knightni

QUOTE (SouthsideDon48 @ Nov 1, 2010 -> 09:56 PM) And for a non-food/drink idea, how about a Favorite Porn Stars list? I know my top 25 favorite porn stars probably wouldn't make the overall top 25 list. Ms. Panther Jada Fire Kim Eternity Midori Tabitha Domonique Simone Jordan McKnight Ebony Ayes Janet Jacme Jeannie Pepper

I said "no", but there aren't many good options out there. Astros Braves Cubs Rays Giants Indians Rangers Tigers White Sox

Can you be the mayor of Chicago and not be corrupt?

Why did Paulie not get consideration at 1B for at least 1 or 2 votes?

QUOTE (Leonard Zelig @ Nov 1, 2010 -> 06:04 PM) 1. Turkey 2. Tofurkey 1. Silently Slashed & Formed tofurkey 2. Smothered and gagged stuffing 2. Lightly killed cranberry sauce 3. Quietly strangled green beans 4. Quickly mashed potatoes 5. Plucked and murderously shucked corn 6. Drawn and quartered yams 7. Pummeled pumpkin dessert

I'm not a fan of the beer list because for the most part, I don't drink - so somebody else would have to write bios and reviews of them.

QUOTE (whitesoxfan99 @ Nov 1, 2010 -> 03:51 PM) Can you give a list of the lists we have done so far? Horror Movies Comedy Movies December Holiday Shows/Movies TV Comedies Chicago Pro Sports Athletes White Sox player Rock Acts

QUOTE (Athomeboy_2000 @ Nov 1, 2010 -> 03:51 PM) Other than Netflix, does anyone know where i can rent the original Tron? I've never seen it, but I feel like I should. I've checked Amazon and iTunes and neither has it available for online rental. There is ONE blockbuster near here that even carries it, but they are rented out. G4 plays it sometimes. The DVD and VHS copies of it are hard to find for under $15.00.

Lemme have em!

QUOTE (southsider2k5 @ Oct 31, 2010 -> 09:09 PM) If there was ever a fitting injury for a player to get... ... it's a football hitting him in the groin.

670theScore.com posted an article speculating on this.

Some pretty piss-poor football was played today.

The rest: The Bride of Frankenstein 41 Session 9 39 Aliens 38 It 38 Ringu 37 Day of the Dead 36 The Haunting 36 Predator 35 The Omen 35 Halloween 2 34 Pet Semetary 33 28 Weeks Later 32 Last House on the Left 31 Pan's Labyrinth 31 Dawn of the Dead Remake 30 Drag Me to Hell 30 Invasion Body Snatchers 30 Blair Witch 29 House of 1000 Corpses 27 Halloween 3 26 Saw 4 25 Vertigo 25 Videodrome 25 Donnie Darko 24 La Orfenato 24 Saw 3 24 The Mist 24 The Tenant 24 Jurassic Park 23 Mulholland Drive 23 Nightmare on Elm Street III 23 Strangers on a Train 23 The Stuff 23 Death Spa 22 Saw 2 22 Shadow of the Vampire 22 Zombie 22 Edward Scissorhands 21 From Dusk Til Dawn 21 Hellraiser II 21 Shutter 21 Arachniphobia 20 Signs 20 The Gift 20 The Strangers 20 Black Sabbath 19 The Others 19 30 Days of Night 18 Final Destination 18 Fright Night 18 Grindhouse 18 Terminator 18 The Fog 18 Close Encounters 17 King Kong 17 Phantasm 17 The Brood 17 Don't Look Now 16 In the Mouth of Madness 16 Killer Klowns from Outer Space 16 Prince of Darkness 16 Quarantine 16 rec 16 Audition 15 Event Horizon 15 Leprechaun 15 Dead Alive 14 Freddy vs Jason 14 Ju-On The Grudge 14 Les Diaboliques 14 Nosferatu Remake 14 Cannibal Holocaust 13 Demons 13 Feast 13 May 13 Seven 13 The Hitcher 13 The Lost Boys 13 Cujo 12 Fallen 12 House of Wax 11 Dellamorte Dellamore 10 Kingdom of the Spiders 10 Dracula Remake 9 Salem's Lot 9 Saw 5 9 Whatever Happened to Baby Jane? 9 Young Frankenstein 9 Saw 6 8 I Spit on your Grave 7 Jeepers Creepers 7 Mark of the Vampire 7 Resident Evil: Extinction 7 Texas Chainsaw Massacre 2 7 The Hills Have Eyes 7 The Ninth Gate 7 Friday the 13th III 6 Frontiers 6 Halloween 6 6 Identity 6 Pumpkinhead 6 The Horror of Dracula 6 Hellraiser 5 Pitch Black 5 Repulsion 5 Teeth 5 When a Stranger Calls 5 Wolfen 5 Blade 4 Cabin Fever 4 Child's Play 4 Henry: Portrait of a Serial Killer 4 The Beyond 4 The Mummy 4 Black Christmas 3 Blade 2 3 Dark Water 3 Dead and Breakfest 3 Freaks 3 The Cabinet of Dr. Caligari 3 Blade Trinity 2 Eyes Without a Face 2 Godzilla 2 Gremlins 2 Hatchet 2 The Uninvited 2 Ernest Scared Stupid! 1 Farm 1 Misery 1 https://spreadsheets.google.com/ccc?key=0Aq...JRTnc&hl=en

http://www.youtube.com/watch?v=YPvhUT-_CLc

Welll.... That's it!

