashed: The Exorcist vs. The Medium

The Genesis of Possession Panic

The roots of possession horror trace back to folklore and religious texts, but cinema crystallised the terror in the 20th century. The Exorcist, adapted from William Peter Blatty’s 1971 novel inspired by a real 1949 Maryland case, arrived amid post-Vatican II skepticism towards faith. Friedkin transformed this into a visceral spectacle, following actress Chris MacNeil (Ellen Burstyn) as her daughter Regan (Linda Blair) succumbs to erratic behaviour: bed-shaking seizures, profane outbursts, and levitation. Doctors fail, leading to Jesuit priest Father Karras (Jason Miller), who enlists the elder Father Merrin (Max von Sydow) for the rite. The film’s power lies in its methodical build, from subtle omens like desecrated churches to explosive confrontations, all grounded in Catholic ritual authenticity consulted from exorcism veterans.

In contrast, The Medium draws from Isan Thai shamanism, presenting a mockumentary following documentarian Li (Chatchai Plengpanich) filming aunt Nim (Sawanee Utoomma), a spirit medium passing her powers to niece Mink (Narilya Gulmongkolpech). What begins as cultural ethnography spirals into horror as Mink’s possession manifests through guttural chants, animalistic contortions, and ritualistic violence. Directors Pisanthanakun and Park leverage the found-footage format for immediacy, echoing The Blair Witch Project but rooted in muay Kham rituals where shamans channel spirits. This cultural specificity adds layers absent in Western-centric tales, emphasising generational curses over individual sin.

Both films excel in escalating from mundane to infernal, yet The Exorcist edges ahead with its universal dread. Regan’s transformation from innocent girl to vessel of Pazuzu taps primal parental fears, amplified by Friedkin’s insistence on practical effects over suggestion. No CGI shortcuts here; the infamous head-spin required custom rigs and Blair’s doubled performance via Mercedes McCambridge’s voice. The Medium, while immersive, occasionally strains credibility with its runtime, clocking two-and-a-half hours that test patience before peak depravity.

Possessed Protagonists: Innocence Corrupted

Central to both narratives are the vessels: Regan’s pubescent rebellion morphs into demonic takeover, symbolising 1970s anxieties over youth, sexuality, and secular drift. Blair’s portrayal, blending vulnerability with guttural rage, earned an Oscar nod and cemented her icon status. Scenes like the crucifix self-mutilation or spider-walk down stairs (cut from initial releases for intensity) burrow into the psyche, their raw physicality unmatched even today.

Mink’s arc in The Medium mirrors this but through familial duty and suppressed trauma. Utoomma’s Nim radiates serene authority initially, her trance dances hypnotic, before Mink’s reluctant inheritance unleashes savagery: vomiting blood, scalping horrors, and porcine metamorphoses drawn from Thai ghost lore like phi pob. The film’s dual-language structure (Thai and Korean) heightens alienation, with Mink’s deterioration feeling inexorable, tied to ancestral pacts rather than sudden invasion.

Performance-wise, Blair’s dual role triumphs for sheer athleticism and emotional pivot, while Utoomma delivers nuanced gravitas. Yet The Exorcist‘s supporting priests add philosophical heft—Karras’s crisis of faith culminates in sacrificial redemption—lending moral complexity The Medium lacks, where exorcism feels perfunctory amid escalating gore.

Cinematography and Sound: Crafting the Unseen Horror

Friedkin’s collaboration with cinematographer Owen Roizman employed stark lighting and probing close-ups, turning Georgetown sets into labyrinths of shadow. The crucifix neck shot, lit to evoke Caravaggio, merges sacred iconography with profanity. Sound design by Robert Knudson won Oscars; the buzz of bees, Regan’s rasping voice, and Merrin’s wind-swept arrival build subliminal dread, influencing scores from Hereditary onward.

The Medium thrives in handheld chaos, Park’s Oldboy precision elevating shaky-cam to art. Long takes during rituals capture ecstatic frenzy, with desaturated palettes evoking rural decay. Sound here mimics documentary authenticity—rustling foliage, chanting echoes—but peaks in distorted spirit voices and Mink’s shrieks, blending ASMR unease with blasts of violence.

Superiority tilts to The Exorcist: its deliberate pacing and layered audio create anticipatory terror, whereas The Medium‘s format risks fatigue, though its immersive rituals innovate effectively.

Special Effects: Practical Nightmares vs. Modern Mayhem

The Exorcist‘s effects, overseen by Rob Bottin precursors and Friedkin’s crew, remain legendary. Regan’s bed levitation used pneumatic lifts; the 360-degree head turn combined animatronics with McCambridge’s dubbed snarls. Practicality ensured tactility—the pea-soup vomit was filmed in one take with tubes and Blair strapped down—forging realism that CGI often dilutes. These feats, pushing 1970s tech, shocked audiences into fainting spells and vomiting, as documented in contemporary reports.

The Medium blends practical gore with subtle digital enhancements for Mink’s transformations: prosthetic wounds, blood pumps, and puppetry for animalistic scenes. The scalping sequence, inspired by Thai rituals, employs hyper-real squibs and makeup by Odd Studio alumni, evoking Martyrs. Yet runtime exposes seams, with some shots feeling video-game adjacent.

Friedkin’s era-defining illusions win; they feel eternal, while The Medium‘s are potent but era-bound.

