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| Let's do this... |
Starring: Sandra Peabody, David Hess, Lucy Grantham, Fred J. Lincoln, Jeramie Rain, Marc Sheffler.
Director: Wes Craven
I had avoided "Last House" for a very long time, interestingly enough. I've never been a huge fan of exploitation cinema, especially the kind that infamously makes a viewer uncomfortable. I ended up watching it for the first time...probably a little over a year ago and ended up being surprised that it wasn't nearly as intense as I had been led to believe...and that it wasn't nearly as amazing as I'd heard, either. I had had been kind of put off by the films strange moments of offbeat humor, primarily because it had a tendency to undercut the admittedly rough scenes of violence and depravity...and then found myself pretty disinterested in the last act altogether. I even watched the remake after and actually kind of preferred that film to the original. That being said, I'm keeping an open mind and hoping to see something more in the project.
So far, I'm pleased to report, I have. I'm probably only ten minutes into the film, but there's been some nice subtle (and not-so-subtle) moments of characterization that provides some nice foreshadowing and a sense of dread. Of course, I'm trying to keep in mind that the point of this film (and really ALL of the films I'm going to be watching) are designed to be watched for the first time, preferably by someone who doesn't have any information about what they're about to watch.
But right off the bat, there's this sense of budding sexuality dripping all over the film. From the clinical-turned-emotional discussion about the decency of Mari's clothing, to her nipples (or "Mammary Gland!" as Mari shouts back at her Doctor Father), to her casual discussion with Phyllis about how undergoing puberty and even Junior's encounter with Sadie as she's taking a bath (which is, interestingly enough, entirely non-sexual and more like the encounter from a small child and their Mother)...and even Sadie's argument with Krug and Weasel ("Yours? I thought she was Ours?"-"I'm not either of your Woman!").
This movie is VERY seventies...I feel like Mike Nelson would ask someone to go on Clu Gulagher alert...but you can't blame the film for that because, well, it was made in the seventies. It's just interesting to look at. Side-burns, bell-bottoms, lots of brown...just an interesting visual style.
I know that eventually Craven is going to overdo it, but early on the juxtaposition of the very menacing hostage situation in a dingy apartment and the Parents setting up a birthday party is incredibly well managed. Even the playful flirting of Dr.Collingwood saying "I want to attack you" to his Wife, Estelle, and then jumping towards a very aggressive (and mostly unshown, despite the film's reputation) kidnapping and rape of Phyllis in the apartment as a confused and horrified Mari looks on...very strong stuff.
The music to this tends to turn me off. Kind of like I said above: Craven eventually goes overboard with his attempts to provide tonal dissonance and irony. I feel like the actual villains aren't nearly as menacing as their actions...and part of that seems to be as a result of that dissonance. I almost feel like this movie shouldn't have a score at all. The music drowns out those wonderful moments of parallel morality. Kazoo music never helps anything ever. I feel like the scene of the bad guys chit-chatting aimlessly while we, the audience, know that they have two Women locked in the trunk of their car would have been horrific enough without silly kazoo music.
This is the Sixth Craven film I've watched in succession and I really am getting an anti-police vibe from Craven's work. The overweight, silly Cop probably provides the worst moments in this entire film. I get the meaning of it: that help is so close by and yet may as well be on the moon...but the silly moments of "Cops are dumb" don't really hit the mark whatsoever. In fact, the very moment of Mari looking up and seeing her own mailbox and realizing how close she is to relative safety does that job far better. The cops just saying "Nah, let's just go" doesn't really add much.
Somehow I find the "Piss your pants" moment even worse than a lot of the other horror to come. There's something about the idea of humiliating their victims, not through threat of violence against her but against her younger and "innocent" friend, and the subsequent stripping and baring of the bodies...it gives me a much more uneasy and disgusted feeling than tearing out entrails. Maybe it's just me, but the more psychological nature of the violation just gives me the willies. Especially as we watch Phyllis attempt to calm her friend as they're forced into a moment of unwanted intimacy with one another...man, just some heinous stuff. Especially when compared to the very slight insinuation from earlier in the film that intimacy between the two of them may not have been so unwanted earlier...
I will say that one of those moments that I wish that I could not know what's going to happen is when the girls make a run for it. It really does undercut the moment knowing they aren't going to make it. I feel like if I could cheer and hope for the best, it'd be much more emotionally shattering to see those hopes dashed.