1. The Shining (1980) (13 of 20 lists - 260 points - highest rank #1 knightni, BigSqwert) The Shining is a 1980 psychological horror film directed by Stanley Kubrick, co-written with novelist Diane Johnson, and starring Jack Nicholson, Shelley Duvall, and Danny Lloyd. The film is based on the novel of the same name, by Stephen King, about a writer with a wife and young son who accepts the job of off-season caretaker at an isolated hotel. The son, who possesses psychic abilities, is able to see things in the future or past, such as the ghosts in the hotel. Soon after moving in, and after a paralyzing winter storm that leaves the family snowbound, the father becomes influenced by the supernatural presence in the haunted hotel; he descends into madness and attempts to kill his wife and son. Unlike most films by Stanley Kubrick, which saw a slow gradual release building on word-of-mouth, The Shining was released in a manner more like a mass-market film, opening at first in just two cities on Memorial Day, and then a month later seeing a nationwide release (including drive-ins) after extensive television advertising. Although initial response to the film was mixed, later critical assessment has been more favorable and it is now viewed as a classic of the horror genre. Martin Scorsese, writing in The Daily Beast, ranked it as one of the best horror films. Film critics, film students, and Kubrick's producer, Jan Harlan, have all remarked on the enormous influence the film has had on popular culture which ranges from other macabre thrillers to the cartoon series The Simpsons. Plot Jack Torrance (Jack Nicholson) arrives at the Overlook Hotel to interview for the open position of winter caretaker, with the aim of using the hotel's solitude to work on his writing. The hotel itself is built on the site of an Indian burial ground and becomes completely snowbound during the long winters. Manager Stuart Ullman (Barry Nelson) warns him that a previous caretaker got cabin fever and killed his family and himself. Jack’s son, Danny (Danny Lloyd), has ESP and has had a terrifying premonition about the hotel. Jack's wife, Wendy (Shelley Duvall), tells a visiting doctor that Danny has an imaginary friend called Tony and that Jack had given up drinking because he had physically abused Danny after a binge. The family arrives at the hotel on closing day and is given a tour. The elderly African-American chef Dick Hallorann (Scatman Crothers) surprises Danny by speaking to him telepathically and offering him some ice cream. He explains to Danny that he and his grandmother shared the gift, which he calls "shining." Danny asks if there is anything to be afraid of in the hotel, particularly Room 237. Hallorann tells Danny that the hotel itself has a "shine" to it along with many memories, not all of which are good. He tells Danny to stay out of room 237. A month passes and Jack's writing project is going nowhere. Meanwhile, Danny and Wendy have fun and go in the hotel's hedge maze; Jack discovers a model of this maze, showing Wendy and Danny inside it, in one of the hotel lounges. Wendy is concerned about the phone lines being out due to the heavy snowfall and Danny has more frightening visions. As time passes, Jack becomes frustrated and slowly starts acting strangely, prone to violent outbursts. Danny’s curiosity about Room 237 finally gets the better of him when he sees the room has been opened. Later, Danny shows up injured and visibly traumatized, causing Wendy to think that Jack has been abusing Danny. Jack wanders into the hotel’s Gold Room where he meets a ghostly bartender named Lloyd (Joe Turkel) who serves him bourbon on the rocks. Jack complains to the bartender about his relationship with Wendy. Afterward, Wendy shows up and informs him that Danny told her a "crazy woman in one of the rooms" was responsible for his injuries. Jack investigates Room 237 and has an encounter with the ghost of a dead woman there, but tells Wendy he saw nothing. Wendy and Jack argue about whether Danny should be removed from the hotel and Jack returns to the Gold Room, now filled with ghosts having a costume party. Here, he meets who he believes is the ghost of the previous caretaker, Grady (Philip Stone), who tells Jack that he must "correct" his wife and child. Later, Jack sabotages the hotel's two-way radio and the snowcat, cutting off both communication with and access to the outside world. Meanwhile, in Florida, Dick Hallorann gets a premonition that something is wrong at the hotel and takes a flight back to Colorado to investigate. Danny starts calling out "redrum" frantically and goes into a trance, now referring to himself as "Tony." Wendy discovers Jack's typewriter and that he has been typing endless pages of manuscript repeating "All work and no play makes Jack a dull boy" formatted in various styles. Horrified, she confronts Jack, but he threatens her before she knocks him unconscious with a baseball bat and locks him in a kitchen pantry. Jack converses through the door with Grady, who then unlocks the door, releasing him. Danny has written "REDRUM" in lipstick on the door of Wendy’s bedroom, which is "MURDER" spelled backwards as seen from a mirror. Jack, armed with a fire axe, then begins to chop through the door leading to his family's living quarters. Wendy frantically sends Danny out through the bathroom window, but cannot fit through it herself. Jack then starts chopping down the bathroom door with the axe and leers through the hole he has made, shouting "Here's Johnny!", but backs off after Wendy slashes his hand with a butcher knife. Hearing the engine of a snowcat Hallorann has borrowed to get up the mountain, Jack leaves the room and begins to wander about the hotel, ambushing and killing Hallorann with the axe in the lobby. Wendy escapes the bathroom and flees through the hotel, but encounters several ghosts along the way. Meanwhile, Jack pursues Danny into the hedge maze by following his footprints, but is misled when Danny manages to walk backwards in his own tracks and leaps behind a corner, covering his tracks with snow. Wendy and Danny escape in Hallorann's snowcat while Jack slowly freezes to death in the hedge maze. In the final scene, the camera slowly zooms in on an old photograph taken at the hotel on July 4, 1921 as Midnight, the Stars, and You is played through the hallways. A smiling Jack Torrance is at the front of the crowd of revelers. Cast * Jack Nicholson as Jack Torrance * Shelley Duvall as Wendy Torrance * Danny Lloyd as Danny Torrance * Scatman Crothers as Dick Hallorann * Barry Nelson as Stuart Ullman * Philip Stone as Delbert Grady * Joe Turkel as Lloyd the bartender * Anne Jackson as Doctor * Tony Burton as Larry Durkin * Barry Dennen as Bill Watson Production In 1975, Kubrick completed filming Barry Lyndon, a highly visual period film about a poor Irish impostor. Despite its technical prowess, the film was not a box office success in the United States and was derided by critics for being too long and too slow. Kubrick was disappointed with Barry Lyndon's lack of success and realized that he needed to make a film that would please him artistically, yet at the same time be commercially viable. The entire film was shot on soundstages at EMI Elstree Studios in Borehamwood, England. The set for the Overlook Hotel was then the largest ever built. It included a full re-creation of the exterior of the hotel, as well as the interiors. A few exterior shots by a second unit crew were done at Timberline Lodge on Mount Hood in Oregon. They are noticeable because the hedge maze is missing. Some of the interiors are based on those of the Ahwahnee Hotel in Yosemite National Park. The Timberline Lodge requested Kubrick change the sinister Room 217 of King's novel to 237, so customers would not avoid the real room 217. The massive set would be Kubrick's first use of the Steadicam. The door that Jack breaks down with the axe near the end of the film was a real door. Kubrick originally used a fake door, made of a weaker wood, but Jack Nicholson, who had worked as a volunteer fire marshal, tore it down too quickly. Jack's line, "Heeeere's Johnny!", is taken from the famous introduction for The Tonight Show host Johnny Carson, as spoken by Ed McMahon. The line was improvised by Nicholson. Kubrick, who had lived in England for some time, was unaware of the significance of the line, and nearly used a different take. Carson later used the Nicholson clip to open his 1980 Anniversary Show on NBC. The opening panorama shots (outtakes of which were used by Ridley Scott for the closing moments of the original cut of the film Blade Runner) and scenes of the Volkswagen Beetle on the road to the hotel were filmed from a helicopter in Glacier National Park in Montana on the Going-to-the-Sun Road. Stanley Kubrick allowed his then 17-year-old daughter, Vivian, to make a documentary about the production of The Shining. Created originally for the BBC television show Arena, this documentary offers rare insight into the shooting process of a Kubrick film. The documentary, together with full-length commentary by Vivian Kubrick, is included on the DVD, HD-DVD and Blu-Ray disc releases of The Shining. Kubrick's first choice for the role of Jack Torrance was always Jack Nicholson, but he also considered Robert De Niro (who claims the film gave him nightmares for a month), Robin Williams and Harrison Ford, all of whom met with Stephen King's disapproval. For international versions of the film, Kubrick shot different takes of Wendy reading the typewriter pages in different languages. For each language, a suitable idiom was used: German (Was du heute kannst besorgen, das verschiebe nicht auf morgen—"Never put off till tomorrow what may be done today"), Italian (Il mattino ha l’oro in bocca – "The morning has gold in its mouth"), French (Un «Tiens» vaut mieux que deux «Tu l'auras» – "What you have is worth much more than what you'll have", the equivalent of "A bird in the hand is worth two in the bush"), Spanish (No por mucho madrugar amanece más temprano – "No matter how early you get up, you can't make the sun rise any sooner"). These alternate shots were not included with the DVD release, where only the English phrase "All work and no play makes Jack a dull boy" was used. Overall, The Shining was a long and arduous production. Principal photography alone took over a year to complete, due to Kubrick's highly methodical nature. Actress Shelley Duvall did not get along well with Kubrick and they frequently had arguments on set about lines in the script, her acting techniques and numerous other things. Duvall eventually became so overwhelmed by the stress of her role that she became physically ill for months. At one point she was under so much stress that her hair began to fall out. Also, the shooting script was being changed constantly, sometimes several times a day. Jack Nicholson eventually became so fed up with the ever-changing script that he would throw away the copies that the production team would give to him to memorize, knowing that it was just going to change anyway. He learned most of his lines just minutes before he was supposed to film them. The shooting schedule was often very long and according to Nicholson's then-girlfriend Anjelica Huston, he would come home after a day's work, immediately collapse into bed and be fast asleep within minutes. Music and soundtrack The film features a brief electronic score by Wendy Carlos and Rachel Elkind, including one major theme in addition to a main title based on Hector Berlioz' interpretation of the "Dies Irae", used in his "Symphonie Fantastique", as well as pieces of modernist music. The soundtrack LP was taken off the market due to licensing issues and has never appeared as a legitimate compact disc release. For the film itself, pieces were overdubbed on top of one another. Carlos and Elkind had composed a great deal of music for the film, with the expectation that it would be used. However, Kubrick decided to go with classical music from other sources, as he has done on previous occasions. Some of Carlos' unused music appears on her album Rediscovering Lost Scores, Vol. 2. The stylistically modernist art-music chosen by Kubrick is similar to the repertoire he first explored in 2001: A Space Odyssey. Although the repertoire was selected by Kubrick, the process of matching passages of music to motion picture was left almost entirely at the discretion of music editor Gordon Stainforth, whose work on this film is notable for the attention to fine details and remarkably precise synchronization without excessive splicing. The non-original music on the soundtrack is as follows: 1. Lontano by György Ligeti, Ernest Bour conducting Sinfonie Orchester des Südwestfunks (Wergo Records) 2. Music for Strings, Percussion and Celesta by Béla Bartók, Herbert von Karajan conducting the Berlin Philharmonic Orchestra (Deutsche Grammophon) 3. Utrenja — excerpts from the Ewangelia and Kanon Paschy movements by Krzysztof Penderecki Andrzej Markowski conducting Symphony Orchestra of the National Philharmonic, Warsaw (Polskie Nagrania Records) 4. The Awakening of Jacob (Als Jakob Erwacht) and De Natura Sonoris No. 1 and 2, by Krzysztof Penderecki, the Polish Radio National Symphony Orchestra conducted by the composer (EMI) 5. Home by Henry Hall and the Gleneagles Hotel Band (Columbia Records) 6. It's All Forgotten Now performed by Ray Noble and His Orchestra, with Al Bowlly (not on the soundtrack album) 7. Masquerade by Jack Hylton and His Orchestra (not on the soundtrack album) 