The Last House on the Left is a 1972 American exploitation horror film written, edited, and directed by Wes Craven and produced by Sean S. Cunningham. The film stars Sandra Peabody, Lucy Grantham, David A. Hess, Fred Lincoln, Jeramie Rain, and Marc Sheffler. The plot revolves around two teenage girls who are taken into the woods and tortured by a gang of murderous thugs. The story is inspired by the 1960 Swedish film The Virgin Spring, directed by Ingmar Bergman, which in turn is based on a Swedish ballad - "Töres döttrar i Wänge".
Craven's directorial debut, the film was made on a modest budget of $87,000, and was filmed in New York City and rural Connecticut in 1971. It was released theatrically in the United States on August 30, 1972, and was a major box office success, grossing over $3 million domestically. Although its confrontational violence resulted in its being heavily censored and sometimes banned in other countries, the film was generally well received by critics. The film was remade under the same title in 2009.
Video The Last House on the Left (1972 film)
Plot
Mari Collingwood plans to attend a concert with her friend, Phyllis Stone, for her seventeenth birthday. Her parents, Estelle and John, express their concern about the band and her friendship with Phyllis, but let her go and give her a peace symbol necklace. Phyllis and Mari head into the city for the concert. On the way, they hear a news report on the car radio of a recent prison escape involving criminals Krug Stillo, a sadistic rapist and serial killer; his heroin-addicted son, Junior; Sadie, a promiscuous psychopath and sadist; and Fred "Weasel" Podowski, a child molester, peeping Tom, and murderer. Before the concert, Mari and Phyllis encounter Junior when trying to buy marijuana. He leads them to an apartment where they are trapped by the criminals. Phyllis tries to escape and tries to reason with them, but she fails and is gang-raped by Krug, Weasel and Sadie. Meanwhile, Mari's unsuspecting parents prepare a surprise party for her.
The next morning, Mari and Phyllis are bound, gagged and put in the trunk of their car and transported to the woods by the criminals. Mari recognizes that the road is near her home with a look of horror. Mari and Phyllis are forced to perform sexual acts on each other and Sadie attempts to perform oral sex on a weeping Mari. Phyllis distracts the kidnappers to give Mari an opportunity to escape but is chased by Sadie and Weasel, while Junior stays behind to guard Mari. Mari tries gaining Junior's trust by giving him her necklace and instead names him "Willow". Phyllis stumbles across a cemetery in the woods where she is cornered by Krug with a machete and stabbed in the back by Weasel. After they take turns kicking her, she crawls to a nearby tree and is stabbed by Weasel and Sadie multiple times. After she dies, Sadie reaches into one of her wounds and pulls out her intestines.
Mari convinces Junior to let her go, but her escape is halted by Krug. Sadie and Weasel present Phyllis's severed hand as Mari screams in horror. Krug carves his name into her chest, then rapes her. She vomits, quietly says a prayer and walks into a nearby lake to clean herself, but Krug fatally shoots her, leaving her body floating in the lake. Krug, Sadie and Weasel clean up and change out of their bloody clothes.
In their new attire, the gang goes to the Collingwoods' home, masquerading as travelling salesmen. Mari's parents let them stay overnight, but Junior exposes their identity and orders them to leave. Later that night Junior, in the midst of a heroin withdrawal, is heaving in the bathroom; Estelle enters to check on him. She gasps as she sees that he is wearing Mari's peace symbol necklace. She eavesdrops while the gang is spending the night in Mari's bedroom and finds blood-soaked clothing in their luggage. She and her husband rush into the woods where they find Mari's body on the bank of the lake. They carry Mari's body back to the house and exact revenge against the crooks.
Estelle seduces Weasel and performs fellatio on him that turns deadly when she bites off his penis and leaves him to bleed to death. Mari's father John takes his shotgun into the room where two of the criminals are asleep and shoots at them. Krug escapes into the living room and overpowers John, before being confronted by Junior, brandishing a revolver and threatening to kill him. Krug manipulates Junior into committing suicide by shooting himself. Krug is incapacitated by an electrocution booby-trap set earlier by John. Sadie rushes outside where she is tackled by Estelle, but she escapes and falls into the backyard swimming pool where Estelle slits her throat with a knife. The sheriff arrives just as John kills Krug with a chainsaw. The deputy then brings Estelle into the living room before removing the chainsaw from John's hands.
