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Das letzte Haus links

Originaltitel: The Last House on the Left
  • 1972
  • R
  • 1 Std. 24 Min.
IMDb-BEWERTUNG
5,8/10
42.305
IHRE BEWERTUNG
BELIEBTHEIT
4.354
63
Sandra Peabody in Das letzte Haus links (1972)
Two teenage girls heading to a rock concert for one's birthday try to score marijuana in the city, where they are kidnapped and brutalized by a gang of psychotic convicts.
trailer wiedergeben2:07
1 Video
99+ Fotos
B-HorrorSerienmörderSlasher HorrorSplatter-HorrorEntsetzenKriminalitätThriller

Zwei Mädchen im Teenageralter gehen zu einem Rockkonzert zum Geburtstag. Beim Versuch, Marihuana in der Stadt zu kaufen, werden sie von einer Bande psychotischer Sträflinge entführt und brut... Alles lesenZwei Mädchen im Teenageralter gehen zu einem Rockkonzert zum Geburtstag. Beim Versuch, Marihuana in der Stadt zu kaufen, werden sie von einer Bande psychotischer Sträflinge entführt und brutalisiert.Zwei Mädchen im Teenageralter gehen zu einem Rockkonzert zum Geburtstag. Beim Versuch, Marihuana in der Stadt zu kaufen, werden sie von einer Bande psychotischer Sträflinge entführt und brutalisiert.

  • Regie
    • Wes Craven
  • Drehbuch
    • Wes Craven
    • Ulla Isaksson
  • Hauptbesetzung
    • Sandra Peabody
    • Lucy Grantham
    • David Hess
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    5,8/10
    42.305
    IHRE BEWERTUNG
    BELIEBTHEIT
    4.354
    63
    • Regie
      • Wes Craven
    • Drehbuch
      • Wes Craven
      • Ulla Isaksson
    • Hauptbesetzung
      • Sandra Peabody
      • Lucy Grantham
      • David Hess
    • 563Benutzerrezensionen
    • 153Kritische Rezensionen
    • 68Metascore
  • Siehe Produktionsinformationen bei IMDbPro
    • Auszeichnungen
      • 1 Nominierung insgesamt

    Videos1

    Official Trailer
    Trailer 2:07
    Official Trailer

    Fotos190

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    Topbesetzung15

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    Sandra Peabody
    Sandra Peabody
    • Mari Collingwood
    • (as Sandra Cassell)
    Lucy Grantham
    Lucy Grantham
    • Phyllis Stone
    David Hess
    David Hess
    • Krug Stillo
    • (as David A. Hess)
    Fred J. Lincoln
    Fred J. Lincoln
    • Fred 'Weasel' Podowski
    • (as Fred Lincoln)
    Jeramie Rain
    Jeramie Rain
    • Sadie
    Marc Sheffler
    Marc Sheffler
    • Junior Stillo
    Richard Towers
    Richard Towers
    • Dr. John Collingwood
    • (as Gaylord St. James)
    Cynthia Carr
    Cynthia Carr
    • Estelle Collingwood
    Ada Washington
    • Ada
    Marshall Anker
    • Sheriff
    Martin Kove
    Martin Kove
    • Deputy
    Ray Edwards
    • Postman
    Jonathan Craven
    Jonathan Craven
    • Boy with Balloon
    • (Nicht genannt)
    Anthony J. Forcelli
    • Ice Cream Store Clerk
    • (Nicht genannt)
    Steve Miner
    Steve Miner
    • Hippie Taunting Deputy
    • (Nicht genannt)
    • Regie
      • Wes Craven
    • Drehbuch
      • Wes Craven
      • Ulla Isaksson
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen563

    5,842.3K
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    6salemzin

    Wes Craven's "Debut" as a Director

    "The Last House on the Left" (1972) plays a pivotal role in the history of horror cinema, marking Wes Craven's directorial debut. Although it features somewhat quirky performances and moments of comedy that occasionally break the tension, this is undoubtedly a negative aspect, along with its strange and disconcerting soundtrack.