8. Kanon (for string orchestra) by Krzysztof Penderecki (not on the soundtrack album) 9. Polymorphia (for string orchestra) by Krzysztof Penderecki, performed by Polish Radio National Symphony Orchestra, conducted by Krzysztof Penderecki (not on the soundtrack album) 10. Midnight, the Stars and You by Jimmy Campbell, Reginald Connelly and Harry Woods, performed by Ray Noble and His Orchestra, with Al Bowlly (not on the soundtrack album) Post-release edits After its premiere and a week into the general run (with a running time of 146 minutes), Kubrick cut a scene at the end that took place in a hospital. The scene had Wendy in a bed talking with Mr. Ullman who explains that her husband's body could not be found and then gives Danny a yellow tennis ball, presumably the same one that lured Danny into room 237. This scene was subsequently physically cut out of prints by projectionists and sent back to the studio by order of Warner Bros., the film's distributor. This cut the film's running time to 142 minutes. As noted by Roger Ebert: If Jack did indeed freeze to death in the labyrinth, of course his body was found—and sooner rather than later, since Dick Hallorann alerted the forest rangers to serious trouble at the hotel. If Jack's body was not found, what happened to it? Was it never there? Was it absorbed into the past and does that explain Jack's presence in that final photograph of a group of hotel party-goers in 1921? Did Jack's violent pursuit of his wife and child exist entirely in Wendy's imagination, or Danny's, or theirs?... Kubrick was wise to remove that epilogue. It pulled one rug too many out from under the story. At some level, it is necessary for us to believe the three members of the Torrance family are actually residents in the hotel during that winter, whatever happens or whatever they think happens. For its release in Europe, Kubrick personally cut 24 minutes from the film. The excised scenes made reference to the outside world. It has been claimed this was due to the initially disappointing box office and lukewarm reviews of the film in America. Reception Initial reception The film had a slow start at the box office, but gained momentum, eventually doing well commercially and making Warner Bros. a profit. It also opened at first to mixed reviews. For example, Variety was critical saying "With everything to work with, [...] Kubrick has teamed with jumpy Jack Nicholson to destroy all that was so terrifying about Stephen King's bestseller." It was the only one of Kubrick's last nine films to get no nominations at all from either the Oscars or Golden Globes, and was even nominated for Worst Director and Worst Actress at the Golden Raspberry Awards, in the very first year that award was given. (At that time, the Raspberries were voted on by a tiny handful of friends of Raspberry founder John Wilson. This was long before the voting body expanded to a large international committee that included reputable film critics and industry professionals.) Later reception As with most Kubrick films, subsequent critical reaction has treated the film more favorably. A common initial criticism was the slow pacing which was highly atypical of horror films of the time, but subsequently viewers decided this actually contributed to the film's hypnotic quality. Film website Rotten Tomatoes, which compiles reviews from a wide range of critics, gives the film a score of 87% "Certified Fresh". Roger Ebert's initial review of the film was unfavorable, but he later re-evaluated it and in 2006, The Shining made it into Ebert's series of "Great Movie" reviews, saying "Stanley Kubrick's cold and frightening "The Shining" challenges us to decide: Who is the reliable observer? Whose idea of events can we trust?" [...] "It is this elusive open-endedness that makes Kubrick's film so strangely disturbing." Analysis of shift in perception Jonathan Romney writing about the film in 1999 discussed the originally lukewarm perception of the film and its gradual acceptance as a masterpiece: "The final scene alone demonstrates what a rich source of perplexity The Shining offers. At first sight this is an extremely simple, even static film. [..] Kubrick had put so much effort into his film, building vast sets at Elstree, mak­ing a 17-week shoot stretch to 46, and what was the result? A silly scare story – something that, it was remarked at the time, Roger Corman could have turned around in a fortnight. But look beyond the simplicity and the Overlook reveals itself as a palace of paradox...." Romney says "The dominating presence of the Overlook Hotel – designed by Roy Walker as a composite of American hotels visited in the course of research – is an extraor­dinary vindication of the value of mise en scène. It's a real, complex space that we don't just see but come to virtually inhabit. The confinement is palpable: hor­ror cinema is an art of claustrophobia, making us loath to stay in the cinema but unable to leave. Yet it's combined with a sort of agoraphobia – we are as frightened of the hotel's cavernous vastness as of its corridors' enclosure. [...] The film sets up a complex dynamic between simple domesticity and magnificent grandeur, between the supernatural and the mundane in which the viewer is disoriented by the combination of spaciousness and confinement, and an uncertainty as to just what is real or not." Response by Stephen King Stephen King has been quoted as saying that although Kubrick made a film with memorable imagery, it was not a good adaptation of his novel and is the only adaptation of his novels that he could "remember hating". It has been noted that prior to this King often said he didn't care about the film adaptations of his novel. King thought that his novel's important themes, such as the disintegration of the family and the dangers of alcoholism, were ignored. King has admitted he was suffering from alcoholism at the time he wrote the novel, and as such there was an element of autobiography in the story. King especially viewed the casting of Nicholson as a mistake and as being too early a tip-off to the audience that the character Jack would eventually go mad (due to Nicholson's identification with the character of McMurphy in One Flew Over the Cuckoo's Nest). King had suggested that a more “everyman”-like actor such as Jon Voight or Michael Moriarty play the role, so that Jack's subsequent descent into madness be more unnerving. At other times, King suggested that he disliked the downplaying of the supernatural element of the film, which he felt took the bite out of the story. King's oft-cited remark about Kubrick being a man who “thinks too much and feels too little” has frequently been quoted as disparaging Kubrick's overly clinical and detached approach to directing actors, but in context it is really a reference to Kubrick's ambivalent skepticism about the reality of the supernatural which emerged in pre-production conversations between King and Kubrick. The full context of King's well-known quote is Parts of the film are chilling, charged with a relentlessly claustrophobic terror, but others fall flat. Not that religion has to be involved in horror, but a visceral skeptic such as Kubrick just couldn't grasp the sheer inhuman evil of The Overlook Hotel. So he looked, instead, for evil in the characters and made the film into a domestic tragedy with only vaguely supernatural overtones. That was the basic flaw: because he couldn't believe, he couldn't make the film believable to others. What's basically wrong with Kubrick's version of The Shining is that it's a film by a man who thinks too much and feels too little; and that's why, for all its virtuoso effects, it never gets you by the throat and hangs on the way real horror should. Mark Browning, a critic of King's work, observed that King's novels frequently contain narrative closure that completes the story, which Kubrick's film lacks. Browning has in fact argued that King has exactly the opposite problem of which he accused Kubrick. King, he believes, "feels too much and thinks too little." Finally, King was disappointed by Kubrick's decision to not film at the actual Stanley Hotel in Estes Park, Colorado, which inspired the story, a decision Kubrick made because the hotel did not have sufficient snow and electric power. However, King's animosity toward Kubrick's adaptation has dulled over time. During an interview segment on the Bravo channel, King admitted that the first time he watched Kubrick's adaptation, he found it to be "dreadfully unsettling." King finally supervised a television adaptation of his original novel in 1997, filmed at the actual Stanley Hotel in Colorado. Establishment as classic Summing up the perceptions of many afficionados, horror film critic Peter Bracke reviewing the Blu-Ray release in Hi-Def Digest has written: ..just as the ghostly apparitions of the film's fictional Overlook Hotel would play tricks on the mind of poor Jack Torrance, so too has the passage of time changed the perception of 'The Shining' itself. Many of the same reviewers who lambasted the film for "not being scary" enough back in 1980 now rank it among the most effective horror films ever made, while audiences who hated the film back then now vividly recall being "terrified" by the experience. 'The Shining' has somehow risen from the ashes of its own bad press to redefine itself not only as a seminal work of the genre, but perhaps the most stately, artful horror ever made. Indeed, The Shining has become widely regarded as one of the greatest films of the horror genre and a staple of pop culture and like many Kubrick films has been described as "seminal". In 2001, the film was ranked 29th on AFI's 100 Years... 100 Thrills list and Jack Torrance was named the 25th greatest villain on the AFI's 100 Years... 100 Heroes and Villains list in 2003. In 2005, the quote "Here's Johnny!" was ranked 68 on AFI's 100 Years... 100 Movie Quotes list. It was named the all-time scariest film by Channel 4, Total Film labeled it the 5th greatest horror film, and Bravo TV named one of the film's scenes 6th on their list of the 100 Scariest Movie Moments. In addition, film critics Kim Newman and Jonathan Romney both placed it in their top ten lists for the 2002 Sight and Sound poll. Director Martin Scorsese placed The Shining on his list of the 11 scariest horror films of all time. Social interpretations of the film The film's famous sequence where Jack sticks his face through the broken door. This echos scenes in both D.W. Griffith's Broken Blossoms and the Swedish horror film The Phantom Carriage. Film critic Jonathan Romney, in his review above, writes that the film has been over time interpreted in so many different ways, as being about the crisis in masculinity, sexism, corporate America, and racism: "It's tempting to read The Shining as an Oedipal struggle not just between generations but between Jack's culture of the written word and Danny's culture of images...." Romney writes, "Jack also uses the written word to more mundane purpose – to sign his "contract" with the Overlook. "I gave my word," [..] which we take to mean 'gave his soul' in the [..] Faustian sense. But maybe he means it more literally – by the end [..] he has renounced language entirely, pursuing Danny through the maze with an inarticulate animal roar. What he has entered into is a conventional business deal that places commercial obligation [..] over the unspoken contract of com­passion and empathy that he seems to have neglected to sign with his family. Native Americans Among interpreters who see the film reflecting more subtly the social concerns that animate other Kubrick films, one of the earliest and most well-known was an essay by ABC reporter Bill Blakemore entitled "The Family of Man" first published in the San Francisco Chronicle in July 1987. He believes that indirect references to the American slaughter of Native Americans pervade the film as exemplified by the Indian logos on the baking powder in the kitchen and Indian artwork that appears throughout the hotel, though no Native Americans are ever seen. Stuart Ullman tells Wendy that when building the hotel a few Indian attacks had to be fended off, a line which does not appear in King's novel. Ullman also brags about "all the best people" that come to the hotel, while appearing casual about the murders that happened there. Blakemore's general argument is that the film as a whole is a metaphor for the genocide of Native Americans. He notes that when Jack kills Hallorann, the dead body is seen lying on a rug with an Indian motif. The blood in the elevator shafts is, for Blakemore, the blood of the Indians in the burial ground on which the hotel was built. As such, the fact that the date of the final photograph is July 4th is meant to be deeply ironic. Blakemore writes, As with some of his other movies, Kubrick ends The Shining with a powerful visual puzzle that forces the audience to leave the theater asking, "What was that all about?" The Shining ends with an extremely long camera shot moving down a hallway in the Overlook, reaching eventually the central photo among 21 photos on the wall. The caption reads: "Overlook Hotel-July 4th Ball-1921." The answer to this puzzle, is that most Americans overlook the fact that July Fourth was no ball, nor any kind of Independence day, for native Americans; that the weak American villain of the film is the re-embodiment of the American men who massacred the Indians in earlier years; that Kubrick is examining and reflecting on a problem that cuts through the decades and