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The Last House On The Left [Blu-ray]
Additional Blu-ray options | Edition | Discs | Price | New from | Used from |
Blu-ray
August 17, 2020 "Please retry" | — | 1 |
—
| $22.57 | $14.99 |
Blu-ray
August 18, 2020 "Please retry" | Special Edition | 1 |
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| $35.44 | — |
Blu-ray
July 3, 2018 "Please retry" | Limited Edition | 1 |
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| $58.48 | $29.50 |
Watch Instantly with | Rent | Buy |
Purchase options and add-ons
Genre | Horror |
Format | NTSC, Dolby, Widescreen, Anamorphic |
Contributor | Marc Sheffler, Fred Lincoln, Wes Craven, David Hess, Jeramie Rain |
Language | English |
Runtime | 1 hour and 24 minutes |
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Product Description
The directorial debut of Wes Craven, the man behind such horror favorites as A Nightmare on Elm Street, The Hills Have Eyes and Scream, The Last House on the Left justly retains its reputation as one of the most harrowing cinematic experiences of all time, nearly half a century on from its original release.
On the eve of her 17th birthday, Mari and friend Phyllis set off from her family home to the big city to attend a concert by shock-rockers Bloodlust. Attempting to pick up some marijuana on the way, the pair run afoul of a group of vicious crooks, headed up by the sadistic and depraved Krug (David Hess). Gagged and bound, the young women are bundled into a car trunk and driven to the woods, where the gang subject them to a terrifying ordeal of sexual humiliation, torture and murder.
Unleashed on an unsuspecting public in 1972, The Last House on the Left shocked audiences with its graphic and unflinching portrayal of interpersonal violence, paving the way for a whole host of cheap imitators looking to capitalize on its success. It is Wes Craven’s original alone, however, that remains one of the true watershed moments in horror (and indeed, film) history.
SPECIAL EDITION CONTENTS
- High Definition Blu-rayTM (1080p) presentation of the Unrated Version
- Original Uncompressed Mono Audio
- Optional English subtitles for the deaf and hard of hearing
- Isolated score remastered from the original 17.5” magnetic tracks
- Audio commentary with Bill Ackerman and Amanda Reyes
- Archival audio commentary with writer/director Wes Craven and producer Sean S. Cunningham
- Archival audio commentary with stars David Hess, Marc Sheffler and Fred Lincoln
- Archival introduction to the film by Wes Craven
- Still Standing: The Legacy of The Last House on the Left – archival interview with Wes Craven
- Celluloid Crime of the Century – archival documentary featuring interviews with Wes Craven, Sean S. Cunningham, actors David Hess, Fred Lincoln, Jeramie Rain, Marc Sheffler and Martin Kove
- Scoring Last House – archival interview with actor/composer David Hess
- It’s Only a Movie: The Making of The Last House on the Left – archival featurette
- Forbidden Footage – the cast and crew discuss the film’s most controversial sequences
- Junior’s Story – interview with actor Marc Sheffler
- Blood and Guts – interview with makeup artist Anne Paul
- The Road Leads to Terror – featurette revisiting the film’s original shooting locations
- Deleted Scene: “Mari Dying at the Lake”
- Extended Outtakes and Dailies, transferred in HD
- Trailers, TV Spot & Radio Spots
- Image Galleries
- Reversible sleeve featuring original and newly commissioned artwork by Paul Shipper
Product details
- MPAA rating : R (Restricted)
- Product Dimensions : 0.7 x 7.5 x 5.4 inches; 2.47 ounces
- Director : Wes Craven
- Media Format : NTSC, Dolby, Widescreen, Anamorphic
- Run time : 1 hour and 24 minutes
- Release date : August 18, 2020
- Actors : David Hess, Marc Sheffler, Jeramie Rain, Fred Lincoln
- Studio : Arrow Video
- ASIN : B085Q15WN5
- Country of Origin : USA
- Number of discs : 1
- Best Sellers Rank: #69,876 in Movies & TV (See Top 100 in Movies & TV)
- #2,740 in Horror (Movies & TV)
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Actually, there's some possibility that what we're seeing today isn't all of what they saw back in 1972. Although Wes Craven's introduction on this DVD says this is the most complete version available, there's some footage included as part of the extras that gives us a much more graphic, extended version of the disemboweling scene. It's unclear from the "making of" documentary whether this is actually what they saw back in 1972, but even if it isn't, the film still has power for other reasons.
Part of this film's continued impact is historical. LAST HOUSE is the first significant achievement by Wes Craven, who has gone on to become a major figure in both film and television. It may also be that if it weren't for LAST HOUSE, there would be NO slasher/splatter movies on any video rental store's shelves, because LAST HOUSE was the movie that created the genre. Film scholars should also note that LAST HOUSE was based on the same 14th-century Swedish folktale as THE VIRGIN SPRING, and contains various allusions to the Bergman film.
But it isn't just horror movie historians who believe LAST HOUSE still deserves public and critical attention. Many people, including yours truly, feel that even though it's no longer cutting edge, it still retains its original impact. Several good arguments have already been made, which I'll present along with my own.
The most widely voiced argument seems to be that while other films have equaled or surpassed LAST HOUSE in the amount and explicitness of their violence, they don't measure up in credibility. This credibility comes partly from the context in which the violence occurs, and partly from the film's look and feel.
Regarding context, any violent act is less disturbing if it either (a) seems totally removed from any life experience you can imagine getting into, and/or (b) happens to someone you can't see as a real person. Such is the case with so many movies that present contrived situations and victims who are little more than shooting gallery ducks.
