It is generally accepted that the summer movie season as we know it today It started 50 years ago with the announcement of Steven Spielberg's "jaws". Studies were already obsessed with blockbusters thanks to the escape of film success such as "Love Bowl Story" and "The godfather", as well as multiplexing multiplexes (which meant that screens were exploding around the world). But when the "jaws" blew past "they went through the wind to become the tallest gross film of all time, it was a game.

This mentality of "Golden Hurry" made the studio prioritize the sequels of their previous hits, although this approach invited critical contempt. "The Godfather Part II" was one thing, and of course, the "French relationship II" made a sense of sound story after Bernier moved away at the end of the first, but following the "Love -Bowl Story" felt indecent (called "Oliver's story", and that is one of the worst films). So when the studio threw a sequel, they knew that many influential critics would see the said offer with extreme skepticism.

One blockbuster that It seemed like a pretty highlight and made "Exorcist" by William Fridkin. Based on William Peter Blatty's Besttselling Novel, The Tale of Young Regan Macneil (Linda Blair) Getting Possessed by the Demon Pazuzuzu was a harrowing experience that ended with Jason Miller's Father Karrow. Demon into his own body before launching himself out a window and tumbling down those spooky hitchcock step to his death.

You can't stop the movie more honest than that, but when the "exorcist" is wounded to become the tallest gross film in Warner Bros. history, the studio demanded a sequel. What originally aimed to be a low-budget cut and abduction (with unused footage of the original) turned into a great budget art film by the director of the Risk Director Johnon Borman. While I found me "Exorcist II: A heretic" fascinating bizarre, Baorman had no interest in serving a viscerally daunting difficult temptation à La Friedkin. His film seems to be designed by Stern to Stern to anger the film. (Working with cinematographer Ace William A. Fracker) caught some unique eerie and evocative images.

Movie trailers can be just like transport as a perfectly composed three-minute pop song. Whether they are cut by the director or separated from professionals who have mastered the art of sales, they can get involved in the essence of the film and offer a promise of pure Chinese bliss. Sometimes, they promise more than the director can deliver: Renny Charlin's "Clifancher" is a solid b -action of B, But her trailerAchieved by the "Dies Irae" movement from Mozart's "Requiem" (and which has no dialogue), forced the film to be a symphony of practically recorded pieces. At the other end of the spectrum, Jeanan-Luk Goddard Trailer for "contempt" He used the lively tragic result of Georges Deleyu to make the film look like a romantic EP for centuries (when it is still a lot of Goddar film, but spectacularly).

Some movies are so miserable that you can't mask the stench of them, however, and if the WB has had a conventional approach to marketing "Exorcist II: Hetka", the film may appear stomach during his open weekend. But someone watched Borman's tumultuous stew on a horror film and knew they could split the work of art that would stand alone after the film was written off as one of the worst sequels ever made (which I think is too cruel, but so "Exorcist II: Hetket" is still seen 48 years later).

Baorman's secret sauce is the result of Maestro Enio Moricone. The fertile Italian composer was a fondicist of repetition of film to film to film, but something in "Exorcist II: Eretic" included it. The foams and screams he used in films such as "good, bad and ugly" and "Navajo Oeo" sound like they are used by the center of hell. Are these sounds always synchronized with what you see on the screen? Not really. Boorman causes some thrilling pictures (and gets more daunting mileage than locusts on locust From any director in the history of the film), but Moricone often works overtime to sing the awkward parts of the film. He had a huge power to do so. For example, there is a reason for Gregory Nava's "Time of Fate" is a forgotten film, while Moricone's result is a competition in the collection of every movie fan of film music (and was used to sell a very different type of flop in Lawrence Casdan's "Wyatt Erp").

But Moricone's music has never been more efficiently armed in a trailer than in the theater place for "Exorcist II: Heretic".

"Exorcist II: Hetka" was released on June 17, 1977, less than a month after "Starwells War: Episode IV" by George Lucas: Episode IV - New Hope "changed the movies forever. "The spy who loved me," "Bad news bears in training", and there is no joke, "for the Benji's". " And indeed, Peter Yates' film adaptation to "Jaws" author "The Deep" by Peter Bankley was sold as a spin-off of all kinds of Spielberg's film with his funny similar poster.

Since Friedkin's film was considered the worst movie ever, Baorman's sequel to the "Exorcist" enjoyed a huge competitive market advantage. The WB knew that this advantage would go to mainstream film films saw the film, and the trailer that married the most striking images of the film with the ultra-sitar theme of Moricone was reduced. At the same time, he sold what seemed to be a fun, freaking horror film in the studio. It looks like the cover of the albadel album is revived.

Honestly, the second Borman and the WB saw this trailer, they had to shake the brakes and reshape the film to do what the studio's marketing department was selling. Basically it is a highlight of the film, but if Borman could see how much his film could be, if he used the visual visual eye of Moricone's music, he might be able to renovate "Exorcist II: Heretic" in a cult classic instead of cult iooboxy, which is now. At the very least, we have this trailer. And, we can pamper our speakers and watch them over and over on YouTube. Heile Pazuzu. (And buy it Arrow Video Blu-ray To hear /movie BJ and Harmony Kolangelo are thrown into the defense of the movie through a video essay!)