centuries. Blakemore also sees this film as being in continuity with other Kubrick films insofar as evil forces get weak males to do their bidding. Film writer John Capo similarly sees the film as an allegory of American imperialism as exemplified by many clues such as the closing photo of Jack in the past at a 4th of July party, or Jack's earlier citation of the Rudyard Kipling poem "The White Man's Burden", a poem which has been interpreted as rationalizing the European colonization of non-white people, while the phrase has also been interpreted as referring to alcoholism, from which Jack suffers. Geoffrey Cocks and Kubrick's concern with the Holocaust Geoffrey Cocks has extended Blakemore's idea that the film has a subtext about Native Americans to arguing that the film indirectly reflects Stanley Kubrick's concerns about the Holocaust. (Kubrick wanted his entire life to make a film dealing directly with that subject, but could never quite get the handle on it that satisfied him.) Cocks is best-known as a cultural historian focused the cultural impact of the Holocaust on subsequent Western culture. Cocks, writing in his book The Wolf at the Door: Stanley Kubrick, History and the Holocaust, has proposed a widely discussed though controversial theory that all of Kubrick's work is haunted by the Holocaust and in particular a strong though hidden holocaust subtext is in The Shining. This, Cocks believes, is why Kubrick's screenplay goes to emotional extremes, omitting much of the novel's supernaturalism and making the character of Wendy much more hysteria-prone. Cocks places Kubrick's vision of a haunted hotel in line with a long literary tradition of hotels in which sinister events occur, from Stephen Crane's short story The Blue Hotel (which Kubrick admired) to the German Berghof hotel in Thomas Mann's novel The Magic Mountain, about a snowbound sanatorium high in the mountains in which the protagonist witnesses a series of events which are a microcosm of the decline of Western culture. In keeping with this tradition, Kubrick's film focuses on domesticity and the Torrances' attempt to use this imposing building as a home which Jack Torrance describes as "homey". The hotel is described by the manager as a place that was inhabited by the wealthy jet set..."all the best people". Nonetheless, it is also a place of evil as Danny intuits with his shining ability when he asks Hallorann the cook "Is there something bad here?" Cocks claims that Kubrick has elaborately coded many of his historical concerns into the film with manipulations of numbers and colors and his choice of musical numbers, many of which are post-war compositions influenced by the horrors of World War II. Of particular note is Kubrick's use of Penderecki's The Dream of Jacob[40] to accompany Jack Torrance's dream of killing his family and Danny's vision of past carnage in the hotel, a piece of music originally associated with the horrors of the Holocaust. As such, Kubrick's pessimistic ending in contrast to Stephen King's optimistic one is in keeping with the motifs that Kubrick wove into the story. Cocks' work has been anthologized and discussed in other works on Stanley Kubrick films, but sometimes with skepticism. In particular, Julian Rice writing in the opening chapter of his book Kubrick's Hope believes Cocks' views are excessively speculative and contains too many strained "critical leaps" of faith. Rice holds that we cannot really replicate or corroborate what went on in Kubrick's mind beyond a broad vision of the nature of good and evil (which included concern about the Holocaust), but Kubrick's art is not governed by this one single obsession. Diane Johnson, co-screenwriter for The Shining, commented on Cocks' observations and holds that preoccupation with the Jewish Holocaust on Kubrick's part could very likely have motivated his decision to place the hotel on a Native American burial ground, although Kubrick never directly mentioned it to her. Literary allusions Fairy tales Film historian Geoffrey Cocks notes that the film contains many allusions to fairy tales, both Hansel and Gretel and the story of the big bad wolf, with Jack Torrance identified as the wolf which Bruno Bettelheim identifies as standing for "all the asocial unconscious devouring powers" that must be overcome by a child's ego. Rob Ager also explained his theory about Hansel and Gretel and room 237 in the film. He wrote, "The events that we see inside room 237 may also be a further reference to child hood imagination. The Hansel and Gretel fairy tale was already hinted at by Wendy’s comments in the kitchen about leaving “a trail of breadcrumbs”, and in room 237 we are presented with a mysterious female character who entices Jack with a sensual invitation, but then she turns into what may be a symbolic manifestation of the wicked woman from Hansel and Gretel, who herself lured the children in with candy before transforming into a witch. This could also explain the over the top colors and patterns of room 237 as being symbolic of the gingerbread house from the same fairy tale." Origin of Proverb The saying "All Work and No Play makes Jack a dull boy" appeared first in James Howell's Proverbs in English, Italian, French and Spanish (1659). Ambiguities in the film The frequent use of long steadicam shots roaming throughout both the Overlook hotel and its garden maze has a disorienting effect on the viewer. Film analyst Rob Ager theorizes that spatial anomalies in set design were employed by Kubrick to this effect. Specific examples of such anomalies include the window in Mr. Ullman's office – an impossibility as there is a hallway that wraps around the rear of the wall, the inclusion of windows in the Torrance apartment bedrooms – later revealed to be an impossibility as the apartment is not on a corner of the building as the window implies, and the large size of room 237 – the close proximity of apartment doors in the surrounding hallways implies the apartment would have to be much smaller. Ghosts or cabin fever? In some sequences, there is a question of whether or not there are ghosts present. In the scenes where Jack sees a ghost he is always facing a mirror, or in the case of his storeroom conversation with Grady a highly polished and reflective door. Film reviewer James Berardinelli notes "It has been pointed out that there's a mirror in every scene in which Jack sees a ghost, causing us to wonder whether the spirits are reflections of a tortured psyche." Writing in Hollywood's Stephen King, Tony Magistrale writes Kubrick's reliance on mirrors as visual aids for underscoring the thematic meaning of this film portrays visually the internal transformations and oppositions that are occurring to Jack Torrance psychologically. Through...these devices, Kubrick dramatizes the hotel's methodical assualt on Torrance's identity, its ability to stimulate the myriac of self-doubts and anxieties by creating opportunities to warp Torrance's perspective on himself and [his family]. Furthermore the fact that Jack looks into a mirror whenever he "speaks" to the hotel means, to some extent, that Kubrick implcates him directly into the hotel's "consciousness," because Jack is, en effect, talking to himself. On the other hand, there are no mirrors in Danny's, nor Wendy's, visions, and ghosts are the obvious explanation of how Jack gets out of the locked storeroom. Kubrick scholar Michel Ciment has written: It seemed to strike an extraordinary balance between the psychological and the supernatural in such a way as to lead you to think that the supernatural would eventually be explained by the psychological: 'Jack must be imagining these things because he's crazy.' This allowed you to suspend your doubt of the supernatural until you were so thoroughly into the story that you could accept it almost without noticing...It's not until Grady, the ghost of the former caretaker who axed to death his family, slides open the bolt of the larder door, allowing Jack to escape, that you are left with no other explanation but the supernatural. The two Gradys Early in the film, Stuart Ullman tells Jack of a previous caretaker, Charles Grady, who succumbed to cabin fever, murdered his family and then killed himself. Jack meets a butler named Grady later in the film. Jack says he knows about the murders, claiming to recognize Grady from pictures; however, the butler introduces himself as Delbert Grady. Gordon Dahlquist of The Kubrick FAQ argues that the name change "deliberately mirrors Jack Torrance being both the husband of Wendy/father of Danny and the mysterious man in the July Fourth photo. It is to say he is two people: the man with choice in a perilous situation and the man who has 'always' been at the Overlook. It's a mistake to see the final photo as evidence that the events of the film are predetermined: Jack has any number of moments where he can act other than the way he does, and that his (poor) choices are fueled by weakness and fear perhaps merely speaks all the more to the questions about the personal and the political that The Shining brings up. In the same way Charles had a chance – once more, perhaps – to not take on Delbert's legacy, so Jack may have had a chance to escape his role as 'caretaker' to the interests of the powerful. It's the tragic course of this story that he chooses not to." Dahlquist's argument is that Delbert Grady, the 1920s butler and Charles Grady the 1970s caretaker rather than being either two different people or the same are two 'manifestations' of a similar entity; a part permanently at the hotel (Delbert) and the part which is given the choice of whether to join the legacy of the hotel's murderous past (Charles), just as the man in the photo is not exactly Jack Torrance, but nor is he someone entirely different. Jack in the photo has 'always' been at the Overlook, Jack the caretaker chooses to become part of the hotel. The film's assistant editor Gordon Stainforth has commented on this issue, attempting to steer a course between the continuity error explanation on one side and the hidden meaning explanation on the other; "I don't think we'll ever quite unravel this. Was his full name Charles Delbert Grady? Perhaps Charles was a sort of nickname? Perhaps Ullman got the name wrong? But I also think that Stanley did NOT want the whole story to fit together too neatly, so [it is] absolutely correct, I think, to say that 'the sum of what we learn refuses to add up neatly'" The photograph At the end of the film, the camera zooms slowly towards an at first distant wall in the Overlook and an obscure photograph, which is revealed at the end as one including Jack Torrance taken in 1921 at the Overlook hotel. In an interview with Michel Ciment, Kubrick overtly declared that Jack was a reincarnation of an earlier official at the hotel.[50] Still, this has not stopped interpreters from developing alternative readings, such as that Jack had been absorbed into the Overlook hotel. Film critic Jonathan Romney, while acknowledging the absorption theory, wrote "As the ghostly butler Grady (Philip Stone) tells him during their chilling confrontation in the men's toilet, 'You're the caretaker, sir. You've always been the caretaker.' Perhaps in some earlier incarnation Jack really was around in 1921, and it's his present-day self that is the shadow, the phantom photographic copy. But if his picture has been there all along, why has no one noticed it? After all, it's right at the centre of the central picture on the wall, and the Torrances have had a painfully drawn-out winter of mind-numbing leisure in which to inspect every corner of the place. Is it just that, like Poe's purloined letter, the thing in plain sight is the last thing you see? When you do see it, the effect is so unsettling because you realize the unthinkable was there under your nose – overlooked – the whole time." Comparison with the novel The film differs from the novel significantly with regard to characterization and motivation of the action. The most obvious differences are with regard to the personality of Jack Torrance, as these are the source of much of author Stephen King’s dissatisfaction with the film. Jack Torrance The novel presents us with a Jack who is initially well-intentioned but is struggling with alcohol and has issues with resentment of authority. In spite of good intentions, he becomes gradually overwhelmed by the evil forces in the hotel, though near the end of the novel he has a moment of recovered benevolence, helping Wendy and Danny escape during a moment of recovered sanity. The film’s Jack is established as somewhat sinister (and irritated with his family) much earlier in the story and his final redemption never occurs. Furthermore, Jack actually kills Dick Hallorann in the film, but kills no one in the novel. King attempted to talk Stanley Kubrick out of casting Jack Nicholson even before filming began, on the grounds that the whole theme of an everyman's slow descent into madness would be undercut by casting Nicholson, who had starred in One Flew Over the Cuckoo's Nest a few years before. He suggested Jon Voight among others for the role. Stephen King has openly stated on the DVD commentary of the 1997 mini-series of The Shining that the character of Jack Torrance was partially autobiographical, as he was struggling with both alcoholism and unprovoked rage toward his family at the time of writing. Writing in Hollywood's Stephen King, Tony Magistrale writes: Kubrick's version of Torrance is much closer to the tyrannical Hal (from Kubrick's 2001: A Space