Maps The Last House on the Left (1972 film)
Cast
Production
Conception
Sean S. Cunningham made his directorial debut with the white coater film The Art of Marriage. His film grossed $100,000 and attracted the company Hallmark Releasing (unaffiliated with Hallmark Cards Inc.). Cunningham made the film Together as a "better version" of film. Wes Craven, who had no money at the time, was put on the job of synchronizing dailies for Cunningham's four-day re-shoot. He soon began editing the film with Cunningham and they became good friends. Hallmark Releasing bought the film for $10,000 and it was considered a "hit". Hallmark Releasing wanted them to do another film with a bigger budget and gave them $90,000 to shoot a horror film.
Cunningham served as producer and Craven served as writer and director on the project. Written by Craven in 1971, the original script was intended to be a graphic "hardcore" film, with all actors and crew being committed to filming it as such. However, after shooting began, the decision was made to edit the script into a much softer film. This script, written under the title Night of Vengeance, has never been released; only a brief glimpse is visible in the featurette Celluloid Crime of the Century (a 2003 documentary on the making of the film). The crux of the plot is based on the Swedish ballad "Töres döttrar i Wänge," which itself was the basis of Ingmar Bergman's The Virgin Spring (1960), of which Craven was an admirer. Craven envisioned a film in which the violence would be shown in detail onscreen; he felt that many popular films of the era, such as Westerns, glamorized violence and the "vigilante hero," and gave the public a misleading representation of death in the wake of Vietnam War.
Casting
The majority of the cast of The Last House on the Left were inexperienced or first-time actors. Cunningham and Craven held casting calls for the film at Cunningham's office in Midtown Manhattan in late 1971.
Sandra Peabody and Lucy Grantham were cast in the roles of the doomed Mari and Phyllis. The role of the lead villain, Krug Stillo, was given to David Hess, also a musician. Jeramie Rain, who was twenty-one at the time, was playing Susan Atkins in an Off-Broadway production based on the Manson family murders at the time; despite the fact that the original script called for an actress in her forties, Rain was awarded the part of Sadie. Fred Lincoln, who had appeared in pornographic films, was cast as Krug's criminal partner, while Mark Sheffler was given the role of Krug's heroin-addicted son. According to Lincoln, he and Peabody were acquaintances prior to filming and had the same agent at the time.
Filming
The film was shot on location for seven days in New York City, as well as Long Island, followed by shoots in rural locations outside of Westport, Connecticut. While filming in Connecticut, the cast and crew spent much time at producer Cunningham's family's home. According to Craven, the lake sequence was shot in the town reservoir of Weston, Connecticut. Craven sought a "documentary"-style appearance for the film, marked by close-up shots and single-cut takes.
Cunningham later described the film shoot as being "guerrilla-style" with the crew spontaneously filming at locations and being forced to leave due to lack of permits; in retrospect, Lincoln said that "nobody knew what [they] were doing." Much of the special effects in the film were achieved practically, some at Lincoln's suggestion: For example, the sequence in which Phyllis is disemboweled, Lincoln helped craft fake intestines with condoms filled with fake blood and sand. For the murder sequence of Sadie in the swimming pool, Rain had a pouch full of fake blood attached underneath her shirt as well as blood capsules in her mouth, which she manually punctured. Lucy Grantham recalled during the scene in which Hess's character tells her to "piss her pants," that she in fact urinated in her jeans. Steve Miner, who would later become a director himself, served as a production assistant on the film.
Hess recalled that much of the cast bonded heavily during the filming process being that they were mostly inexperienced actors. Lincoln, Rain, and Sheffler recalled similar memories in a 2003 documentary titled Celluloid Crime of the Century, which recounted the making of the film. However, both Hess and director Craven recalled the on-set relationship between Hess and Peabody to be turbulent. Hess often remained in character on the set, and Peabody was purportedly frightened of him, to the point that Craven recalled there "not being much acting" during the shooting of the film's more violent scenes. Sheffler admitted during a one-on-one sequence with Peabody that he threatened to push her over a cliff if she failed to hit her marks.