    However, the film manages to maintain an intense atmosphere in its more serious moments, whether through Craven's direction or the image quality that gives it an amateur feel, as if we were witnessing real events on camera. The film's plot may not be particularly innovative, but it makes up for it with its scenes of violence, which at the time were, in a way, considered a novelty.

    Although it has aged somewhat problematically in certain respects, "The Last House on the Left" still retains its disturbing power and deserves to be appreciated, especially for its lasting influence on the genre, serving as inspiration for countless other films.
    matt-201

    And the road leads to nowhere

    Much as I admire it, I can only watch Wes Craven's brilliant debut feature once every few years; as sheer stomach-churning brutality goes, it makes SALO look like Sondheim. Craven has said he made the movie as extreme as it is as his comment on the obscenity of Vietnam. I've heard that number many a time (Ruggero Deodato blames CANNIBAL HOLOCAUST on the Red Brigade!), but in Craven's case, it's so palpable it's believable. LAST HOUSE may be the first (and is certainly the most far-out) case of a horror movie that eschews suspense, tingles, shock, in the wake of sheer, harrowing barbarism.

    Based on Bergman's THE VIRGIN SPRING, it tells the tale of a couple of young girls on their way to a concert who fall prey to a Manson-like family. Their rape-murders are avenged by a suddenly wised-up couple of parents who, in their restitution, find themselves as blood-bespattered and guilty as their prey.

    LAST HOUSE ON THE LEFT is a grindhouse GUERNICA, an outcry over desensitization to violence that leaves you feeling shaken and desolated. It genuinely reupholsters the word "horror." For most, the clarity of Craven's intentions won't be enough to redeem the dire viciousness of what the director puts you through. For me, the ferocity of the movie has a cleansing, Artaudian pureness.

    One question: Craven made this film and his masterpiece, THE HILLS HAVE EYES, the ultimate statement on the nuclear family in post-Woodstock, post-Altamont America. He then went on to make a load of occasionally mildly amusing but mostly godawful movies. What's the story?
    Infofreak

    A landmark horror film which is still as powerful and disturbing as ever.

    'The Last House On The Left' is easily Wes Craven's most important movie. It was one of the most notorious movies of the early 70s but seems to be half forgotten now, despite being a groundbreaking horror film that opened up territory that had previously not been seen on screen. Romero's 'Night Of The Living Dead' deserves some acknowledgement as being the most realistic horror movie up until that point (the late 60s), but even that had a supernatural element, something 'Last House On The Left' eschews. Craven took the contemporary setting and natural performances of NOTLD and added some graphic violence and a confrontational rape sequence, most likely inspired by Peckinpah's 'Straw Dogs' released the previous year, and made it into something quite unlike anything seen before. This made it the father of all subsequent serial killer dramas. 'Last House...' is still a very nasty and disturbing movie thirty years after it was originally released. Craven was a beginning as a film maker and the budget was minimal, so the movie is rough and crudely made at times, but the best sequences have an almost documentary feel which gives it an appearance of realism that makes it sometimes really difficult to watch. The acting in the movie is variable. Mari's parents and the comic relief cops (who include Martin Kove later to appear in 'Death Race 2000' and countless action movies!) are pretty awful, but the two girls (Sandra Cassel and Lucy Grantham) are both very natural and believable, and Craven REALLY lucked out with Krug and his gang who are all very, very good. Krug is played by David Hess, who also composed and sang the songs on the soundtrack, something which makes him pretty unique! Hess wrote Elvis' 'All Shook Up' and 'I Got Stung' and yet his performance as Krug is totally convincing. Krug is still one of the creepiest and most repellent killers ever seen on screen. Comedian Marc Sheffler gives an interesting performance as Krug's junkie son, Fred J. Lincoln (now a porno director I believe!) is excellent as the aptly named Weasel, and Jeramie Rain is surprisingly good as Sadie, who brings to mind some of Manson's girls. These four actors are outstanding and really help make the movie into an unforgettable experience. Their scenes in the woods with the girls are still as powerful and disturbing as ever. 'Last House On The Left' is hardly the kind of movie you "enjoy" but I think it's a very important movie, and still the best thing Wes Craven has been involved with. It's really quite difficult to believe that Craven made something so uncompromising and nasty as this! I highly recommend 'The Last House On The Left' to anybody interested in the development of horror, screen violence, or disturbing movies of any kind. But be warned, it is NOT easy viewing and may be difficult for many people to take. I think it is worth it as it's still an extraordinary piece of work!
    8BrandtSponseller