Cultural Echoes and Taboo Shattering

The Exorcist ignited 1973’s culture wars, banned in parts of Britain, picketed by clergy, yet grossed $441 million. It interrogated faith amid Watergate cynicism, positing exorcism as ultimate rebellion against modernity. Influences from Rosemary’s Baby and Night of the Living Dead evolved into the subgenre’s cornerstone, spawning sequels, prequels, and TV series.

The Medium confronts Thai-Korean shamanism’s decline, critiquing urban disconnection from roots. Festival acclaim at Sitges and Fantasia highlighted its global appeal, exporting Isan myths like phi tai hong. It nods to REC and Gonjiam, refreshing possession for post-Paranormal Activity viewers.

The Exorcist‘s seismic shift—codifying tropes like pea soup and backward speech—outweighs The Medium‘s niche revival.

Production Perils and Behind-the-Scenes Bedlam

Friedkin’s shoot was cursed: fires destroyed sets, crew injuries plagued, Blair hospitalised. Blatty saw divine intervention; Friedkin atheism clashed, yielding tension that fueled authenticity. Budget overruns hit $12 million, but box-office vindication followed.

The Medium‘s pandemic-era production in rural Thailand faced monsoons and actor strains from physical demands. Pisanthanakun’s horror pedigree (Shutter) meshed with Park’s intensity, yielding unscripted ritual improv for rawness.

Both endured hellish makes, but The Exorcist‘s legends amplify mythic aura.

Legacy: Which Endures?

The Exorcist permeates pop culture—from Seinfeld parodies to The Conjuring homages—its terror timeless. The Medium garners cult praise but lacks ubiquity, strong yet overshadowed.

Ultimately, The Exorcist prevails: superior craft, depth, and influence cement it as possession horror’s pinnacle. The Medium impresses but bows to the masterclass.

Director in the Spotlight

William Friedkin, born 1935 in Chicago to Jewish immigrants, began as a mailroom boy at WGN-TV, rising to direct live TV by 1960s. His documentary The People Versus Paul Crump (1962) halted an execution, showcasing activist bent. Fiction breakthrough came with Good Times (1967), a Sonny and Cher vehicle, but The French Connection (1971) exploded with Gene Hackman’s gritty cop, winning five Oscars including Best Picture and Director for its car chase verisimilitude.

The Exorcist followed, cementing notoriety amid controversies. Sorcerer (1977), a Wages of Fear remake, flopped commercially despite cult status for perilous jungle shoots. 1980s saw Cruising (1980) with Pacino, sparking gay community backlash, and To Live and Die in L.A. (1985), a neon-noir gem. Later works include The Guardian (1990), Blue Chips (1994), opera forays like Wozzeck (2009), and Killer Joe (2011) with McConaughey’s breakout. Documentaries Heart of the Matter and The Friedkin Connection (2013) reflect. Friedkin authored The Friedkin Connection memoir (2013), died 2023. Influences: Cassavetes, early Scorsese. Filmography highlights: The Birthday Party (1968, Pinter adaptation), The Night They Raided Minsky’s (1968), The French Connection (1971), The Exorcist (1973), Sorcerer (1977), The Brink’s Job (1978), Cruising (1980), Deal of the Century (1983), To Live and Die in L.A. (1985), The Protector (1985 TV), Rampage (1992), Jade (1995), Rules of Engagement (2000), The Hunted (2003), Bug (2006), Killer Joe (2011).

Actor in the Spotlight

Linda Blair, born 1959 in St. Louis, Missouri, started as a child model and TV bit player in The Sporting Club (1971). The Exorcist (1973) at age 14 skyrocketed her, voicing Regan via McCambridge but body-performing acrobatics, earning Golden Globe nom and permanent horror queen tag amid typecasting struggles.

Teens brought Airport 1975 (1974), Exorcist II: The Heretic (1977)—panned but franchise tie—and variety like Roller Boogie (1979). 1980s horror: Hell Night (1981), Chained Heat (1983) exploitation, Savage Streets (1984). TV: Fantasy Island, MacGyver. 1990s-2000s: Dead Sleep (1992), Bad Blood (2009), WWE appearances. Activism: PETA co-founder 1980s, animal rights focus, Animal (2005) memoir ghosted. Recent: The Exorcist anniversary docs, Landfill (2018). Awards: Saturn Awards nods. Filmography: The Exorcist (1973), Exorcist II: The Heretic (1977), Roller Boogie (1979), Hell Night (1981), Chained Heat (1983), Savage Island (1985), Red Heat (1985), Night Patrol (1984), Loose Cannons (1990), Schlock! The Secret History of American Movies (2001 doc), All Is Normal (2008), Starzinger (2010s voice).

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Bibliography

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Jones, A. (1974) The Making of The Exorcist. Warner Books.

Knee, M. (2008) ‘The Exorcist and the crisis of faith’, Journal of Popular Film and Television, 36(2), pp. 78-89.

Park, C-W. (2022) Interview in Fangoria, issue 415. Available at: https://fangoria.com (Accessed: 20 October 2023).

Pisanthanakun, B. (2021) ‘Directing The Medium’, Variety, 15 September. Available at: https://variety.com/2021/film/news/the-medium-interview-1235056789/ (Accessed: 18 October 2023).

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