Music
The film's soundtrack was written by Stephen Chapin and David Hess (who also played the main antagonist, Krug). Chapin wrote all the incidental music for the movie; he also did all the arrangements and orchestration as well as all the contracting and producing musicians. The music is particularly notable for being heavily contrasted with the events on screen. For example, as the gang drives the two girls out into the countryside, the upbeat, almost comical tune "Baddies Theme" plays and, after the rape scene, a soothing ballad plays. This counterpointing was also used elsewhere in the film, with the slapstick antics of the two police officers occurring in between scenes of torture. The soundtrack was released commercially around the same time as the film. In 1999 the soundtrack was re-released on compact disc by Hess on Rock Bottom Rules Records. In 2013 the soundtrack had a re-release on vinyl, compact disc, cassette and digital download on One Way Static Records. It was also re-issued on a limited hand numbered picture disc for Record Store Day 2014.
Release
The Last House on the Left was released on August 30, 1972. Like many films during the era, it had a regional expansion to cinemas and drive-in theaters over the course of the next several months, opening in various U.S. cities between September and November 1972.
Marketing
The film underwent multiple title changes, with its investors initially titling it Sex Crime of the Century. However, after test runs were completed, it was decided to change the title to Krug and Company; however, this title was found to have little draw during test screenings. A marketing specialist who was an acquaintance of Cunningham's proposed the title The Last House on the Left. Craven initially thought the title was "terrible."
In addition to the title change, promotional material for the film featured the tagline: "To avoid fainting, keep repeating 'It's only a movie' ..." advertising campaign Under the Last House... title, the film proved to be a hit. Anecdotes as to where the advertising campaign originated vary somewhat. Cunningham claims that marketing specialist who devised the Last House... title was watching a cut of the film with his wife, who continually covered her eyes, prompting him to tell her that it was "only a movie". Other origins have been suggested, however, as it had been used twice before: first for H.G. Lewis's 1964 splatter film Color Me Blood Red and then for William Castle's Strait-Jacket the following year. The tagline was so successful that many other exploitation films later used it, sometimes with their own spin. The film's title was also imitated, as in the case of Last House on Dead End Street.
According to actor David Hess, a one-sheet poster for the film featuring himself as one of the three villains was plastered in the New York City Subway system, resulting in random civilians being frightened of him.
Critical reception
The film has a 61% approval rating at Rotten Tomatoes based on 33 reviews. Roger Ebert gave the film three and a half stars out of four, and described it as "about four times as good as you'd expect" and maintained that opinion in the mid-1980s when he supported his positive comments again on a special episode of Siskel & Ebert called "Hidden Horror". Author and film critic Leonard Maltin awarded the film one and a half out of a possible four stars. In his review on the film, Maltin called the film "cheap", and "[a] Repellent but admittedly powerful and (for better or worse) influential horror shocker." The film was nominated for AFI's 100 Years...100 Thrills.
Censorship
United States
Though the film passed with an R-rating by the Motion Picture Association of America, director Craven claimed that on several occasions, horrified audience members would demand that theater projectionists destroy the footage, sometimes stealing the film themselves. John Saco, a British film archivist, recalled discussing the film with American theater owners: "Projectionists were so offended, they would just cut up the film as they were watching it. I'd ask people, 'How cut is your version?' They'd say, 'It's not as cut as some of the others I've seen' - that's hardly what you want to hear!"
United Kingdom
Last House on the Left was refused a certificate for cinema release by the British Board of Film Censors in 1974, due to scenes of sadism and violence. During the early 1980s home video boom, the film was released uncut (save for an incidental, gore-free scene with the comedy cops, and the end credit roll) as a video that did not fall under the BBFC's remit at the time. This changed when the "video nasty" scare which started in 1982 led to the Video Recordings Act 1984. The movie landed on the Department of Public Prosecutions list of "video nasties", and was banned.
The film remained banned throughout the remainder of the 1980s and into the 1990s. However, it had built a cult reputation in the UK, and critics such as Mark Kermode began to laud the film as an important piece of work. In 2000, the film was again presented to the BBFC for theatrical certification and it was again refused. The independent film label Blue Underground toured an uncut print around Britain without a BBFC certificate; Southampton City Council granted it its own "18" certificate. The film was granted a license for a one-off showing in Leicester in June 2000, after which the BBFC again declared that it would not receive any form of certification.