    A bit over-hyped, but fairly good and certainly important historically

    While I think that people tend to get a bit hyperbolic when they talk about The Last House on the Left, I do think it's a fairly good film, especially given what the filmmakers were trying to do and considering their lack of experience, the era and the budget. Also, despite a filmic precursor, it just may be the earliest example of the horror subgenre of "brutal, realist tragedy" (that's more a description than a name, but I haven't spent much time trying to come up with a catchy moniker). However, it has flaws that would be difficult to overlook in a "distanced" (rather than "objective" or "unbiased", neither of which I think are possible) assessment of the film.

    The story, although claimed as true, is an adaptation of Ingmar Bergman's Jungfrukällan (aka The Virgin Spring, 1960). Roughly, it is the story of Mari Collingwood (Sandra Cassel). We see Mari at home with her almost-hip parents. Mari is about to head out to a "Bloodlust" concert in New York City with her new friend Phyllis Stone (Lucy Grantham). Mom and dad are harassing her about her clothing, which is thin enough to show off a bit of flesh, but they're not so un-hip as to make her change. Meanwhile, we learn from a radio that four convicts--"murderers, dope-pushers and rapists"--have just escaped from prison. At the same time, director Wes Craven slowly reveals the quartet--Krug Stillo (David A. Hess), Junior Stillo (Marc Sheffler), Fred "Weasel" Podowski (Fred J. Lincoln) and Sadie (Jeramie Rain). They're holed up in a New York City apartment. Sadie seems to be group property, and that causes some tension. It is suggested that they look for a couple more women. Mari and Phyllis end up at the wrong place at the wrong time. They're kidnapped, and mayhem ensues. But there's a twist that arrives when the convict's car breaks down in an ironic location.

    "Frightening", "disturbing", "sick" and various other terms are frequently employed when describing Last House on the Left. Since I find no films scary, I can't vouch for the first term, but the other two would perhaps apply proportionate to how many horror films you regularly watch, and just what kinds of horror films. If you're not used to the genre in its grittier and gorier post-1960s instantiations, you'd likely find The Last House on the Left shocking. If you've seen a large number of films such as The Texas Chainsaw Massacre (1974), Cannibal Holocaust (1980), Henry: Portrait of a Serial Killer (1986) and so on, don't pay too much attention to the hype. You're not likely to be very disturbed by anything you see here.

    That doesn't mean that you'll not enjoy this film. After all, it has been a major influence on the films mentioned above--there is even an important chainsaw scene here. That's especially remarkable when we consider that it was only Craven and Producer Sean S. Cunningham's second film. They had been approached by a consortium of exhibitors who said that they wanted "something as appalling and exploitable as Night of the Living Dead (1968)".

    Maybe largely by accident, Craven and Cunningham (along with others, such as assistant producer Steve Miner, who later became much bigger "names" in horror--between these three, we have the helmers of a number of films in the three major 1980s/1990s franchises--Halloween, Friday the 13th and A Nightmare on Elm Street) happened upon an unusual cinema vérité style that made the horrific situations depicted seem much more immediate and real. Combined with occasionally graphic and always intense situations of violence and control, the final effect is akin to watching a home video/snuff film. In fact, it was promoted as such in some areas, and the effect was disturbing enough in its time that the film initially received an X rating and was banned for many years in some locales.

    But again, focusing on that amounts to hype now, and shouldn't be taken too seriously, lest it lead to inflated expectations. Just as surprising on a first viewing is that The Last House on the Left has an intermittent goofy sense of humor and a "groovy" attitude that is firmly mired in the early 1970s. The two policemen are really comic relief characters (and very funny at that), but there is also a lot of humor surrounding the criminal quartet--this almost becomes a "black comedy" at times. These sensibilities even extend to the music, which has a frequent hillbilly edge and lyrics that supply ex-positional material. Surprisingly, Hess, who plays Krug, wrote the music.