Odyssey) and Alex (from Kubrick's A Clockwork Orange) than he is to King's more conflicted, more sympathetically human characterization. Jack's twin demons in the novel are alcoholism and authority-issues, but his demons in the film seem to be alcohol and severe writer's block, though some authority-issues on his part are implied indirectly. The novel gives more overt illustrations of Jack's issues with authority that are absent from the film, notably his past conflicts with his own authoritarian father. In both versions, Jack hears the voices of previous tenants of the hotel, but only in the novel does Jack also hear the heavy-handed voice of his father. Similarly, though the film downplays the novel's theme of Jack's authority issues, it gives indications of Jack's struggle with writer's block, which he does not suffer from in the novel. In both the novel and film, Jack's encounter with the ghostly bartender is pivotal to Jack's deterioration. However, in early parts of the story, references to Jack's drinking stay understated in the film while they are forcefully asserted occupying the foreground in the novel. Kubrick's co-screenwriter Diane Johnson believes that in King's novel, Jack's discovery of the scrapbook of clippings in the boiler room of the hotel which gives him new ideas for a novel catalyzes his possession by the ghosts of the hotel. Jack is no longer a blocked writer, but now filled with energy. In her contribution to the screenplay, she wrote an adaptation of this scene, which to her regret Kubrick later excised, as she felt this left the father's change less motivated. Wendy Torrance and Stuart Ullmann The downplaying of the theme of Jack's issues with authority allows the film to alter the characters of Ullmann and Wendy. In the novel, Jack's authority issues are triggered by the fact that his interviewer, Ullmann, is highly authoritarian, a kind of snobbish military martinet. The film's Ullmann is far more humane and concerned about Jack's well-being, as well as smooth and self-assured. In Stanley Kubrick and the Art of Adaptation, author Greg Jenkins writes "A toadish figure in the book, Ullman has been utterly reinvented for the film; he now radiates charm, grace and gentility." Only in the novel does Ullmann state that he disapproves of hiring Jack but higher authorities have asked that Jack be hired. Especially notable is the film's omission of Ullmann mentioning that both the previous caretaker, Grady (who killed his family), and Jack are alcoholics. In the novel, Ullmann discusses Grady's history in an almost threatening way, whereas his description is filled with more concern in the film. In particular, the film includes no sign at all that Ullmann even knows about Jack's drinking problem. Ullmann's despotic nature in the novel is one of the first steps in Jack's deterioration, whereas in the film, Ullmann serves largely in the role of expositor. Wendy's concern about Danny also triggers Jack's authority issues in the novel, while in the film he mainly finds her concerns irritating and hysterical. Wendy Torrance in the film is relatively meek, submissive, passive and mousy. This is shown by the way she defends Jack even in his absence to the doctor examining Danny. In the novel, she is a more self-reliant and independent personality who is tied to Jack in part by her poor relationship with her parents. She never displays the hysteria or collapse in the novel that she does in the film. Writing in Hollywood's Stephen King, author Tony Magistrale writes about the mini-series remake: De Mornay restores much of the steely resilience found in the protagonist of King's novel and this is particularly noteworthy when compared to Shelley Duvall's exaggerated portrayal of Wendy as Olive Oyl revisited: A simpering fatality of forces beyond her capacity to understand, much less surmount. Co-screenwriter Diane Johnson stated that in her contributions to the script, Wendy had more dialogue, and that Kubrick cut many of her lines, possibly due to his dissatisfaction with actress Shelley Duvall's delivery. Johnson believes the earlier draft of the script portrayed Wendy as a more-rounded character. Danny Torrance Danny Torrance is considerably more forthcoming about his supernatural abilities in the novel, discussing them with strangers such as his doctor. In the film, he is quite secretive about it even with Dick Halloran who shares his ability. (The same is true of Dick Halloran who in his journey back to the Overlook talks with others with the shining ability while in the film he lies about his reason for returning to the Overlook.) Danny in the novel is generally portrayed as unusually intelligent across the board. In the film, he is more ordinary though with a preternatural gift. In the novel, Danny is much more bonded to his father than in the film, which is in keeping with the novel's conclusion in which Danny virtually saves the soul of his father. Although Danny has supernatural powers in both versions, the novel makes it clear that his apparent imaginary friend Tony really is a projection of hidden parts of his own psyche, though heavily amplified by Danny's psychic shining abilities. At the end it is revealed that Danny Torrance's middle name is "Anthony". In the film, the status of Tony (real or imaginary) is not clarified. Only in the film does Danny describe Tony as "the little boy who lives in my mouth." Family dynamics Stephen King provides the reader with a great deal of information about the stress in the Torrance family early in the story, including revelations of Jack's physical abuse of Danny and Wendy's fear of Danny's mysterious spells. Kubrick tones down the early family tension and reveals family disharmony much more gradually than does King. In the film, Danny has a stronger emotional bond with Wendy than with Jack, which fuels Jack's rather paranoid notion that the two are conspiring against him. Motivation of Ghosts In the novel, the motivation of the ghosts is to possess Jack Torrance is to get him to kill Danny; if Danny dies in The Overlook, his shining ability will be absorbed along with all the other awful energies that have manifested there. In the novel, the hotel is itself a sentient entity and so the hotel itself will become far more powerful and able to extend its powers beyond the confines of its grounds. In the film, the motive of the ghosts is ambiguous but seems to be to reclaim Jack Torrance (even though Grady expresses an interest in Danny's shining ability), who is apparently a reincarnation of a previous caretaker of the hotel, as suggested by the photograph of Jack Torrance in the 1920s at the end of the film and Jack's repeated claims to have "deja vu". Thus, in the film, Jack has been the focus of the ghost's attention all along rather than Danny. This plot difference re-contextualizes the line "You've always been the caretaker," which in the novel is a lie told by the ghosts of the hotel to bolster Jack's ego, but may in some sense be literally true in the film. Plot differences Because of the limitations of special effects at the time, the living topiary animals of the novel were omitted and a hedge maze was added. The hedge maze plays a crucial role in the film's plot, acting as a final trap for Jack Torrance as well as a refuge for Danny. As noted earlier, Jack kills Hallorann in the film but not the novel. In the novel Jack recovers his sanity and goodwill through the intervention of Danny which does not occur in the film. In the novel, the Overlook Hotel is completely destroyed by a fire caused by an exploding boiler, while the film ends with the hotel still standing. More broadly, the defective boiler is a major subplot element of the novel which is entirely missing from the film. In the novel, Jack's final good act is to enable Wendy and Danny to escape the hotel before it explodes, killing him. In the film, the hotel is set as being built on an Indian burial ground, while in the novel, the reason for the hotel's manifestation of evil is better explained by a theme present in King's previous novel 'Salem's Lot as well as Shirley Jackson's The Haunting of Hill House: that a physical place may absorb the evils that transpire there and manifest them in a vaguely sentient malevolence. In the novel, Jack does a great deal of investigation of the hotel's past through a scrapbook, a subplot almost omitted from the film aside from two touches. Firstly, there is the brief appearance of the scrapbook next to the typewriter in the scene when Jack tells Wendy never to bother him while he's working. Secondly, Jack tells the ghost of Grady that he knows his face because he saw it in an old newspaper article describing the latter's horrific acts. More trivial differences include Jack's choice of weapon (a roque mallet in the novel, an axe in the film), the number of the advisably avoided room (217 in the novel and 237 in the film), and the nature of Danny's injury before the action of the story (a broken arm in the novel and a dislocated shoulder in the film). Some of the film's most famous iconic scenes, such as the ghost girls in the hallway and the blood in the elevator shaft, are unique to the film. The most notable of these would be the "novel" that Wendy discovers in Jack’s typewriter. Similarly, many of the film's most memorable lines of dialogue ("Words of wisdom" and "Here's Johnny!") are unique to the film. Film adaptation commentary Although Stephen King fans were critical of the novel's adaptation on the grounds that Kubrick altered and reduced the novel's themes, a defense of Kubrick's approach was published by Steve Biodrowski, a former editor of the print magazine Cinefantastique. His review of the film is one of the few to go into detailed comparison with the novel. Biodrowski states, Widely reviled by Stephen King fans for abandoning much of the book (King himself said his feelings balanced out to zero), Stanley Kubrick’s film version, upon re-examination, reveals that he took the same course he had often used in the past when adapting novels to the screen (such as Vladimir Nabokov's Lolita): he stripped away the back story and exposition, distilling the results down to the basic narrative line, with the characters thus rendered in a more archetypal form. The result ...[is] a brilliant, ambitious attempt to shoot a horror film without the Gothic trappings of shadows and cobwebs so often associated with the genre. In popular culture References in the form of both parodies and homages to The Shining are prominent in U.S. popular culture, particularly in films, TV shows and other visual media, as well as music. Frequently imitated individual scenes are the two girls in the hallway, the usage of the word "Redrum", the blood spilling out of the opening elevator doors[94] and Jack Torrance's sticking his head through the axe-hewn hole in the bathroom door, leeringly saying, "Here's Johnny."[95] One of the most well-known parodies in television is the Simpsons episode "Treehouse of Horror V", which contains the story "The Shinning", a parody of The Shining; in addition Sherri and Terri (the twins in Bart's 4th grade class) have similarities with the Grady girls. Family Guy parodies The Shining in the episode "Peter, Peter, Caviar Eater" in which Stewie walks down the hall only to discover the two girls standing before him and beckoning him to play with them, to which Stewie sarcastically responds, "All work and no play make Stewie a dull boy" just before blowing them away with a bazooka. The girls, however, make their second Family Guy appearance in the opening sequence for the episode "PTV", where Stewie later runs them over with his tricycle. "Here's Johnny!" was parodied by British comedian Lenny Henry in an advertisement for Premier Inn, which caused a certain amount of controversy. Both the tricycle scene where Danny Torrance sees the two Grady girls at the end of the hallway and the "Here's Johnny" scene are seen playing on the drive-in theatre screen of a small town in the movie Twister just before a major tornado rips through the town. In an episode of the Australian sketch comedy show Double Take the "Here's Johnny!" scene was parodied with former Prime Minister John Howard chopping into the bathroom of Kirribili Lodge where then Prime Minister Kevin Rudd tells him that he doesn't live there anymore and demands his keys. "Here's Johnny" was also parodied in the X-Men animated series in the episode "The Juggernaut Returns." As the Juggernaut smashes through the front doors of Xavier's School, he shout's "Here's Juggy!" The last episode of The Tonight Show Starring Johnny Carson began with the footage of Jack chopping through the door as Wendy screams, popping his head through and saying "Here's Johnny!". The plot of The Shining is imitated in the short music video of "The Kill" by 30 Seconds to Mars. Band singer Jared Leto felt their song was a commentary on the meaning of the film. Scenes parodying much of the film also appear in the Slipknot music video "Spit It Out". Alice in Chains' video for "Your Decision" has a few momentary allusions to the film, as well as to Kubrick's Eyes Wide Shut. Kate Bush's well-known 1982 album The Dreaming contains the song "Get Out of My House," inspired primarily by the novel. as was Black Sabbath's song "The Shining". The song "Last Time Forever" by Squeeze contains sound clips of Jack saying "the momentary loss of muscular coordination" and of Wendy screaming as Jack hacks through the bathroom door. The axe used in the film is now at Planet Hollywood in Beverly Hills, CA.