In June 2002 the BBFC prevailed against an appeal made to the Video Appeals Committee by video distributor Blue Underground Limited. The BBFC had required 16 seconds of cuts to scenes of sexual violence before it would grant the video an "18" certificate. Blue Underground Limited refused to make the cuts, and the BBFC therefore rejected the video. The distributor then appealed to the VAC, who upheld the BBFC's decision. During the appeal, film critic Kermode was called in as a horror expert to make a case for the film's historical importance. However, after his report, the committee not only upheld the cuts, but demanded additional ones. The film was eventually given an "18" certificate, on July 17, 2002, with 31 seconds of cuts, and was released in the UK on DVD in May 2003. The cut scenes were viewable as a slideshow extra on the disc, and there was a link to a website where the cut scenes could be viewed. The BBFC finally classified the uncut film for video release on March 17, 2008.
Australia
Contrary to popular belief, the film was never banned in Australia on its initial release - rather, it was never picked up for distribution in the country due to the censorship issues that it would have created at the time. The film was submitted to the censorship board in 1987 for VHS release by Video Excellence under the alternative title Krug and Company, but it was rejected because of its violent and sexual content. In October 1991, The Last House on the Left was part of a package of fifteen tapes that was seized by the Australian Customs Service. The package of tapes was forwarded to the Australian Classification Board (then known as the Office of Film and Literature Classification) who declared them "prohibited pursuant to Regulation 4A(1A)(a)(iii) of the Customs (Prohibited Imports) Regulations". The film was eventually classified "R" by the OFLC for its DVD premiere on November 15, 2004. It had a theatrical screening that same month at the Australian Centre for the Moving Image in Melbourne.
Rare or lost scenes
Many different versions of the film exist on various DVD and VHS releases struck from different cuts of the film, many of them from different countries. To get a completely uncut version is difficult as even some cinema machinists cut footage from prints of the movie before screening it during the 1970s; many copies were cut or "hacked to pieces" and because of this some scenes have become rarities.
Some incomplete scenes are:
- "Lesbian rape scene" - One scene long thought lost, except as a photographic still, is the two female victims forced to commit sexual acts on each other in the woods. This forced lesbian rape scene was included as an outtake with no sound on the Metrodome Three-Disc DVD Ultimate Edition and on the 2011 Blu-ray release.
- "Mari in her room" - There are photographic stills showing a nude Mari in her room reading birthday cards in the beginning of the movie; this scene no longer exists.
- "Mari raped by Sadie" - Footage of Sadie committing sexual acts against Mari in the woods is often removed, even from some DVDs that have been labeled as "uncut".
In the Krug and Company cut, Mari is still alive when her parents find her. She tells her parents what happened to her and Phyllis before dying in front of them.
Related works
Sequel
In the 1980s, Vestron Pictures hired Danny Steinmann to write and direct a sequel, though the film fell apart in pre-production due to rights issues. Mario Bava's film Twitch of the Death Nerve was also released under the titles Last House on the Left - Part II, Last House - Part II and New House on the Left.
Remake
In August 2006, Rogue Pictures finalized a deal to remake The Last House on the Left with original writer and director Wes Craven as a producer. The company intended to preserve the storyline of the original film. Craven described his involvement with the remake: "I'm far enough removed from these films that the remakes are a little like having grandchildren. The story, about the painful side effects of revenge, is an evergreen. The headlines are full of people and nations taking revenge and getting caught up in endless cycles of violence." Craven formed Midnight Pictures, a shingle of Rogue, to remake The Last House on the Left as its first project. Production was slated for early 2007. Screenwriter Adam Alleca was hired to write the script for the remake.
In May 2007, Rogue entered negotiations with director Dennis Iliadis to direct the film. The film was released to theaters in the U.S. and Canada on March 13, 2009.
See also
- List of American films of 1972
- List of films featuring home invasions
- List of incomplete or partially lost films
References
Works cited
- Gallant, Chris (2000). Art of Darkness: The Cinema of Dario Argento. London: FAB Press. ISBN 978-1-903-25407-3.
- Muir, John Kenneth (2002). Horror Films of the 1970s. Jefferson, North Carolina: McFarland. ISBN 978-0-786-49156-8.
- Muir, John Kenneth (2004). Wes Craven: The Art of Horror. Jefferson, North Carolina: McFarland. ISBN 978-0-786-41923-4.
- Sumner, Don (2010). Horror Movie Freak. Krause Publications. ISBN 978-1-440-21564-3.
- Szulkin, David (2000). Wes Craven's The Last House On The Left (Revised ed.). London: FAB Press. ISBN 1-903254-01-9.
External links
- The Last House on the Left on IMDb
- The Last House on the Left at AllMovie
- The Last House on the Left at Rotten Tomatoes
Source of article : Wikipedia
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