Wes Craven's 'The Last House on the Left' happened at just the right time and changed horror forever.
The Last House on the Left is a title that many within the horror fandom are familiar with to this day, even if they have not seen it. While the name Wes Craven is most commonly associated with seminal works like A Nightmare on Elm Street and Scream, it was a low-budget exploitation picture that got his name out there, and started him on the path from teacher to filmmaking legend. In collaboration with Sean S.
Even the villains are given a remarkable scene, just after the rape of Mari, in which they stand around, exchanging awkward glances of remorse, before realizing they must finish the job, while a beautiful Blues ballad about loneliness plays. No words are spoken, but the poignant use of music and cinematography create a palpable atmosphere of raw emotion that allows the audience to see the antagonists as people.
The release of the movie got off to a staggered start. Playing as Night of Vengeance, Sex Crime of the Century and later Krug and Company, it failed to make any real impact. The title Last House on the Left was thrown in as a suggestion, and a cheap but overwhelmingly effective radio spot that advised “To avoid fainting, keep repeating ‘It’s only a movie…only a movie…only a movie’”, created an overnight sensation.
Later, more notable pictures taking clear inspiration from Last House included Meir Zarchi’s infamous I Spit On Your Grave, and its various sequels. A small indie production named Chaos caused outrage with none other than Ebert himself in 2005, and did a good job of proving what made Last House a good film. Chaos is an almost beat-for-beat redo of Last House, except for a truly awful ending, in which the main antagonist kills lives; everybody else dies.
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