2. The Exorcist (1973) (11 of 20 lists - 191 points - highest rank #1 FlaSoxxJim, PlaySumFnJurny) The Exorcist is a 1973 American horror film directed by William Friedkin, adapted from the 1971 novel of the same name by William Peter Blatty and based on the exorcism case of Robbie Mannheim, dealing with the demonic possession of a young girl and her mother’s desperate attempts to win back her daughter through an exorcism conducted by two priests. The film features Ellen Burstyn, Linda Blair, Max von Sydow, Kitty Winn, Lee J. Cobb, Jason Miller, and Mercedes McCambridge. The film is one of a cycle of 'demonic child' movies produced in the late 1960s and early 1970s, including Rosemary's Baby and The Omen. The film became the most profitable horror film of all time and one of the highest earning movies in general, grossing $401,400,000 worldwide (and a further $112,053,066 for the Director's Cut re-release in 2000), and at the time of release briefly became the highest-grossing film of all time, until being surpassed one year later by Steven Spielberg's Jaws. The film proved a huge effect on popular culture. The film earned ten Academy Award nominations—winning two, one for Best Sound and Best Adapted Screenplay, and losing Best Picture to The Sting. Along with the novel on which it was based, Blatty's script has been published several times over the years. The Exorcist was commercially released in the United States by Warner Bros. on December 26, 1973, and re-released on March 17, 2000, with a restored version released on September 22, 2000. It was named the scariest movie of all time by Entertainment Weekly and Movies.com and by viewers of AMC in 2006, and was #3 on Bravo's 100 Scariest Movie Moments. Plot Starting at an archaeological dig in Al-hadar near Nineveh in Iraq, Father Lankester Merrin (Max von Sydow), an archaeologist, visits a site where a small stone is found, resembling a grimacing, bestial creature. Merrin travels onward to find the strange statue of Pazuzu, which has a head similar to the one found earlier. Meanwhile, another priest, Father Damien Karras (Jason Miller), a young priest at Georgetown University in Washington, D.C., begins to doubt his faith while dealing with his mother's terminal illness. The main story follows Chris MacNeil (Ellen Burstyn), an actress filming in Georgetown, who notices dramatic and dangerous changes in the behavior of her 12-year-old daughter, Regan MacNeil (Linda Blair). Regan has a seizure, then exhibits strange, unnatural powers including levitation and great strength. Regan curses and blasphemes in a demonic male voice. Chris initially believes Regan's changes are related to puberty, but doctors suspect a lesion in her brain. Regan endures a series of unpleasant medical tests. When X-rays show nothing out of the ordinary, a doctor advises that Regan be taken to a psychiatrist, whom she assaults. Paranormal occurrences continue, including a violently shaking bed, strange noises, and unexplained movements. Along with these things, the director of Chris MacNeil's film, Burke Dennings (Jack MacGowran), is found brutally murdered outside the MacNeil residence. When all medical explanations are exhausted, a doctor recommends exorcism, suggesting that if Regan's symptoms are a psychosomatic result of a belief in demonic possession, then perhaps an exorcism would have the psychosomatic effect of ending them. In desperation, Chris consults Karras, since he is both a priest and a psychiatrist. During a period in which Karras observes Regan, Regan refers to herself as the Devil. Karras initially believes her to be merely suffering from psychosis, until he records her speaking in a strange language which turns out to be English spoken backwards. Despite his doubts, Karras decides to request permission from the Church to conduct an exorcism. Merrin, an experienced exorcist, is summoned to Washington to help. He and Father Karras try to drive the spirit from Regan. The demon threatens and taunts both priests, both physically and verbally (including the demon using the voice of Karras' mother), and Merrin dies of a heart attack. Karras attempts to perform CPR to no avail. Regan giggles as Karras tries to save Merrin. Karras strikes her and chokes her, challenging the demon to leave Regan and enter him. The demon does so, whereupon the priest throws himself through Regan's bedroom window and falls down the steps outside. At the bottom, a devastated Father Dyer (William O'Malley)—and friend of Father Karras—administers last rites as Father Karras dies. Regan is restored to health and does not appear to remember her ordeal. Chris and Regan leave Georgetown and their trauma behind. Cast * Ellen Burstyn as Chris MacNeil * Linda Blair as Regan MacNeil * Max von Sydow as Father Lankester Merrin * Jason Miller as Father Damien Karras * Lee J. Cobb as Lieutenant William F. Kinderman, a detective * Mercedes McCambridge as the voice of the demon Pazuzu * Kitty Winn as Sharon Spencer * Jack MacGowran as Burke Dennings * Father William O'Malley as Father Joseph Dyer * Arthur Storch as the Psychiatrist * Andre Trottier as the Priest's assistant Production Factual basis for the film Aspects of the film are based upon a rite of exorcism performed by the Jesuit priest, Fr. William S. Bowdern, who formerly taught at both St. Louis University and St. Louis University High School. Casting Although the agency representing Blair did not send her for the role, Blair's mother brought her to meet with Warner Bros.' casting department and then with Friedkin. Pamelyn Ferdin, a veteran of science fiction and supernatural drama, was a candidate, but the producers may have felt she was too well-known. Denise Nickerson, who played Violet Beauregarde in Willy Wonka & The Chocolate Factory, was considered, but her parents pulled her out, troubled by the material. At one point the search for a young actress capable of playing Regan was so trying that Friedkin claims he even considered auditioning adult dwarf actors. The part went instead to Blair, a relative unknown except for a role in The Way We Live Now. The studio wanted Marlon Brando for the role of Father Merrin. Friedkin immediately vetoed this by stating it would become a "Brando movie." Jack Nicholson was up for the part of Father Karras before Stacy Keach was hired by Blatty. Friedkin then spotted Miller in a Broadway play. Even though Miller had never acted in a movie, Keach's contract was bought out by Warner Bros. and Miller was cast. Jane Fonda and Shirley MacLaine were approached to play Chris MacNeil. Both refused to do the film, and Fonda reportedly called the project a "capitalist piece of s***." Audrey Hepburn was approached, but said she would only agree if the film were to be shot in Rome. Anne Bancroft was another choice, but she was in her first month of pregnancy. Burstyn then agreed to do the movie. Friedkin originally intended to use Linda Blair's voice, electronically deepened and roughened, for the demon's dialogue. Although Friedkin felt this worked fine in some places, he felt scenes with the demon confronting the two priests lacked the dramatic power required and selected legendary radio actress Mercedes McCambridge, an experienced voice actor, to provide the voice for the demon. After filming, Warner Bros. attempted to conceal McCambridge's participation which led to a lawsuit from McCambridge and a grudge between her and Friedkin that was never healed. Direction Warner Bros. had approached Arthur Penn (who was teaching at Yale), Peter Bogdanovich (who wanted to pursue other projects, subsequently regretting the decision) and Mike Nichols (who did not want to shoot a film so dependent on a child's performance) and John Boorman - who would direct Exorcist II: The Heretic, said he didn't want to direct it because it was "cruel towards children". Originally Mark Rydell was hired to direct, but William Peter Blatty insisted on Friedkin instead, because he wanted his film to have the same energy as Friedkin's previous film, The French Connection. After a standoff with the studio, which initially refused to budge over Rydell, Blatty eventually got his way. Stanley Kubrick wanted to direct the film, but only if he could produce it himself. But the studio, well aware of the nature of his projects, was worried that he would go over budget and over schedule. The Exorcist began production on August 14, 1972 and lasted for a total of 85 days. Friedkin went to some extraordinary lengths, reminiscent of D.W. Griffith's manipulation of the actors, to get the genuine reactions he wanted. Yanked violently around in harnesses, both Blair and Burstyn suffered back injuries and their painful screams went right into the film. Burstyn later reported that she had permanent back injury after landing on her coccyx when a stuntman jerked her via cable during the scene when Regan slaps her mother. After asking Reverend William O'Malley if he trusted him and being told yes, Friedkin slapped him hard across the face before a take to generate a deeply solemn reaction that was used in the film, as a very emotional Father Dyer read last rites to Father Karras; this offended the many Catholic crew members on the set[citation needed]. He also fired a gun without warning on the set to elicit shock from Jason Miller for a take. Lastly, he had Regan's bedroom set built inside a freezer so that the actors' breath could be visible on camera, which required the crew to wear parkas and other cold-weather gear. Music Lalo Schifrin's working score was rejected by Friedkin. Schifrin had written six minutes of music for the initial film trailer but audiences were reportedly too scared by its combination of sights and sounds. Warner Bros. executives told Friedkin to instruct Schifrin to tone it down with softer music, but Friedkin did not relay the message. Schifrin's final score was thrown out into the parking lot by Friedkin, dubbing it "f***ing Mexican marimba music". In the soundtrack liner notes for his 1977 film, Sorcerer, Friedkin said had he heard the music of Tangerine Dream earlier, he would have had them score The Exorcist. Instead, he used modern classical compositions, including portions of the 1971 Cello Concerto by Polish composer Krzysztof Penderecki, as well as some original music by Jack Nitzsche. But the music was heard only during scene transitions. The 2000 "Version You've Never Seen" features new original music by Steve Boddacker, as well as brief source music by Les Baxter. The original soundtrack LP has only been released once on CD, as an expensive and hard-to-find Japanese import. It is noteworthy for being the only soundtrack to include the main theme Tubular Bells by Mike Oldfield, which became very popular after the film's release, and the movement Night of the Electric Insects from George Crumb's string quartet Black Angels. Filming locations The movie's opening sequence was filmed in the Iraqi town of Sinjar, near the Syrian border. The people of Sinjar are mostly Kurdish members of the ancient Yezidi sect, which reveres Melek Taus, often being equated with the Devil though Yazidis point out that this benevolent being has little in common with the Islamic and Christian Satan The archaeological dig site seen at the beginning of the movie is the actual site of ancient Nineveh in Hatra. The "Exorcist steps", stone steps at the end of M Street in Georgetown, Washington, D.C. were padded with 1/2"-thick rubber to film the death of Karras. The stunt man tumbled down the stairs twice. Georgetown University students charged people around $5 each to watch the stunt from the rooftops. The MacNeil residence interiors were filmed at CECO Studios in Manhattan. The bedroom set had to be refrigerated to capture the authentic icy breath of the actors in the exorcizing scenes, while the bedroom scenes along with many other scenes were filmed in the basement of Fordham University in New York. The temperature was brought so low that a thin layer of snow fell onto the set one morning. Linda Blair, who was only in a thin nightgown, says to this day she cannot stand being cold. Exteriors of the MacNeill house were filmed at 36th and Prospect in Washington, using a family home and a false wall to convey the home's thrust toward the steps. In fact, both then and now, a garden sits atop the embankment between the steps and the home. The interior of Karras' room at Georgetown was a meticulous reconstruction of Theology professor Fr. Thomas M. King, S.J.'s "corridor Jesuit" room in New North Hall. Fr. King's room was photographed by production staff after a visit by Blatty, a Georgetown graduate, and Friedkin. Upon returning to New York, every element of King's room, including posters and books, was recreated for the set, including a poster of Pierre Tielhard de Chardin, S.J., a paleontologist on whom the character of Fr. Merrin was loosely based. Georgetown was paid $1,000 per day of filming, which included both exteriors, such as Ellen Burstyn's first scene, shot on the steps of the Flemish Romanasque Healy Hall, and interiors, such as the defilement of the statue of the Virgin Mary in Dahlgren Chapel, or the Archbishop's office, which is actually the office of the president of the university. One scene was filmed in The Tombs, a student hangout across from the steps that was founded by a Blatty classmate. Urban legends and on-set incidents Some claim the film was cursed. Blatty has stated on video that there were some strange occurrences. Burstyn indicated some rumors to be true in her 2006 autobiography Lessons in Becoming Myself. The interior sets of the MacNeil residence, except for Regan's bedroom, were destroyed by a studio fire and had to be rebuilt. Friedkin has claimed that a priest was brought in numerous times to bless the set. Blatty, after the difficulties encountered in New York production, asked Fr. King, mentioned above, to bless the Washington crew on its first day of filming, at the foot of Lauinger Library's steps to 37th Street (not the "Exorcist Steps"). The incident was recounted in Fr. King's 2009 Washington Post obituary. Other issues include Blair's harness breaking when she is thrashing on the bed, injuring the actress. Burstyn noted she was slightly hurt when Regan throws her across the room. Actor Jack MacGowran (Burke Dennings) died of the flu during filming. Alternate and uncut versions There have been several versions of The Exorcist released and altered. The 1979 theatrical re-issue was reconverted to 70MM, with its 1.85:1 ratio modified to 2.20:1 to take advantage of the picture and audio fidelity 70MM offers. This was also the first time the sound was remixed to six-channel Dolby Stereo sound. Almost all video versions feature this soundtrack. In both the TV-PG and TV-14 rated network versions, the image of the obscenely defiled statue of the Virgin Mary stays intact. It stays on screen several seconds longer for the TV-14 version. On original TV airings, the shot was replaced with one where the statue's face is smashed in but without other defilement. The Special Edition released on DVD for the 25th Anniversary includes the original theatrical ending, and includes the extended ending with Father Dyer and Lt. Kinderman as a special feature (as opposed the "Version You've Never