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Church attendance temporarily shot through the roof as regular folks grappled with the concept of Satan being alive and well in modern America. Suddenly, the rarely spoken of Catholic ritual of exorcism was plastered across the cover of Newsweek and Time magazines and became a staple of nightly television news. But The Exorcist became a cinematic juggernaut that swept across America, inspiring people to travel hundreds of miles and stand in line for hours just to be scared out of their minds. Studios then relied on newspapers and word of mouth to build up excitement in the outlying suburbs and rural communities where the film would eventually play. In that long ago, pre Internet age, studio film openings were limited to about twenty select metropolitan theatres across the nation. It’s hard for contemporary audiences to truly grasp what a cultural phenomena 1973’s The Exorcist was.
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The demon possesses Ippolita and her Catholic priest uncle declares that only an exorcism can save her soul. The treatment temporarily cures her paralysis, but also awakens a demon that has haunted the family for generations. Struggling with a crisis of religious faith, she consults a psychiatrist who hypnotizes her as part of past life regression therapy. Ippolita is a young woman paralyzed by a childhood accident and confined to a wheelchair ever since.