Crime, Halloween, Horror

I Spit On Your Grave (1978 and 2010)

Comments Off on I Spit On Your Grave (1978 and 2010) 16 April 2011

I Spit On Your Grave (2010)

I Spit On Your Grave (2010)Studio: CineTel Films Distributer: Anchor Bay Entertainment Theatrical Release: October 8, 2010 Home Release: February 8, 2011 Directed by Steven R. Monroe Not Rated Review by Nick Schwab What is the point of a rape/revenge film? This ever-present question often seems to be at the central philosophical point concerning these films, which include the original 1978 I Spit On Your Grave up to the 2010 remake and everything before, inbetween, and (probably) forever. Some may argue that there is plenty of merit to be found in a work of this ilk, yet it is often oddly ironic that this horror-laden sub-genre is often more concerned with petty shocks than artistic value. However, there are some exceptions. The Last House On the Left (1972), one of the first movies of this type, achieved shocking and brutal primal instincts by giving them a purpose: a tweedy albeit viscously blunt social-political commentary on the repercussions of the Vietnam Era. The film was a work

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of an auteur with the veneer of an amateur. In that despite its many blemishes in its story and directional choices, it took controversial topics and depicted their outcome without restraints and sans any notion of properness. Simply, it did not peer into the sunny side of the era, instead

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turned in over, sliced in open, and examined the contents of its grimy underbelly. Before that there was the poetic lyricism of the 1960 Ingmar Bergman film The Virgin Spring (of which the aforementioned Last House was based off of,) a cinematic work that was a mediation of violence and religion as a sort of bastard to the human condition. You also have many horrid exercises in the genre such as 1975’s Night Train Murders as well as the well-acted,

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but tepid thrills of Death Weekend (1976). Some may even argue that the very conservative film Death Wish (1974) has a memorable scene that belongs in the genre in which a young Jeff Goldblum anal rapes a young woman while screaming, “I’ll show you how to paint!” Then in the middle in quality somewhere is

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the 1978 film I Spit on Your Grave and its 2010 remake, flicks with some queasy memorable scenes, yet lack in compassion for their main character. Yes, they are rape and revenge films, that is their identity and its drive, but in any film that puts its character through extreme physical harm and emotional turmoil the audience still has to be attached to them emotionally. It is lazy storytelling to make one feel for a character, only because we should because they suffer through insurmountable odds, or simply because they are the main protagonist. I Spit On Your Grave (1978)We may sense 78’s Camille Keaton and 10’s Sarah Butler are nice and gentle before going though the ringer, but sadly many of their scenes have them interacting with no one but themselves. Thus, aside from a few scenes in which they are harassed by the future villains (that mainly show a sexual tension and those characters’ aggressive creepiness,) there is

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cling onto. Therefore, while the revenge aspect is well done, both films have castration scenes that will make any guy wince, and the remake actually has good inspiration in its revenge-set ups, unlike the original, which eschewed common sense for a woman’s empowerment angle in which Keaton became a sort of seductress to get her revenge. While it does not make it purposeful, sometimes one should ask themselves: What exactly are the filmmakers’ trying to accomplish here? The answer: Nothing….but shocks. While that primitive approach may not be purposeful, it is effective to a point, as both films are well designed and have realistic acting. They may not emote aside from basic animalistic instincts, but one can argue that that is no different than many violent blockbuster films that fail to emote. At least the flicks are honest filmmaking, unlike most. Both

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may not be quite as bad as their rep (Roger Ebert, for instance,) but they are certainly not as good as some have stated, either (Leonard Maltin did praise the original.) While I would not condemn it for any reason, I do admit there was some truth to what

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Roger Ebert said too harshly: This is a film that begs the question…What is the point? My answer: I’ll be damned if I know…But it creeped

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