Massacre (1974)
Dir: Tobe Hooper
Cast: Marilyn Burns, Allen Danziger Jim Siedow,
Edwin Neal, Paul Partain, Gunnar Hansen
Unrated, Approx: 84 minutes
Pioneer Special Edition DVD
motion picture that's just as real."
improve upon...
around pretty easily, but I rarely use it with the complete and utter sincerity that I do here (Last House on the Left
and Suspiria come to mind, but very little else). Tobe Hooper began at the top, his subsequent career had its ups
and downs. Nothing can dilute the unnerving intensity though, lord knows Kim Henkel tried with his abomination -
Texas Chainsaw Massacre: The Next Generation! Now Michael Bay is going to take a shot at it with the most
hair brained idea I've ever heard in my life, a toned down remake. Try as they will this film will always stand as a
testament to the potential power of low budget, gritty exploitation.
We are introduced to 5 kids who head through the heart of Texas in a van, looking to see if their grandfather's grave
was disturbed in a recent rash grave robberies. The end up stopping at an old house that was owned by that family
of two of the kids. They are soon set upon by a group of vicious cannibals in a gruesome battle for survival.
synopsis. Instead I would like to fill this space with ideas about the film style and the social relevance carried within.
To begin with, the gritty 16mm film look gives it a disturbing documentary feel. The sweltering Texas locations are
exhausting and uncomfortable. And the farmhouse...well, I'll get to the farmhouse a little later. The film opens with
an ominous narration by future television star John Larroquette, setting the tone for the documentary style that is
reinforced throughout. That brings me to the peculiar opening credits. They were filmed with no light except for a
single camera bulb. That coupled with the briefly glimpsed graveyard desecrations and the eerie sound effects make
this scene truly unforgettable. I find myself so absorbed in trying to squint at the visuals that I barely notice the
sound, which is busy eating away at my subconscious (ensuring an uneasy night of sleep later on).
important as the environment that
envelopes our cast.
they are such an alien culture to us (unrelated side note - I wonder if this is where Henkel came up with his retarded
idea for the 4th installment?). Here Hooper avoids resorting to the good guy/bad guy convention so common in most
films. Unlike most cinematic villains, these guys aren't really evil per se. They're savage and ruthless to be sure, but
they see their lifestyle as a necessity. You have to eat, right? You also need furniture, right? Granted this is
extremely oversimplified summary of the concept, but I hope you get the idea.
some of the most savage and horrifying scenes in the history of the genre, but we also get a brief glimpse into the
tensions and traditions that are present in the family. I'll begin with the horror. A girl is hung on meathook and left to
die as she groans in agony (truly one of the most uncomfortable situations on could hope to find themselves in).
Another guy is bludgeoned in the skull with a large mallet, this alone would seem like pretty light fare in a genre so
gruesome. That's not the end of it though, Hooper lingers on the body lying on the floor as it convulses violently.
Even more shocking is the sight (albeit, mercifully dark) of the boy in a wheelchair getting repeatedly hacked by a
buzzing chainsaw. Worst of all though, is the gruesome ordeal endured by the key heroine of the film. She is forced,
in a most uncomfortable way, to join the family for dinner. Here, through the combination of the incessant screaming
and close ups on the eyes of the young girl and the presence on the decaying head of the family, the unrelenting
horror is given an interesting and bizarre family feel to it. We see Leatherface get dolled up (in a womans face and
scalp) for the big occasion, emphasizing his understanding of the importance of a family dinner. The hitchhiker and
the cook end up taking out frustrations on each other (as family members often do. Above all though, there is an
overwhelming feeling of respect for the head of the family - the decaying grandfather. The family has such pride in
him as they gleefully describe to our heroine what a hero he was in the old slaughterhouse. They hold the girl down
over a bucket as they prepare grandpa to take care of her, promising that he always gets it on the first try. During
this mele she escapes through a window only to be pursued in a violent conclusion. These final events and the
abrupt ending seal the deal on this terrifying experience.
personal insight into my take on the film and to convey my adoration for this cinematic masterpiece. It changed the
face of both meat eating and the horror genre forever, and will remain an untouchable classic. Even more amazing
is that a ruthless exploitation film can make such an indelible mark in the history of the medium, a recognition usually
set aside for higher brow 'art' cinema. Hooper proves here (as did Wes Craven with Last House on the Left) that
the dark underbelly of ruthless cinema can demand and warrant just as much serious critical attention as any
arthouse film.
Changed.
psychological terror could be inflicted on an audience. The cultural effects of the movie are far reaching. The most
common stereotypes in the genre these days seem to involve 'some big killer with a chainsaw'. Hooper even
returned to this familiar territory over 10 years later with The Texas Chainsaw Massacre part 2, this time taking
the story in a wild new direction with enough scathing social criticism to make George Romero proud! TCM2 is
another masterpiece but is often underrated as audiences didn't expect a satire. The original film has been featured
in or referenced in everything from Summer School to Tiny Toons - even remade as the hilarious feature length
porn video The Texas Dildo Masquerade!
expected in a 16mm film shot in 1974. The disc features an insightful commentary track with Hooper, Director of
Photography Daniel Pearl, and actor Gunnar Hansen, trailers for the film and sequels, deleted scenes, alternate
footage, a blooper reel, and a still gallery. I would consider this one a must have for any horror fans.
that Hooper loosely based Leatherface on him but there are several other films that deal with the subject matter in a
more biographical manner. Although I recognize the factual groundwork for the story, I still view TCM as an
independent fictional masterpiece (the same could be said for Psycho).
review by Dr. Spector 3/16/02
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