Such is not the case, however with LAST HOUSE. The two adolescent girls, Mari and Phyllis, could be people you went to school with, and their humiliation, torture, rape, murder, and mutilation is the end result of a mistake that's easy to imagine making -- letting your guard down because you were having fun and the excitement of the moment made you careless and overconfident. In this case, Mari and Phyllis are off to a rock concert to celebrate Mari's 16th birthday and want to score some weed. Unfortunately, they go off with the wrong guy and end up the captives of Krug Stillo, Fred "Weasel" Podowski, and Sadie -- three escaped convicts who have a very sadistic idea of fun. (The aforementioned wrong guy is Junior Stillo, Krug's illegitimate son, who is a reluctant participant.) When the girls try to resist and escape, the sadism degenerates into bestial rage. So much for the notion that if you stand up to the bullies, they'll back down.
And here, I'd like to add one of my personal reasons for finding LAST HOUSE effective. Krug and Co. and the atrocities they committed against Mari and Phyllis seem all to believable to me because they remind me of several characters I had the misfortune to get mixed up with many years ago. The details wouldn't be germane to this review, but I think it's germane to say that there are probably many other folks who've been similarly -- if not quite so extremely -- victimized, and so can relate to the events in LAST HOUSE.
Moving on to the look and feel issue, while we all appreciate the polished, slick look of a big-budget Hollywood film , that look makes it obvious you're watching a fabrication. But LAST HOUSE is a low-budget movie with with that grainy, washed-out low-budget look and slightly muffled low-budget sound. The filmmakers also deliberately used documentary-style shooting techniques, because their previous work had been largely in the area of documentary films. All of this combined creates the strong illusion that you're eavesdropping on real events.
The second major argument concern the reaction of the killer to what they've done. Unlike Jason and other mindless killing machines, the killers are themselves shocked and horrified by their own acts, which forces the viewer to find those acts all the more shocking.
Finally, I'd like to challenge one basic assumption made by those who claim LAST HOUSE no longer has any power -- that the ubiquity of graphic violence in the cinema must inevitably cause the general public to adopt a "So what else is new" attitude toward it. Granted, constant or repeated exposure to a particular stimulus tend to desensitize one to that stimulus. In fact, some groups of people, such as E.R. doctors, policemen, and social workers, MUST desensitize themselves to heinous and extreme acts of violence to do their jobs properly and stay sane. But we aren't all in those lines of work, and so don't all have to force or let ourselves ease to feel shock when something shocking happens. Even if you've seen every other slasher/splatter movie on your video rental store's shelves, you should still be able to get a shock from LAST HOUSE if your emotions are still alive.
It's also a random movie. Frustratingly so, if you think about it too long. I don't mean the movie is randomly put together, I mean the story is frustratingly realistic in how random it is. Like all the awful things you hear about on the news and think to yourself how random it was, that's how this movie is. And its just a small part of its genius. It is also a horror movie which has no traditional villain or heroes. Yes, you naturally root for the girls who end up in this awful predicament, but you also can't completely dismiss the fact that they bring it on themselves by both a) seeking out drugs from strangers in a run-down part of town, and b) willingly enter said strangers apartment. Does it excuse the shocking things that are subsequently done to these two young girls? No. But my point is that Wes Craven does not give us cookie cutter versions of good and evil here. There is no masked maniac randomly attacking helpless teens. These are girls who willingly put themselves into a terrible situation that completely unravels on them. As for the group of bandits the girls run into? Yes, on the surface, they are what most people would call the bad guys, and they (make no mistake about it) do very bad things to these girls, but they also have well developed characters and you feel a sense of community and desperation among them. They feel like real people who simply took a few wrong turns and just keep making bad decisions.
When the movie begins, with a shower scene and nudity from our main character (which sort of tells you the sort of movie you're watching, when there is a shower scene during the opening credits), after which she appears before her parents in a skin tight shirt with no bra, you start to abandon the idea that she is a purely innocent character. Then she convinces her friend to find drugs before attending the concert they're going to see, and to go into the apartment of complete strangers to do so. This is where our story really begins. It just happens that the apartment is occupied by a group of crooks on the run from the police, and so they can't let the girls go, for fear of being exposed. The group leader realizes pretty quickly they'll need to kill the girls, but not in the city, and not before they have some fun with them first. You can imagine where this goes, but honestly, it goes further. An extended sequence of shocking violence ensues, with everything from rape, torture and murder taking place. But why this movie is so enduring is that almost immediately after these events take place in the film, even as the audience is disgusted and outraged at what they just witnessed, the crooks who just completed those acts become equally disgusted with themselves. Its not spoken. It's not overly obvious or explored to death, but for the remainder of the film, the crooks are obviously shaken by how far they went and by what they just did to two (mostly) innocent girls. And yes, the desire for justice and revenge fuels the rest of the film, as the crooks seek shelter and by pure, ironic happenstance, end up at the house of one of the girls parents.
Yes, you read that right; the house they end up at happens to be the house of the parents of one of the girls they just raped and murdered. Genius. The third act then becomes a fantastic build up of tension, as the crooks deal emotionally with what they did in the woods, and as we the audience anticipate what will happen when the crooks and the parents of the slain girl realize their awful, ironic connection. A true masterpiece in horror that should not be missed by any avid horror fan, but could understandably be skipped by people turned off by the premise. Just know its a deliberately shocking film, but that the shocking events within have a purpose.