Seen" ending which features Father Dyer and Lt. Kinderman but omits the Casablanca reference). The Special Edition DVD also includes a 75-minutes documentary titled The Fear of God on the making of The Exorcist (although PAL releases feature an edited, 52 minute version). The documentary includes screen tests and additional deleted scenes. The Exorcist: The Complete Anthology (box set) was released in October, 2006. This DVD collection includes the original theatrical release version The Exorcist; the extended version, The Exorcist: The Version You've Never Seen; the sequel with Linda Blair, Exorcist II: The Heretic; the supposed end of the trilogy, The Exorcist III; and two different prequels: Exorcist: The Beginning and Dominion: A Prequel to The Exorcist. The "Spider-Walk Scene" Contortionist Linda R. Hager was hired to perform the infamous "spider-walk scene" that was filmed on April 11, 1973. Friedkin deleted the scene just prior to the original December 26, 1973 release date because he felt it was ineffective technically. However, with advanced developments in digital media technology, Friedkin worked with CGI artists to make the scene look more convincing for the 2000 theatrically re-released version of The Exorcist: The Version You've Never Seen. Since the original release, myths and rumors still exist that a variety of spider-walk scenes were filmed despite Friedkin's insistence that no alternate version was ever shot. In 1998, Warner Bros. re-released the digitally remastered DVD of The Exorcist: 25th Anniversary Special Edition. This DVD includes the special feature BBC documentary, The Fear of God: The Making of The Exorcist, highlighting the never-before-seen original non-bloody version of the spider-walk scene. The updated "bloody version" of the spider-walk scene appears in the 2000 re-release of The Exorcist: The Version You've Never Seen utilizing CGI technology to make the wires holding up Linda R. Hager's body look invisible. Sequels and related films John Boorman's Exorcist II: The Heretic was released in 1977, and re-visited Regan four years after her initial ordeal. The plot dealt with an investigation into the legitimacy of Father Merrin's exorcism of Regan in the first film. In flashback sequences we see Regan giving Merrin his fatal heart attack, as well as scenes from the exorcism of a young boy named Kokumo in Africa many years earlier. The film was so sharply criticized that Director John Boorman re-edited the film immediately after its premiere. Both versions have now been released on video; the cut version on VHS and the original uncut version now on DVD. The Exorcist III appeared in 1990, written and directed by Blatty himself from his own 1983 novel Legion. Jumping past the events of Exorcist II, this book and film presented a continuation of the story of Father Karras. Following the precedent set in The Ninth Configuration, Blatty turned a minor character from the first film — in this case, Det. Kinderman — into the chief protagonist. Though the characters of Karras and Kinderman were related through the murder investigation in The Exorcist and Kinderman was in fact fond of Karras, in Exorcist III Blatty has Kinderman remembering Karras as "his best friend". A prequel, Exorcist: The Beginning (2004) attracted attention and controversy even before its release. It went through a number of directorial and script changes, such that two versions were ultimately released. Paul Schrader was originally hired as director for this project, but upon completion the studio rejected his version as being too slow. Renny Harlin was then hired as director after John Frankenheimer was forced from the project due to illness. Harlin reused some of Schrader's footage and shot new material to create a more conventional horror film. Harlin's new version Exorcist: The Beginning was released, but was not well received. At that point Schrader's original version, named Dominion: Prequel to the Exorcist was subsequently released. It received better, but still mostly negative, critical responses. Both films are now available on DVD. Like Exorcist III, both films made significant changes from the original storyline. The plot of these films centered around an exorcism that Father Merrin had performed as a young priest in Africa, many years prior to the events in The Exorcist. This exorcism was first referenced in The Exorcist, and in the first sequel Exorcist II: The Heretic, flashback scenes were shown of Merrin exorcising the demon Pazuzu from an African boy named Kokumo. Although the plot for both Beginning and Dominion centered around Merrin's exorcism in Africa, they both took a significant departure from the original story, making no effort to be faithful to those original details. The African boy was not named Kokomu, and eventually discovered not to actually be the possessed character. In November 2009, it was announced that Blatty planned to direct a miniseries of The Exorcist. A made-for-television film entitled Possessed (based on the book of the same name by Thomas B. Allen) was broadcast on Showtime on October 22, 2000, directed by Steven E. de Souza and written by de Souza and Michael Lazarou. The film claimed to follow the true accounts that inspired Blatty to write The Exorcist and starred Timothy Dalton, Henry Czerny and Christopher Plummer. Blatty directed The Ninth Configuration, a post-Vietnam War drama set in a mental institution. Released in 1980, it was based on Blatty's novel of the same name. Though it contrasts sharply with the tone of The Exorcist, Blatty regards Configuration as its true sequel. The lead character is the astronaut from Chris' party, Lt. Cutshaw. Other films A 1974 Turkish movie Şeytan (Turkish for Satan; the original movie was also shown with the same name) is almost a scene-by-scene remake of the original. It has gained a reputation among cult movie enthusiasts as the "Turkish Exorcist". That same year the German film Magdalena, vom Teufel besessen was also released with an Exorcist plot. Similarly, a blacksploitation film was also released in 1974 titled Abby. While the films Şeytan and Magdalena, vom Teufel besessen were more legally free to be made due to being filmed in other countries, the makers of Abby (filmed in Louisiana) were sued by Warner Bros. The film was pulled from theaters, but not before making $4 million at the box office. A parody entitled Repossessed was released the same year as The Exorcist III, with Blair lampooning the role she played in the original. Home media A limited edition box set was released in 1998. It was limited to 50,000 copies, with available copies circulating around the Internet. There are two versions; a special edition VHS and a special edition DVD. The only difference between the two copies is the recording format. DVD features * The original film with restored film and digitally remastered audio, with a 1.85:1 widescreen aspect ratio. * An introduction by director Friedkin * The 1998 BBC documentary The Fear of God: The Making of "The Exorcist" * 2 audio commentaries * Interviews with the director and writer * Theatrical trailers and TV spots Box features * A commemorative 52-page tribute book, covering highlights of the film's preparation, production, and release; features previously-unreleased historical data and archival photographs * Limited edition soundtrack CD of the film's score, including the original (unused) soundtrack (Tubular Bells and Night of the Electric Insects omitted) * 8 lobby card reprints. * Exclusive senitype film frame (magnification included) Blu-ray In an interview with DVD Review, Friedkin mentioned that he was scheduled to begin work on a 'The Exorcist' Blu-ray on December 2, 2008. This edition will feature a new restoration, including both the 1973 theatrical version and the "Version You've Never Seen" from 2000. It was released on 5 October 2010. Reception US critical reception Upon its release on December 26, 1973, the film received mixed reviews from critics, "ranging from ‘classic’ to ‘claptrap'." Stanley Kauffmann, in The New Republic, wrote, "This is the most scary film I’ve seen in years — the only scary film I’ve seen in years…If you want to be shaken — and I found out, while the picture was going, that that’s what I wanted — then The Exorcist will scare the hell out of you." Variety noted that it was "an expert telling of a supernatural horror story…The climactic sequences assault the senses and the intellect with pure cinematic terror." In Castle of Frankenstein, Joe Dante stated, "[A]n amazing film, and one destined to become at the very least a horror classic. Director Friedkin’s film will be profoundly disturbing to all audiences, especially the more sensitive and those who tend to 'live' the movies they see…Suffice it to say, there has never been anything like this on the screen before." However, Vincent Canby, writing in the New York Times, dismissed The Exorcist as "a chunk of elegant occultist claptrap…[A] practically impossible film to sit through…it establishes a new low for grotesque special effects..." Andrew Sarris complained that "Friedkin’s biggest weakness is his inability to provide enough visual information about his characters…whole passages of the movie’s exposition were one long buzz of small talk and name droppings…The Exorcist succeeds on one level as an effectively excruciating entertainment, but on another, deeper level it is a thoroughly evil film." Writing in Rolling Stone, Jon Landau felt the film was, "[N]othing more than a religious porn film, the gaudiest piece of shlock this side of Cecil B. DeMille (minus that gentleman’s wit and ability to tell a story) …" Over the years, The Exorcist’s critical reputation has grown considerably. The film currently has an 85% "Certified Fresh" approval rating on the Rotten Tomatoes website, based on 40 reviews the website collected. Some critics regard it as being one of the best and most effective horror films; admirers say the film balances a stellar script, gruesome effects, and outstanding performances. Chicago Tribune film critic Gene Siskel placed it in the top five films released that year. However, the movie has its detractors as well, including Kim Newman who has criticized it for messy plot construction, conventionality and overblown pretentiousness, among other perceived defects. Writer James Baldwin provides an extended negative critique in his book length essay The Devil Finds Work. Director Martin Scorsese placed The Exorcist on his list of the 11 scariest horror films of all time. In 2008, the film was selected by Empire Magazine as one of The 500 Greatest Movies Ever Made. It was also placed on a similar list of 1000 movies by The New York Times. Earnings The film earned $66,300,000 in distributors' domestic (U.S. and Canada) rentals during its theatrical release in 1974, becoming the second most popular film of that year (trailing The Sting). After several reissues, the film eventually earned $89,000,000 in domestic rentals. To date, it has a total gross of $401,400,000 worldwide; if adjusted for inflation, this would be the top-grossing R-rated film of all time. It was nominated for ten Academy Awards, including Best Picture, and also won four Golden Globes, including the award for Best Picture – Drama for the year 1974. UK reception In the United Kingdom, the film was included in the 'video nasty' phenomenon of the early 1980s. Although it had been released uncut for home video in 1981, this was prior to the implementation of the Video Recording Act 1984. When the Act came into force, Warner Bros. decided against submitting it to the BBFC for a rating following the 'Video Nasties' scare. It is a widely-reported myth that the BBFC banned the film, but it was never rejected by them. Following a successful re-release in cinemas in 1998, the film was submitted for home video release for the first time in February 1999 and was passed uncut with an 18 certificate rating, signifying a relaxation of the censorship rules with relation to home video in the UK. The film was shown on terrestrial television in the UK for the first time in 2001, on Channel 4. British film critic Mark Kermode proclaimed The Exorcist as "the greatest film ever made" on his weekly film review program on BBC Radio 5 Live. Special effects and audience reception The Exorcist contained a number of special effects, engineered by makeup artist Dick Smith. Roger Ebert, while praising the film, believed the effects to be so unusually graphic he wrote, "That it received an R rating and not the X is stupefying." Theaters provided "Exorcist barf bags". Because of death threats against Linda Blair, Warner Bros. hired bodyguards to protect her for six months after the film's release. Alleged subliminal imagery The Exorcist was also at the center of controversy due to its alleged use of subliminal imagery. A detailed article in the July/August 1991 issue of Video Watchdog examined the phenomenon, providing still frames identifying several usages of subliminal "flashing" throughout the film. In an interview from the same issue, Friedkin explained, "I saw subliminal cuts in a number of films before I ever put them in The Exorcist, and I thought it was a very effective storytelling device... The subliminal editing in The Exorcist was done for dramatic effect — to create, achieve, and sustain a kind of dreamlike state." However, these quick, scary flashes have been labeled "[not] truly subliminal". and "quasi-" or "semi-subliminal" True subliminal imagery must be, by definition, below the threshold of awareness. In an interview in a 1999 book about the movie, The Exorcist author William Blatty addressed the controversy by explaining that, "There are no subliminal images. If you can see it, it's not subliminal." Awards and honors Academy Awards The Exorcist was nominated for a total of ten Academy Awards in 1973. At the 46th Annual Academy Awards ceremony, the film won two statuettes. * Academy Award for Sound * Academy Award for Writing Adapted Screenplay – William Peter Blatty The film was nominated for * Academy Award for Best Picture * Academy Award for Best Actress - Ellen Burstyn * Academy Award for Best Supporting Actor - Jason Miller * Academy Award for Best Supporting Actress - Linda Blair * Academy Award for Best Director - William Friedkin * Academy Award for Best Cinematography * Academy Award for Film Editing * Academy Award for Best Art Direction - Bill Malley and Jerry Wunderlich Golden Globe Awards The Exorcist was nominated for a total of seven Golden Globes in 1973. At the 31st Golden Globes ceremony that year, the film won four awards. * Golden Globe Award for Best Motion Picture - Drama * Golden Globe Award for Best Director - Motion Picture - William Friedkin * Golden Globe Award for Best Supporting Actress - Motion Picture - Linda Blair * Golden Globe Award for Best Screenplay The film was nominated for * Golden Globe Award for Best Actress – Motion Picture Drama - Ellen Burstyn * Golden Globe Award for Best Supporting Actor - Motion Picture - Max Von Sydow * Golden Globe Award for New Star Of The Year – Actress - Linda Blair Others American Film Institute recognition * AFI's 100 Years... 100 Thrills – #3 * AFI's 100 Years... 100 Heroes and Villains o Regan MacNeil – Villain #9

