Poetic Film Review: The Last House on the Left (1972)

in #movies18 hours ago

(source: tmdb.org)

In seventy-two, a year of change,
A time for filmmakers to rearrange,
The boundaries of what was deemed right,
And push the limits of the silver light.

Wes Craven emerged, a name to fear,
With "The Last House on the Left", a film so drear,
A loose remake of Bergman's classic tale,
Set in America, where violence would prevail.

Mari and Phyllis, two girls so bright,
Lured into darkness, by Krug's evil sight,
A deadly encounter, a horrific fate,
A story of torture, rape, and gruesome hate.

The film's portrayal of violence, a source of strife,
Disturbing and graphic, a cinematic life,
The trailer's haunting phrase, "it's only a movie",
A reminder to audiences, to repeat and to groovy.

But amidst the darkness, a surreal tone,
A comical subplot, that seems out of place, alone,
The music soundtrack, a jarring, upbeat score,
A contrast to the bleakness, that the film explores.

Craven's direction, skilled and so fine,
The cast's performances, commendable, a testament to their prime,
David A. Hess, as Krug, a chilling, intense role,
Fred Lincoln, as Weasel, a character, that would make his soul.

The film's success, despite controversy and strife,
A testament to Craven's vision, a horror life,
A product of its time, yet enduring and bold,
A piece of cinema, that continues to unfold.

The Last House on the Left, a film of its era,
A commentary on violence, a society in disarray, and fear,
A significant entry, in horror film history,
A reminder of the power, of cinema's dark mystery.

(Note: The review in its original form can be read here.)

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