Pumpkin_Man I have seen this movie before a few times, and didn't think much of it but recently, I've become obsessed with it. Like, it's REALLY grown on me. I think I love it. I love the look of the 1970's. It's pretty tame and cheesy by today's horror movie standards, but that's what makes it so great and part of its charm. One minute, something terrible is happening, like forced rape or being stabbed to death, then the next, it's about two clumsy cops trying to find a ride. So, I bought the beautiful epic set by Arrow Video and I'm happy to see that Wes Craven's masterpiece directorial debut has received the Royal Treatment. There are three cuts of the film, which I watched all of them in one sitting. I wanted to see the differences and have it memorized before I re-watched the 2009 remake. (After watching the remake, I still love the original better. It's so iconic and an important piece of American horror cinema) The film is about 17 year old Mari Collingwood, who is about to go see a rock concert with her best friend, Phyllis. Mari is about to celebrate her Birthday. While she's gone, her parents, Estelle and Dr. John Collingwood prepare a Birthday party for her. While searching for some marijuana before the concert, the girls run into Krug Stillo, his son Junior, Fred 'Weasel' Podowski and the sexy but deadly Sadie. They take them into the woods and begin to sexually, psychologically, mentally, and emotionally torture them. The rape scene might've been pretty brutal back in the day, but the one figured in the remake is more graphic. By an amazing turn of events, Krug and company happen to seek refuge at the home of Mari's parents. When they find out who they are and what they've done, the parents will do the unthinkable to seek justice for their daughter. The parents become almost as psychotic as the bad guys, and that's something that fascinates me. In the beginning, they are normal boring parents, then later, the father is setting up traps and whipping out a chainsaw. To avoid fainting, keep repeating, It's only a movie, only a movie, only a movie, only a movie! I highly recommend THE LAST HOUSE ON THE LEFT!!!

canadian58 I don't know why this movie is so well liked. It's not scary. Mostly it's people running around in the woods while nothing happens except loud music plays. Not scary music, random annoying music. Very little of the plot makes any sense. The acting is terrible. Don't bother with this one. It's one yawn after another.

pgsmollen Lots of nonsense is said about this film. Yes its filmed in 'I was there watching style' but its really not very graphic (not that I have any real desire for it to be given its subject matter). Its still 'nasty' but more in its tone and bad acting than anything else. I'd just loved to have heard how Wes pitched this film to anyone prepared to invest in the same!

Gregory Mucci During the early 70's, exploitation films began to run the gamut of seedy, dilapidated theaters that were sprawled throughout cities. Featuring an extremely low budget, exploitation films captured an essence of the culture, one that began to emerge after the death of the late 60's summer of love. When The Last House on the Left was introduced to the public, it was advertised with the tagline "to avoid fainting, keep repeating it's only a movie…it's only a movie." What Wes Craven presents to the audience with his first feature length film is a tacky, ultra-violent, and ultimately unnecessary foray into exploitation cinema, yet one that is sickeningly satisfying, helping change the face of cinema forever.Quickly establishing itself as a film with little morals, but with the potential for values, The Last House on the Left opens with the loving and caring family of the Collingwoods, whose house rests with woods on each side. On the eve of their daughter Mari's (Sandra Cassel) 17th birthday, her parents agree to let her attend a concert in the city with her friend Phyllis (Lucy Graham). Attempting to score some weed after the show, Phyllis encounters Junior (Marc Sheffler), the son of newly escaped convict Krug (David Hess), who has holed up in an apartment building along with fellow fugitives Sadie (Jeramie Rain) and Fred "Weasel" Podowski (Fred Lincoln). What follows is exactly what the films tagline wants you to begin repeating to yourself, "it's only a movie…it's only a movie." Produced by Sean S. Cunningham, who would later direct one of the most quintessential slasher films of our time with Friday the 13th, The Last House on the Left is filmed with the exact low budget graininess that other exploitation films of its time are. One defining difference Wes Craven gives it is an immense sense of well being, established by the blossoming friendship of Mari and Phyllis. While I've certainly never discussed my newly developed testicles or how my body has really filled out over the past season with anyone, watching it being discussed by the two establishes innocence, one that only a woman and possibly her parents could truly feel. This innocence, aided by the loving care of Mr. and Mrs. Collingwood builds us up for the inevitable drop that comes with the young women encountering the gang of fugitives.What Wes Craven seems to labor too intensively on amidst the rape, torture, and ultra-violence is the supposed necessity to lighten the mood whenever the camera shifts away from the perversion in the woods. Given the seriousness and gravity of what is laid out in front of us, the film becomes less exploitative than it does tacky with the goofy, Three Stooge like behavior of the bumbling law men, played by Marshall Anker and Martin Kove. Mixed between cuts of oral rape, dismemberment, and shootings is a score, with pieces provided by David Hess himself, that detaches us from what has burrowed deep within our core, coming off like a B.J. Thomas mock.While remaining unnecessary with its representation of violence towards women, its poorly timed comedic cuts, and its misguided musical choice, The Last House on the Left has remained as significant as it did when it first hit low budget cinema in 1972. It's ability to stick with you long after the credits have rolled is a true testament to the strength and passion of its creators, playing as a true labor of love rather than a simple shock piece. What Wes Craven and Sean S. Cunningham have provided stands not only as a staple in exploitation cinema, but as a milestone in horror, paving the way for years of gore, screams, and macabre.