It is this sort of quasi-quackery along with claims that it was based on the documented 1949 case of Robbie Mannheim ("Roland Doe"), that illustrates just what kind of cultural impression the movie had in 1973. The monument of the impact was partially due to the fact that a mere five years earlier in 1968, the extremely conservative Hays Code was dismantled in favor of a similar version of the current rating system that we have today. The ratings system gave a lot more leeway in terms of sex, violence and "adult themes". While there were plenty of horror movies in the '60s, a majority of them were either aimed at children, or were micro-budget affairs that were carried around the country in the back of the filmmaker's car. THE EXORCIST was a big budgeted film (for the time), weighing in at $65 million in today's dollars. This was a sharp contrast to a majority of horror films that were being made for thousands of dollars. The film was a deadly serious speculation on the dark side of religion in a time where people were starting to move away from the church. With beautiful cinematography, a hauntingly memorable score, an excellent cast and Dick Smith's groundbreaking effects, it became the highest grossing film of all time, and still one of the highest horror films, until it was dethroned by JAWS two short years later. It is also the first horror film nominated for an Oscar (10 nods in all), with Blatty taking one home. Barring ROSEMARY'S BABY (1968), it was arguably the advent of the big studio exploitation pictures that have evolved to completely dominate American theatrical releases. It was an event that will never again be repeated in cinema. Naturally, since it was such a big pie, everyone wanted a slice. Preferably with extra cheese.
Sometimes these remakes offer up an engaging alternate version, such as the DEATH WISH (1974) remake EXECUTIONER (aka CELLAT, 1975), which still features an architect with some serious family drama, but allows it to play out in a way that doesn't feel like a shot-for-shot remake. On the other end of the spectrum we have SEYTAN. Turkey's quick and dirty EXORCIST clone that makes absolutely no bones about remaking the original almost scene for scene.
In short order we meet Ayten (Meral Taygun), a single mother who lives in an upscale two story house with a conveniently long staircase leading up to it. While she plays a lot of tennis, like all white Americans do, her pre-teen daughter Gul (Canan Perver), who apparently spends most of her time in bed, has been playing with a new game that allows her to communicate with the spirit world. The game is basically a Ouija board that looks handmade, but not in artisanal way. Kevin Tenney would spin in his grave. Well, he would if he were dead, anyway. Of course when mom wants to play the game, nothing happens, which Gul cheerfully explains is because "Captain Lersen" (who?) wouldn't like it.