Meir Zarchi on the other hand, seemed to set the camera down, roll it, shout ‘action’ and hope for the best.
2010 movie i spit on your grave how to#
Despite being an absolute beginner with no permits, barely any money and formal training only in teaching and philosophy, Wes Craven clearly knew how to tell a story visually, and did a good job with his limited resources. The leafy Connecticut location and general subject make it easy to draw comparisons to Last House on the Left, but the differences between the two are a basic lesson in competent filmmaking. Firstly, it was grizzly in its depiction of violence towards a woman, and secondly, it was just a plain bad movie.
While critics willing to be taken by pleasant surprise, like Ebert, were few and far between, most agreed on two real issues with I Spit On Your Grave. They seem to have no regard for authorities catching up to them. At the end of each separate attack - there are three of them, back to back - the men simply wander off, leaving Jennifer brutalized but still very much alive.
They just become aggressive rapists overnight. For starters, there is no explicit inciting event that leads the men from leering at Jennifer to lengthily pursuing her and eventually attacking. Horror movies are not often the turf of rational thinking, but the thought processes of the characters in I Spit On Your Grave lead a viewer to wonder what kind of world these people are living in. Needless to say, I Spit On Your Grave fell so perfectly into this category that it seemed made for it. They consequently panned the likes of Friday the 13th and many of its contemporaries, citing misogyny and an unethical focus on the suffering of women. By the time I Spit On Your Grave finally secured its US release nearly a decade later, Ebert was not happy with what he saw.Īround this time, Ebert and his partner-in-criticism Gene Siskel were forming a campaign to address what they perceived as gratuitous and excessive violence against women in movies. Indeed, his positive review for Last House on the Left in 1972 caused outrage, and brought the film to wider attention almost overnight. With its release came the attention of none other than Roger Ebert, the Chicago Sun Times critic who had often defended controversial films on the grounds of artistic merit. Whereas many of the titles listed by the DPP were older movies that had already been and gone through their theatrical releases, I Spit On Your Grave was just staggering off the starting line when the Video Nasties moral panic commenced. This particular title found itself in a whirlwind of media attention.
But at least during these times, if a movie caused outrage, it was essentially resigned to the annals of film history once its theatrical release was over. The ‘70s were marked by many takes on horror born out of political fear and intrigue, with the atrocities of the Vietnam War still fresh in the minds of pacifistic young filmmakers like Frances Ford Coppola and Wes Craven. So-called domestic horror was a growing niche, with movies like Roman Polanski’s Repulsion and Rosemary’s Baby welcoming viewers to a world where horror didn’t mean ghoulies and ghosties and long-leggedy-beasties. The horror genre had expanded greatly during the ‘60s and ‘70s, with interest in human-driven terrors becoming prevalent. This is not to say that up until the 1980s, cinema had been a clean and inoffensive affair. Pictures like Halloween and Friday the 13th had incited a boom in violent horror movies that leaned more towards schlocky midnight entertainment for teenagers. At the same time, the slasher movie was in its prime. The fear was that home viewing would not afford the same kind of regulation that cinemas did, meaning that innocent children could have their minds warped by films that were graphic in violent and sexual ways. The advent of home video entertainment brought about a period of largely ungoverned film distribution, with lawmakers struggling to catch up with the slew of unrated movies that had already been put out. Still feeling the hangover of obscenity charges leveled at the suddenly-mainstream porn industry during the 1970s, many media outlets and political groups were facing a new foe: the video nasty. The early ‘80s were a hotbed of moral panic.
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