And I have no real interest in working. Go figure.
I thought I would write a bit this afternoon about Last House on the Left, Wes Craven’s first film. Sarah and I are screening tons of horror flicks for an upcoming film fest we’re hosting and LHOTL was one in the queue. Here’s what I liked about it: the creepy scenes were generally creepy. Watching psychopaths impose their will upon others is unsettling. Here’s what I didn’t like about it: the Hee-Haw soundtrack and bumbling cop duo (featuring Kobra Kai himself, Martin Kove) served not to lighten the mood but to make the film seem like a twisted side-plot in an episode of The Dukes of Hazzard. I couldn’t help but wonder why this attempt at comic relief. Adding to this, after the film’s resolution into vengeful barbarism, the credits roll to the same boppy banjo music and has still photos of the cast at their smiling best, a virtual “Those Were the Days” of an ending. Didn’t seem to fit at all. Anyway, it’s worth watching, just to see one of the founding films of contemporary horror. Also, Craven’s producer on the film, Sean Cunningham, is the guy who started the Friday the 13th series. In effect, Last House on the Left is two guys, working with a neophyte’s balls-to-the-wall gusto, wanting to do something no one had seen before. (That last phrase reminds me – Last House on the Left features an awesome nightmare blowjob scene.) It’s not a great film, but not without some merit.