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I don't want to give the impression, however, that this is simply a good horror movie. It's horrifying, all right, but in ways that have nothing to do with the supernatural. It's the story of two suburban girls who go into the city for a rock concert, are kidnapped by a gang of sadistic escaped convicts and their sluttish girlfriend, and are raped and murdered. Then, in a coincidence even the killers find extreme, the gang ends up spending the night at the home of one of the girls' parents. Craven has said that The Last House on the Left was inspired, in part, by the explicit footage that was piped into news segments on Vietnam war, but wasn’t reflected by the horror and action films being produced at the time. The country was willing to send its young people off to war, but it couldn’t confront the same violence and death in a theater.
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Internationally, the United Kingdom refused to certify the film for release, and while briefly released on home video in the 1980s, the "video nasty" scare led to the banning of the film until 2002. The Last House on the Left was released in the United States on August 30, 1972. While the film initially received a polarizing reception from critics, it was highly profitable, grossing over $3 million at the domestic box office. One of the few mentions came from Kelly O’Donnell, president of the correspondents’ association, who briefly noted some 100 journalists killed in Israel’s 6-month-old war against Hamas in Gaza.
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What does come through in "Last House on the Left" is a powerful narrative, told so directly and strongly that the audience (mostly in the mood for just another good old exploitation film) was rocked back on its psychic heels. Like the exploitation films Night of the Living Dead (1968) and The Texas Chain Saw Massacre (1974), the film has received critical reevaluation years after release, with particular praise towards the narrative and performances of Peabody and Hess. It has since achieved a cult following and received a nomination for AFI's 100 Years...100 Thrills in 2001.
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It’s hard to define the film’s political point of view, other than a prevailing feeling that wars were being fought at home, too, and that the idealism of the love generation had curdled into bad vibes. It may not be a film about America or Vietnam per se, but it’s an essential mood ring of the early 70s. Mari Collingwood plans to attend a concert with her friend Phyllis Stone for her seventeenth birthday. Her parents, Estelle and John, express their concern about her friendship with Phyllis but let her go and give her a peace symbol necklace. Before the concert, Mari and Phyllis encounter Junior while trying to buy marijuana.
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Our analysis of the changing racial and ethnic composition of lawmakers was based on data from the U.S. In our discussion of “Southern Democrats” and “Southern Republicans,” we defined “the South” as the 11 states that comprised the Confederacy during the Civil War, most of which were dominated politically by Democrats for generations after Reconstruction ended. Southern Democrats, however, were ideologically and demographically quite distinct from Democrats in the rest of the country, so they merited separate study (and we wanted to see if today’s Southern Republicans are similarly distinctive). We chose to use the former Confederate states as our definition of “the South,” as the states that made up the so-called “Solid South” varied somewhat over time and we wanted a consistent, relatively objective definition. It’s become commonplace among observers of U.S. politics to decry partisan polarization in Congress. Indeed, a Pew Research Center analysis finds that, on average, Democrats and Republicans are farther apart ideologically today than at any time in the past 50 years.
Estelle pretends to seduce Weasel, bites off his penis, and leaves him to bleed to death. Krug escapes into the living room and overpowers John before manipulating Junior into killing himself. Krug attempts to flee, but after being cornered by a traumatized Sadie and a chainsaw-wielding John, he is incapacitated by an electrocution booby trap. After a scuffle between her and Estelle, she falls into the backyard swimming pool where her throat is slit by Estelle. Craven based it on the 1960 Swedish film The Virgin Spring, directed by Ingmar Bergman, which in turn is an adaptation of the Swedish ballad "Töres döttrar i Wänge".[3][4] Cunningham produced the film for $90,000 and used a cast of relatively unknown actors. Distributor Hallmark Releasing, in partnership with American International Pictures, gave him and Craven funding after the box office success of Cunningham's Together (1971).
He leads them to an apartment where they are trapped by the criminals. Phyllis tries to escape and reason with them, but she fails and is gang-raped. Meanwhile, Mari's unsuspecting parents prepare a surprise party for her. Craven cut the film numerous times for the Motion Picture Association of America (MPAA) to rate it R.
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In an evening dedicated in large part to journalism, O’Donnell cited journalists who have been detained across the world, including Americans Evan Gershkovich in Russia and Austin Tice, who is believed to be held in Syria. Families of both men were in attendance as they have been at previous dinners. From there, The Last House on the Left gazes blankly as the two young women are bound and gagged, driven out to the woods and subjected to abhorrent acts of violence and sexual abuse. Their struggle for survival is made all the more unnerving by the fact that the woods are right outside Mari’s home and the Keystone Cops her parents have summoned to search for her can do nothing about it. This sets the stage for the “revenge” part of the rape-revenge scenario, when the gang, having bloodily dispatched the two women, hole up at a nearby home they’re late to realize is Mari’s. What follows is another messy fight to the death, this time between the grieving parents and their vile guests.
The polarization in today’s Congress has roots that go back decades
Mari tries gaining Junior's trust by giving him her necklace and calling him "Willow". Phyllis stumbles across a cemetery where she is cornered and stabbed by Weasel. Mari convinces Junior to let her go, but her escape is halted by Krug.
But the dynamics behind today’s congressional polarization have been long in the making. The analysis of members’ ideological scores finds that the current standoff between Democrats and Republicans is the result of several overlapping trends that have been playing themselves out – and sometimes reinforcing each other – for decades. Over the years, The Last House on the Left has gained a reputation that’s as queasily polarized as its own swings between savage violence and slapstick comedy. On the one hand, it’s a high-minded debasement of Ingmar Bergman’s The Virgin Spring, as much a throbbing counterculture hangover as the Rolling Stones’ Altamont documentary Gimme Shelter was two years before.
On the eve of her 17th birthday, Mari (Sandra Peabody) has blossomed into liberated womanhood, but she’s about to step into a world of burnouts and lowlifes that are eager to take advantage. Though her parents (Eleanor Shaw and Richard Towers) are concerned about her vulgar friend Phyllis (Lucy Grantham) driving her from their country home to an urban “slum” to see a rock concert, they reluctantly respect the fact that she’s growing up. Once they get to the city, however, Phyllis tries to procure a little “grass” from a young junkie on a stoop and she and Mari are led straight to the lion’s den.
Is The Last House On The Left Based On A True Story? - Screen Rant
Is The Last House On The Left Based On A True Story?.
Posted: Sun, 08 Oct 2023 07:00:00 GMT [source]
Mari vomits, quietly says a prayer, and walks into a nearby lake, where Krug fatally shoots her. Now building a solo rap career, Quavo has also turned to activism. Biden, 30, has obvious ties to politics, but she also married a political junkie. Her husband, Peter Neal, interned at the White House during the Obama administration, and contributed to Hillary Clinton's presidential campaign. Keri Russell, 48, recently handed fans of The Americans a new favorite show with Netflix's The Diplomat, in which she stars as a rugged foreign service officer thrown into the more polished role of U.S. ambassador to the U.K. "These are people that cared deeply about what they've done for our profession, and now today, we have to say to them how much we are grateful for what they have done," Lyles said.
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