Blurb:

Previous accounts of sound in The Exorcist have tended to focus on the non-diegetic musical segments of the film (Bazelon, 1975; Brophy, 2001), or else the haunting lack of music in totality (Marriott, 2004). Most have discussed the manipulation of Regan’s voice as she becomes increasingly controlled by the demon Pazuzu. Even more have paid great attention to the role of Oldfield’s Tubular Bells (e.g., Marriott, 2004; Brophy, 2001). Missing from these accounts has been any discussion on how the soundtrack synthesizes key themes of the film. Most pointedly, it is argued here, the soundtrack achieves this via the manipulation of rhythmic elements. The chapter shows how over and above any good versus evil polemic, the soundtrack of The Exorcist re-enforces the battle between the natural (safe) rhythms of everyday life and the disruptive dysrhythm of evil.