Plot Details: This opinion reveals major details about the movie's plot.

When I first watched the Last House on the Left I was enthralled. My friend on the other hand couldn’t handle it. Didn’t heed the infamous Hallmark... “It’s Only a Movie!.. It’s Only a Movie... It’s Only a Movie... It’s Only a Movie... It’s Only a Movie”, too bad for me. I was asked to switch it off, and as all pervasive and intent as my morbid curiosity may be, I never forgot my manners. Hence I had to wait until some kind of acceptable time frame had elapsed before I could resume the horror that was. i have to admit I too was having difficulty seeing these two beautiful creatures subjected to this level of torment and debasement. My stomach had whorled and twisted a number of times, by the time Krug carves his latest trophy with his most unfortunate and portentous moniker. I tried reasoning..”are you sure..? I mean it IS only a film man! don’t forget that’.. no way no how, not tonight Alex... Well he said he would leave and let me get on with it, but I was too scared. Too scared of looking like some kind of sick sadist, no not me, it’s no fun on your own, especially when you are watching Last House on the Left. As the adrenaline subsided, the deflating feeling of disappointment was tinged with relief I have to admit. And thus ended my first tentative step into the darker waters of exploitation cinema’s history. And I don't mind saying, I was pretty shocked.

That said and in the cold light of morning, after the reflection and contemplation this experience necessitated, I found myself eager to jump back in. It is my conceit that this desire was borne not of some prurient voyeuristic sadism but of a genuine interest in the work of one of my favorite directors, a fascination in the cultural and political climate under which this film was created, and the simple appreciation of a film rendered with a refreshing sense of honesty and purpose. On reappraisal I was not disappointed, rather upon each repeated viewing I discovered new facets and qualities, nuances, complexities and more and more the impression emerged that this clearly was a film that had the capacity to transcend the limits of its ‘exploitation’ origins.

The power of this film is due in no small part to the nascent force of Wes Craven’s considerable and voluminous talent, his willingness to accommodate improvisation and innovation on location and set -a case in point perhaps of necessity mothering invention- the involving and hip script, his tireless efforts in the cutting room, and the relevance he imbues the project with, on so many levels all make for compelling viewing. Moreover there is much praise due to David Hess a sorely underrated talent, who in this, his first feature, creates one of the horror genre’s most memorable and despicable personae in Krug Stillo, this role had him typecast thereafter as a sadistic villain for many years to come (see; Hitch Hike and The House on the Edge of the Park for more of the same). His invaluable contribution also provides the film with a memorable score, the song writer, musician and vocalist who had previously written songs for Elvis Presley, here crafts moving ballads, that build slowly in intensity to tumultuous crescendo, an emotive accompaniment which helps elevate the work from the financial constraints of it’s production. Fred Lincoln, a porn industry veteran is utterly convincing as Fred ‘Weasel’ Padowski in fact the naturalism with which he performs this outrageous role is eerie and unsettling, Lucy Grantham is amiable as Phyllis Stone, and while Sandra Peabody struggles gamely through the very difficult role of Mari Collingwood, callously it would not be too much to state that she serves as little more than mildly distracting eye-candy.

Essentially, the film comprises a loose re-working of Ingmar Bergman’s widely acclaimed The Virgin Spring, (the winner of the Academy Award For Best Picture in a Foreign Language, 1960, also garnered numerous other successes and nominations globally). Inspired by a medieval ballad, the tale concerns the virgin daughter to a wealthy landowner, who whilst returning home, is one day attacked, raped and murdered by shepherds. The shepherds then take food and lodging, unwittingly, at the girl’s home. Her parents upon discovery of their guests’ heinous deed, exact bloody revenge, despite their catholic beliefs which cite mercy and temperance as divine qualities. Fast forward to the early 1970s and the virgin, Mari Collingwood is celebrating her birthday by attending a rock concert in New York City, with her friend Phyllis Stone, ‘the girl from that bad neighborhood’. On their way to the concert they try to score some dope and are abducted by a gang of crooks which comprise two recently escaped convicts; Krug and Weasel, Sadie, their bisexual female accomplice (played with some zeal by Jeramie Rain) and Junior Stillo, Krug’s son, addicted to heroin in order that his father might control him. As you may well imagine things take a nasty turn for the worse from here. The scenes of retribution and the inherent conflicts are similarly updated, and provide some of the movies deepest layers.

While the film is raw, and severely limited by it’s low budget and by inexperience, it comes across as surprisingly accomplished. It is peppered throughout with charming in-jokes and ironic twists; see if you will the scene in which Krug passes a child holding a balloon which he maliciously bursts with his cigar, a natty homage to Hitchcock’s Stranger’s On A Train. At times the dialog is genuinely amusing, Craven offers up discourse on feminism, liberalism, capitalism and psychoanalysis in throwaway gags between hackneyed and archly delineated characters (shades perhaps of the knack for irony he would later exploit to phenomenal success). The tirelessly inventive cinematography lends the picture a truly professional air, wonderfully lit and composed Vic Hurwitz has optimized every set up. In the pictures starkest, and most harrowing sequences the palpable documentary style, is highly disturbing, and effective. More so is the rapid juxtaposition of idealism and realism, a device neatly exploited to convey the sociological upheaval upon which you feel Craven is commenting. And the feeling is unavoidable, when one considers this film, made after the end of the last summer of love, the scene having been broken up, after Altamont and Vietnam, and the unrest prevalent at the time. There is no more poignant indication of this metaphor than the peace symbol pendant Mari’s doting and liberal yet out of touch father presents to her as a birthday gift, a pendant later seen hanging around Junior Stillo’s neck as he slides down the wall, his brains splattered out behind him. This nihilistic world view, without redemption, or hope may be depressing, it may be outrageous and unpleasant, it is however uncompromising, original and refreshing, and to Craven’s credit I think that he had the integrity to render it as he felt appropriate.

Craven's directorial first is almost antithesis to the polished ironic post-modernism of his notable recent successes such as Scream, although as stated this predilection is somewhat foreshadowed here. This film is raw, powerful, compelling, a stunning essay in violence, revenge, propriety and the limits of human degeneracy. As you may have gathered this makes for necessarily difficult viewing, thus this film is not for all tastes, but those with an interest in the cinema of exploitation, particularly that of the gore driven 70s North American variety will find much to delight in. The Last House On The Left is a horror film that doesn’t rely on special effects, or supernatural hokum, but draws it’s considerable strength from the very real horrors faced in the world around us on a daily basis, it is it’s tangibility and the frisson of voyeurism which lends the film such power and may make it unbearable for some. Whereas others may find it essential. This is a unique, and original film which has spawned countless remakes around the world, it breaks new ground, yet you will find it sleazy, rough around the edges, and guilty at times of exploiting what it purports to condemn. That this is a forceful film is indisputable, but it's spurious thrills are most certainly of limited appeal.
Tread carefully.


Recommended: Yes

Viewing Format: VHS
Suitability For Children: Not suitable for Children of any age