How Onibaba (1964) Inspired The Exorcist: William Friedkin’s Favorite Horror Film.

More than just praise, Friedkin openly acknowledged that Onibaba directly influenced The Exorcist, particularly the design of the demon Pazuzu, as well as the film’s oppressive mood, sound design, and philosophical approach to evil. This connection places Onibaba at the spiritual core of modern horror cinema—and firmly cements its legacy as one of the most influential horror films ever made.

Onibaba (1964): A Masterclass in Psychological and Atmospheric Horror

Directed by Kaneto Shindo, Onibaba is set in feudal Japan during a period of civil war. The story follows two women—a mother and her daughter-in-law—who survive by ambushing and murdering lost samurai, discarding their bodies in a deep pit hidden among tall reeds.

At its surface, Onibaba is stark, brutal, and grounded in realism. But beneath that realism lies something far more unsettling: a creeping sense of moral decay, sexual repression, and spiritual corruption. Shindo weaves folklore, human desperation, and supernatural terror into a film that feels timeless and deeply disturbing.

Unlike many horror films of its era, Onibaba doesn’t aim to shock—it suffocates. Its terror comes from silence, repetition, shadows, and sound.

William Friedkin’s Admiration for Onibaba

William Friedkin was never subtle about the impact Onibaba had on him. He described it as:

“The most terrifying film I have ever seen.”

What struck Friedkin most was not violence, but restraint. Onibaba proved that horror could be devastating without bloodshed or spectacle. The fear was psychological, moral, and spiritual—precisely the same approach Friedkin would later adopt for The Exorcist.

Friedkin praised Shindo’s ability to:

• Create overwhelming suspense without gore

• Ground supernatural horror in human reality

• Use sound and silence as narrative weapons

• Explore evil as a consequence of human desire and fear

These ideas became foundational to The Exorcist’s design and tone.

The Demon Mask That Inspired Pazuzu

Perhaps the most direct connection between the two films lies in the demon mask in Onibaba.

In the film, a terrifying Hannya-like mask is worn by a samurai, symbolizing jealousy, rage, and spiritual corruption. When the mask becomes fused to the wearer’s face, it transforms from a physical object into a manifestation of inner evil.

Friedkin explicitly stated that this mask influenced the appearance of Pazuzu, the ancient demon in The Exorcist.

Shared Visual Traits:

• Hollow, sunken eyes

• Elongated, unnatural facial proportions

• A frozen expression of eternal torment

• A sense of something ancient and inhuman

Rather than designing Pazuzu as a typical “movie monster,” Friedkin opted for a mythic, archaeological presence, much like the mask in Onibaba—a relic of ancient evil rather than a flashy villain.

Realism Meets the Supernatural

One of Onibaba’s greatest achievements—and one Friedkin deeply admired—is how seamlessly it blends realistic human suffering with supernatural terror.

The film’s horrors are born from:

• Hunger

• Loneliness

• Sexual jealousy

• Fear of abandonment

• Moral compromise

The supernatural elements don’t arrive suddenly—they emerge organically, as if summoned by human cruelty itself.

This philosophy mirrors The Exorcist, where demonic possession is not presented as fantasy, but as a terrifying intrusion into everyday life. Friedkin famously shot The Exorcist with a documentary-like realism, making the supernatural feel disturbingly plausible.

Sound, Silence, and Sensory Terror

Onibaba’s sound design is one of its most unsettling elements. Composer Hikaru Hayashi used harsh percussion, distorted rhythms, and sudden silences to create a sense of unease that never fully resolves.

The rustling reeds, the wind, footsteps, and breathing all become part of the horror.

This approach heavily influenced The Exorcist, which famously used:

• Sudden silence

• Minimalist musical cues

• Environmental sound

• The haunting use of “Tubular Bells”

Both films understand that sound is often scarier than visuals.

Masks, Shadows, and Moral Decay

Visually, Onibaba is a triumph of black-and-white cinematography. Shadows dominate the frame, faces disappear into darkness, and the tall grass becomes a claustrophobic maze.

The mask in Onibaba isn’t just a prop—it represents:

• The loss of humanity

• The inability to escape one’s sins

• The physical manifestation of inner corruption

Similarly, The Exorcist treats demonic possession as a stripping away of identity, replacing it with something ancient, cruel, and unrecognizable.

Why Onibaba Still Matters Today

Nearly six decades later, Onibaba remains disturbingly modern. Its themes—sexual repression, fear-driven violence, and spiritual emptiness—resonate deeply in contemporary horror.

Directors like:

• William Friedkin

• Ari Aster

• Robert Eggers

• Kiyoshi Kurosawa

all owe a creative debt to films like Onibaba, where atmosphere outweighs spectacle and fear comes from what is felt, not shown.

Conclusion: A Hidden Pillar of Horror Cinema

Onibaba (1964) is not just a classic—it is a cornerstone of psychological and spiritual horror. William Friedkin’s admiration, and his acknowledgment of its influence on The Exorcist, elevates Shindo’s film from cult status to essential viewing.

By combining realism with folklore, restraint with terror, and symbolism with human tragedy, Onibaba proved that the most terrifying monsters are not external—they are born from within.

For anyone who considers The Exorcist the pinnacle of horror, Onibaba is not optional viewing. It is the dark, whispering ancestor from which modern horror learned how to truly frighten.