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The seventies are considered to be a decade of global crises and social conflicts, a time of disillusionment and radicalization antiauthoritarian simultaneous protest. In short, it was the perfect decade for a new, provocative and disturbing horror movie: Mostly independent and cheaply produced films, which hitherto unknown consequence? or deliberate boldness?
the aesthetic as moral standards of their genre injured, moved and re-defined.
Later, some of the former Tabubrecher a stylish building canonized classics, such as Tobe Hooper paradigmatic shocker "The Texas Chainsaw Massacre" (1974), or the ruthless capitalism critique, "Dawn of the Dead" (1979) by George A. Romero. And it is significant that these two examples now exist Remakes: As told our decade not sufficiently frightening stories are continually screen horrors of the past exhumed him and often in a sinister combination of the idea of poverty and economic calculus revived.
Because the sonorous title of the seventies thanks to their promise überdauernden reputation secure success at the box office, which is why Hollywood Wiederholungswahn now "The Last House On The Left" seized.
The directorial debut of horror Wes Craven Doyens of the 1972 notes, however, even in the context of the scandals are not truly poor Seventies Exploitationkinos an exceptional position. First, because the history Craven film genre to this day as the explicit Fanal Grausam and hopelessness exhibited.
On the other hand, because so many people quote him without him ever to have seen: Precisely because of the fact that censorship decisions and seizures the movie in several countries, including Germany, maimed or in fact did disappear, has "The Last House on the Left "the aura of the forbidden and dangerous preserved.
VIDEOS ON FILM
Photo: Universal
Video: Universal
"The Last House On The Left"
Trailer and Film Clips
Film clip: "Calm yourself"
Film clip: "Help!"
Film clip: "We meet you in there"
All the more bizarre the situation where now the Neuverfilmung by director Dennis Iliadis remake of a work as advertised, which is not here to see the most potential viewers by hearsay is known.
Before it comes to the latest version can go, the film must be historical myths surrounding the original questioned. In the U.S. there is the possibility, because an official since 2002, largely reconstructed version of the film is available: With a minimal budget of $ 90,000 tried the author and the director Wes Craven and producer Sean S. Cunningham (who later with the Slasher "Friday the 13th" made box office), a lurid film possible for the "Second Bill", the cheap car Beiprogramm the small cinemas and cinemas, to realize.
Ingmar Bergmann's strict guilt and expiation drama "The Virgin Spring" (1960) was the model for the speculative plot around the two teenagers Mari Collingwood (Sandra Cassel) and Phyllis Stone (Lucy Grantham) from rural Connecticut, whose trip to New York came to an abrupt end: They are the violent criminals Krug Stillo (David Hess) kidnapped, who with his accomplices Weasel (Fred Lincoln), Sadie (Jeramie Rain) and his unstable son Junior (Marc Sheffler) is on the run.
Termination of the maintenance contract
After several verbal and physical attacks leaves the group with their hostages in a forest, not knowing they are near Maris parents house. There, they humiliate and rape the girls before they Phyllis, and a little later, Mari kill. As the car engine fails, search pitcher and his chosen companion shelter at Maris parents. When Collingwood by random fate of her daughter learn to practice self-justice the perpetrators and are speechless at the end in the ruins of their existence.
It is hard to describe Shown without even entering the market Schreier jargon of that campaign to expire. The attracted an audience to the cinema, which is suddenly overwhelmed saw naturalistic depictions of violence, a semi-documentary camera and hopeless suffering of the victims of forcing the audience to make its own, per se, voyeuristic position into question. Even today, impressed this unilateral termination of the maintenance contract with the audience, as well as clairvoyance, with the brutal Craven
Revenge of the parents as well as ultimately nihilistic and self-directed, such as the appalling crimes of the two girls: The violence in this film is devastating in every way.
THE LAST HOUSE THE LEFT ONE (USA 2009)
Director: Dennis Iliadis
Screenplay: Carl Ellsworth, Adam Alleca, Mark Haslett
Cast: Tony Goldwyn, Monica Potter, Spencer Treat Clark, Aaron Paul, Sara Paxton, Riki Lindhome, Garret Dillahunt, Martha MacIsaac, Joshua Cox
Production: Wes Craven, Marianne Maddalena, Sean S. Cunningham, Rogue Pictures
Distributor: Universal
Running time: 100 minutes
Start: 14 May 2009
Official Website
Away from this genuine, although hardly encouraging bursting of the film quality of logical errors, has a mildly bumpy rhythm and remains in its unpolished imbalance psychedelic soundtrack, including a malignant opposition. Wes Craven called it in retrospect quite aptly a "black sheep movie": A black sheep in the system of American genre cinema, which would have to be alone can break the rules and truly wehzutun.
How can the film as an expression of angry despair of the Vietnam war, whether just as agonizing death of innocence and the end of the hippie idealism. Craven himself spoke just a few years ago from a dark place, which he then had to visit on which he never wants to be.
The statement is, unfortunately, probably not, because finally, Craven and Cunningham produced the remake. Likewise, the familiar plot structure and builds an effective matter, but forgotten horror film worthy of the new school. Some role names - for example, Phyllis is now Page - and the setting were changed slightly, but otherwise follows the revision of the original story - but with crucial differences.
-Horror remake left to leave
Where the original form and content through breaks insecure, are routinely off voltage moments and the usual viewing satisfaction. This is particularly true for scenes of violence which are now tested for the audience are easily goutierbar and no potential for a serious discussion of the Displayable offer.
The full Sinnentleertheit of the task, however, revealed at the end, when the indissoluble, moral-ethical dilemma of 1972, a triumphant plea for defensive nuclear family is different. The bloody happy ending legitimized precisely those forms of violence, which Craven movie so painful denounced, and thus the whole approach to absurdity.
It remains only to note that there are now two movies with the title "The Last House on the Left" is a shameful exploitation works from the seventies, in the lurid break with conventions of a accident, yet compelling truth arrived. And a streamlined plagiarism, although terror and alleged transgression, but only the familiar, familiar reactionary solutions. The latter can be safely left the cold.
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