    Despite the simplicity of the story and the fact that the 2002 MGM DVD release is the "most complete cut ever" according to Craven, there are problems with the story, whether due to the script or the editing. Too many segues between major plot points are "jumpy". The chase(s) through the woods seems a bit random. It's not very well explained how the convicts end up at a home looking as they do. Two characters find another who was missing, and it seems more like a dream sequence because of its arbitrariness, and so on.

    But overall, the story is effective enough. Although many subtexts can and have been read into the film, the most interesting theme to me was that it's largely a "tragedy of happenstance". Craven seems to be expressing a strong belief in chance and coincidence and focusing on the dark side of it. Under that reading, we can maybe excuse some of the narrative jumps more easily.

    Although there are a number of similar films that I think are better than The Last House on the Left, including Ruggero Deodato's House at the Edge of the Park (aka La Casa sperduta nel parco, 1980)--also starring Hess in a similar role, curiously enough, this is a must-see for serious horror fans because of its historical importance.
    BaronBl00d

    Rather Interesting Low Budget Film.....

    I found this film to be rather interesting in a number of ways. Yes, I would agree that it has many unpleasantries throughout the film: two women are raped, stabbed, shot, and brutally killed, one man loses his manhood in a rather disconcerting fashion, and another man is chainsawed to bits. Yet, through all this, the film has many highlights when viewed as a product of its time and with regard to its importance to the horror genre. The film creates a disturbing atmosphere which really affects the viewer. The murders are cold-blooded and yet not glorified in any manner. The acting, although for the most part amateurish, is restrained and believable. A must see for any student of the horror genre.

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    Handlung

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    • Wissenswertes
      A mixture of red and blue food colouring mixed with caramel syrup was used for the fake blood, which contrary to most film "blood," actually looks real.
    • Patzer
      Mari breathes and moves when her parents find her body (the original intention was that she should still be alive at this point and would identify her attackers before dying).
    • Zitate

      Estelle Collingwood: Mari tells me you're from Manhattan. What does your father do?

      Phyllis Stone: Oh, my parents are in the iron and steal business.

      Estelle Collingwood: Iron and steel both together? How unusual.

      Phyllis Stone: Well, my mother irons and my father steals.

    • Crazy Credits
      Opening text: "The events you are about to witness are true. Names and locations have been changed to protect those individuals still living."
    • Alternative Versionen
      The 1982 British release on the Replay video label omitted the scene where the sheriff and the deputy try to hitch a ride on Ada's chicken wagon, and the end credits were missing - though the now familiar 'freeze frames' of the principal actors appear, no credits are superimposed over them, and the final song continues to play over a completely black screen. In terms of gore and violence, the print Replay used was uncut.
    • Verbindungen
      Edited into Snuff (1977)
    • Soundtracks
      The Road Leads to Nowhere
      Lyrics and Music by Steve Chapin & David Hess

      Performed by David Hess

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    Details

    Ändern
    • Erscheinungsdatum
      • 19. Oktober 1973 (Westdeutschland)
    • Herkunftsland
      • Vereinigte Staaten
    • Offizieller Standort
      • MGM
    • Sprache
      • Englisch
    • Auch bekannt als
      • La última casa a la izquierda
    • Drehorte
      • New York City, New York, USA(buying grass scene)
    • Produktionsfirmen
      • Sean S. Cunningham Films
      • The Night Co.
      • Lobster Enterprises
    • Weitere beteiligte Unternehmen bei IMDbPro anzeigen

    Box Office

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    • Budget
      • 90.000 $ (geschätzt)
    • Weltweiter Bruttoertrag
      • 135 $
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

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    • Laufzeit
      1 Stunde 24 Minuten
    • Farbe
      • Color
    • Sound-Mix
      • Mono
    • Seitenverhältnis
      • 1.85 : 1

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