Last House On The Left

4th Sitting:

Last House On The Left AKA Krug And Company AKA Sex Crime Of The Century, 1972, 82mins (PAL): Successfully prosecuted

KEV - 
Well, I said it was about time we did something properly nasty and Wes (Scream, Hills Have Eyes) Craven's big screen directorial debut, Last House certainly hits that mark at various points during its fairly tight running time. We are watching the excellent Region 2, 16:9 anamorphic, 3 disc "Ultimate Edition" release from Metrodome, which was the first official uncut UK release. The fact that it took 36 years and several attempts for this film to get an uncut UK release may give you a little indication that it does have its moments.

The first time both Jason and myself saw this was at a film fair about 12 years ago when the film's lead protagonist and soundtrack writer/performer David "Krug" Hess introduced the film and after it had finished exclaimed to the audience of assorted nerds and geeks "Well, I don't know about you, but that still scares the shit out me!" ... hmmm, well not quite David, but it's certainly a bit grimey and uncomfortable and, well, odd.

The basic story, teenager Mari Collingwood lives at home with her folks in a lovely wholesome leafy neighborhood. It's her 17th birthday so she meets her friend Phyllis ,who is a tad less wholesome, to go to the city to see their favourite rock band Bloodlust. In the city they go to Phyllis' old neighbourhood to score some pot (obviously - it's 1972) and run into escaped psychopathic criminal Krug, his fellow escapee Weasel, Krug's girlfiend Sadie and his smack addict son Junior. The fact that the girl is called Sadie and, unusually for films at that time, is not backwards in coming forwards in the upcoming unpleasantness, gives a fair old nod to the Manson family and family member Sadie Atkins, who I think were still on trial when the film was being made. The gang kidnap the girls, taking them in the boot of the car while they go on the run, and end up breaking down. When Phyllis tries to escape they decide to torture the girls for fun in the woods, within spitting distance of Mari's home. It is these sequences that really got the film into trouble, the acting is surprisingly good for a lot of the time, the grim bullying and both psychological and physical tormenting of the girls is pretty damn cruel. Craven says he was influenced by a lot of the news footage coming back from Vietnam at the time, and purposely shot these sequences hand-held and used the same kind of grainy, fast film stock that the news crews would use out in the field, to create an effect that had echoes of real news footage. This kind of technique has been used a lot now over the years (witness the battle sequences in Saving Private Ryan, and Band of Brothers to name just a couple), but Craven was certainly one of the first that I'm aware of to deploy that idea, and with great success.

Well, after the gang have finished with the girls, they wind up going to the nearest house to blag a bed for the night and then realise they are staying with Mari's folks and, unfortunately for them, Mari's parents also put 2 and 2 together and set about taking care of the gang. There is a particular sequence involving Mr Collingwood trying to choose an suitable weapon that will ring a few bells of recognition for those who have seen The Evil Dead and/or Pulp Ficton...

Now, what I haven't yet mentioned is the "odd" part of the film; Craven decided to break up the scenes of violence with other scenes that are basically a kind of slapstick comedy, focusing mainly on the two inept local cops that Mari's parents have called into help following Mari's failure to turn up for her birthday tea. Personally I don't think it works and is kind of clunky. David Hess' soundtrack also lurches around in this manner, veering from poignant folky, singer/songwriter kind of material, used to particularly great effect during Mari's last scene, to the sort of plinky-plonky accompaniment that you would find in a Harold Lloyd film and not always at the most appropriate moments. I dunno, maybe I'm just not adventurous enough with mixing my genres, and maybe the film's overall tone, particularly in 1972, would be pretty nihilistic without these juxtapositions, but on the whole I just find them a bit hard to swallow - a sensation that Mari's mum would know all too well following her lethal night-time encounter with Weasel....

All in all, it's a pretty entertaining, reasonably well acted (apart from some of the older members of the cast), and definitely unique affair. Last House is certainly one of the most infamous titles on the DPP list, it was also one of the best examples of the ingenious marketing of a small, low budget film (one of the most fascinating parts of David A. Szulkin's excellent book on Last House). Originally released as Krug and Company" it did nothing, but distribution company Hallmark swiftly renamed the film and, although one of the film's advertising tag lines betrays the grim elements "Mari, 17 is dying. Even for her the worst is yet to come", it is the fantastic and oft ripped-off tag line "To avoid fainting keep repeating, It's only a movie ...only a movie ...only a movie ...only a movie" that basically got people into the US cinemas in their thousands and lo... a cult classic was born. Now Jason, tell them about the mustard polyester, unnecessary shower scene and conversations about breasts!


JAY - 

When I think of LHOTL the first thing that pops into my head is a mustard coloured roll neck sweater. Not the first thing that jumps to mind for most people who have seen this film I imagine – but for me it was the one thing that somehow burnt itself into my semi conscious. The garment in question belongs to the wonderfully named Gaylord St James who plays Dr John Collingwood in the film. Oddly the actor’s real name is Richard Towers – presumably he felt Gaylord was a more fitting moniker.

Anyway that’s the mustard sweater covered – now for the rest of the film. I thought I would start with the big question….is The Last House on The Left as nasty as they say (or at least said)? Well, the answer is yes…..and no. Without a doubt the scenes in the wood are amongst the most uncomfortable you are likely to see on screen (not seen the remake but I can’t imagine it had the same feel). There is something truly upsetting about the throw away nature of the abuse endured by the Mari and Phyllis – used as play things and disposed of without a second thought. These scenes are not particularly gory or explicit, but it is in the hopelessness of the situation that the horror can be found. Once this section of the film is over and we’re in or around the Collingwood house for the remainder, the film meanders a bit and loses its way – maybe it was just so shocking to see all that previous scenes going on in the bright dappled sunlight of the woods that its bound to disappoint when we find ourselves in at night with killers in the home blah blah blah  The end section of the film isn’t helped by poor acting from Mari’s parents and it falls foul of the other ‘Nasty’ hallmarks of a badly made low budget film with no real surprises. No doubt some (including Kev) may think that’s a bit harsh, perhaps I should keep in mind that this was the first of these kind of films.

As Kev mentioned the bizarre use of Laurel and Hardy style Policemen and plinky plonky Harold Lloyd style music to ‘lighten the mood’ is very off putting and ultimately prevents the film from being a truly shocking experience. There is indeed a pointless shower scene at the start of the film (isn’t there always?), pieces of dialogue that appear to be manufactured to show the actors ‘party pieces’ – Juniors impression of a frog for example and an almost unhealthy obsession with mentioning the quality of the telephone service in the area….all these are the sort of thing I adore about a low budget movie. These are the elements that are not quite right because nobody really knew what they were doing.

In summary then – the first truly unsettling film we’ve seen on our quest (but only the scene in the woods). A final tale for you – if you watch this film you have to agree that David Hess’ portrayal of the lead villain Krug is impressive. He is extremely convincing as a nasty, sweaty, violent psychopath, but in the spirit of ITS ONLY A MOVIE, IT’S ONLY A MOVIE, try and picture him singing the early 60’s novelty song Speedy Gonzales (which he wrote) during the Q and A that Kev and I attended some years back. He was grinning from ear to ear and obviously very happy – a more friendly decent chap you couldn’t wish to meet. Still wouldn’t go in the woods with him though!

4 down 68 to go....