Mari's desperate attempt to turn Junior around to her way of thinking is another emotional gut-punch scene. It always seemed genuine to me: Mari really does want to help Junior. Sure, she also wants to get away...but there's a sense of honesty and compassion to Mari. I still always wonder if Sadie actually means it when she tells Phyllis she was going to help her, as well as whether or not Phyllis and Mari would have been killed if they hadn't resisted. As violent and depraved as the group is, they don't seem terribly interested in doing more than terrifying and violating their victims. I'm not sure they were actively looking to commit murder. The looks on their faces during and after their violent attack on Phyllis don't appear to be looks of satisfaction (apart from David Hess, of course).
Mid-murder, we jump to hick cops doing "Amos and Andy." Excellent choice. That, uh, was sarcasm. You can't hear me.
There is a fascinating use of setting for the murder. Phyllis wanders into a small cemetary, crawls away, ends up in what is basically a ditch surrounded by discarded trash. It's really horrific stuff. Then they tear out her entrails...and they just walk away slowly, almost dragging their feet. There's no sense of revelry or celebration...well, they do show Mari Phyllis' severed arm...so there is that. And then we cut to rockers giving the cops the finger. Geez. Pacing and portioning out of comic relief are apparently not the strong suits of Cravens early career.
Sandra Peabody doesn't get enough credit for her role as Mari. If nothing else, the terrific close-up of her looking away, almost daydreaming, as Krug violates her, his face right up against hers...it calls back her earlier discussion with Phyllis about imagining her first time. Like being on a cloud, I think she said. Without dialogue or a cut-away fantasy sequence, Peabody offers us the innermost thoughts of Mari during this horrible moment and it's extraordinary. David Hess gets all the credit for his depraved performance as Krug...but there's so much happening with Peabody. I don't think the moment of her rape, and subsequent slow walk into the pond in a daze, did I ever realize the extraordinary performance Peabody gives, and how horrific the whole scene is. Then, a gunshot, the music cuts out, and Mari just floats there. There's almost this sense of perverse freedom to it.
I hate every sequence with the cops. Oh, god, I just remembered as it was about the happen...that friggin chicken scene. Hyuck, hyuck, wokka wokka. I think I hate every moment of comedy in this film. It's not even good comedy, and it really does hurt the films momentum and intensity.
Watching old movies you can always see how society seems to have changed dramatically. I don't think a modern film would be able to get away with a couple in the middle of nowhere offering a group of strangers to stay the night. I just don't think it would seem realistic whatsoever anymore. But maybe I'm just cynical. I do like how perceptive the Collingwoods are, though. They quickly notice a lot of strange details about their guests...I mean before Junior just starts shrieking "I'm sorry" over and over. The dinner table scene actually is a well-done scene. Simple, too. It's basically just against a black background, as the killers just go to town on pasta.
I really do wish the last act did something for me. To this day there is still something about the death of Mari that just makes me feel like the movie is over. Of course, if it were over, it would totally lack resolution...I just feel like the movie has no primary hook any longer once the innocence is totally removed. The retribution of the Parents is, of course, a necessary element for the film: it brings that aforementioned resolution to the story, as well as drives home by the central themes of the cycle of violence and the corruption it has the good of spirit. It's just not nearly as interesting to me, though.
Our killers are not the brightest bulbs, are they? I mean, I know they feel like there is no threat of punishment, and a sense of invulnerability, but they lend themselves pretty well to getting murdered.
I never quite understood why Estelle felt the need to actually go all the way with Weasel. She had him tied up and basically helpless...why actually, y'know, give oral sex to the guy? I mean, I know she wanted to bite his penis off (instead of just cutting it off or just killing him or whatever)...but why? I guess it makes an effective enough moment of violence and violation.
The fight between Doc Collingwood and Krug is actually pretty well done. Craven switches the camera between intimate and distant, the living room is a very naturalistic set, and the streamers remind us what's being fought for. Junior's death probably should have provided an ending to festivities, though: the addendum of Doc grabbing a chainsaw just felt like padding. Krug provokes Junior into committing suicide, turns around and sees Doc with the gun. Blam. The end.
For all the feminist discussions that do happen in this movie, it stills end up with Estelle and Sadie essentially mud wrestling. Then Sadie falls into a pool which...well, it seemed pretty easy to avoid.
Probably the most interesting thing about this film as a whole is the reaction the aggressors have to the violence they just committed. Even Krug and his people never seem particularly thrilled once it's over, and The Collingwoods basically look pretty shattered, too. In the end, this is mostly a strong movie. The violence is visually arresting and hard to watch, the intensity is, at it's peak, incredible. There are great performances and some great use of set direction. Unfortunately, there's way too much tonal dissonance going on. The music and abyssmal comedy doesn't successfully underscore the brutality, it nearly succeeds in totally undermining it. I will say, this time around, I feel the good does outweigh the bad...but many is some of this film irritating.
Final Rating: 3 stars.
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