Interesting that Ed Gein was the inspiration for Psycho, Texas Chain Saw Massacre, and The Silence of the Lambs.

QUOTE (Quinarvy @ Oct 30, 2010 -> 08:36 PM) Touche. I suck at search terms (all I got was Sixers intro, old Bulls intro, and a pre-season one) There's two more.

QUOTE (Quinarvy @ Oct 30, 2010 -> 08:32 PM) No dice. That's a view of it. http://www.youtube.com/watch?v=1SQNIU02oVs There's a better view. http://www.youtube.com/watch?v=e7fFyoa65aE There's another.

QUOTE (Quinarvy @ Oct 30, 2010 -> 08:11 PM) Can someone please find me a video of this? Also, pretty nice that Booz was still there supporting his team. You could try YouTube.

QUOTE (3E8 @ Oct 30, 2010 -> 11:35 AM) Now if you don't go through the full body scanner at the airport, the TSA can touch your genitals, your genitals http://jalopnik.com/5675907/tomorrow-the-t...n-your-genitals Sounds like a porno plot. TSA will start hiring employees named Brandi Juggs TSA: Tit S'and Ass

QUOTE (Thunderbolt @ Oct 30, 2010 -> 07:33 PM) I never envisioned Phil Collins "In the Air at Night" being used as any kind of pump-up song. They've been using "In The Air Tonight" for introductions since 2005-06, at least.

Not to mention that it's the difference between a vase and space.