![]() Using the plot of Ingmar Bergman’s “The Virgin Spring” as a template, Craven scripted a deeply unsettling tale of brutality and vengeance, in which a pair of young women are raped and murdered by a gang of thugs who end up seeking shelter in the home of one of the victims’ parents. The opportunity to make “Last House on the Left” came when the distributor of “Together,” a piece of soft-core erotica directed by Cunningham and edited by Craven, offered to finance a low-budget horror film. Oscars 2023: Best Original Song PredictionsĢ2 Great Erotic Thrillers, from Adrian Lyne to Brian De Palma Judd Apatow, Damon Lindelof, Shonda Rhimes Want More Responsible Gun Portrayals in Hollywood ![]() Quentin Tarantino Confirms 'Inglourious Basterds' Role Was Written for Adam Sandler Everybody has to start somewhere, and without ‘Last House on the Left,’ there might never have been a Freddy or Jason.” “I do not think Sean or Wes had any personal affinity for horror or set out to make an influential mark on the genre,” David Szulkin, author of “Wes Craven’s ‘Last House on the Left’: The Making of a Cult Classic,” told IndieWire. Either way, the horror genre was never the same: Craven, who was making his feature directorial debut with “Last House,” went on to helm several of the smartest, scariest, and most imitated horror films of all time, including “The Hills Have Eyes,” “A Nightmare on Elm Street,” and “Scream.” Cunningham, his producer, would exert an equally pervasive influence on the genre as the director of the original “Friday the 13th.” Ironically, neither filmmaker had a strong desire to make horror movies. Roth is an interesting person and my only problem with the movie was that he came off rather smug and starting to fill with his own self-importance if he gets to direct more films I hope he can keep his feet on the ground.Fifty years ago, two unknown filmmakers named Wes Craven and Sean Cunningham released their low-budget thriller “Last House on the Left.” Or, given its effect on audiences, maybe it’s more accurate to say they unleashed the film. Overall this is a nice addition to the film that is reasonably interesting but, even when it isn't, it still manages to be fun. I was also interesting to see the cast getting made up and chatting onset they all came across as nice people and displayed more personality than they each did in the actual movie! One bit made me laugh out loud and that was Roth acknowledging that people had told him not to do the deer hit scene (I agreed with them) but his rational is that 'if they're still watching after an hour then they won't care .', not the most sound argument I've heard for a scene that is so silly that it almost threatens to derail the film when it should be at it's strongest! The contributions are mostly just chatter rather than insightful anecdotes but what they lack in real interest, they make up for in terms of fun. The background to Roth and the rather smug speech at the Toronto Film Festival are both low points but the stuff about the problems (the dog and the frozen blood) are both interesting. The film breaks the 30 minute runtime down into small chunks about various elements of the making process some are interesting and some aren't. However, that said, the film still manages to come off as quite fun to watch and also reasonably interesting too. In that regard the film is rather weak as it has a little too much in the way of back slapping between the cast and thee director. When you find that this film was directed by Roth's brother and that Roth himself is presenting it, you begin to get the feeling that this may not be a 'warts and all', open expose of the making process. Also the problems they encountered when they cast a fat, arthritic and friendly dog to play the part of an angry, diseased dog. The cast and crew take time during and after the making of the film Cabin Fever to discuss how it came about, how the cast were arrived upon, how the effects were done (and the problems they encountered) and how Roth worked the shots and worked with the actors to develop the characters.
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