Synopsis: A disgruntled ex-convict with a chip on his shoulder takes revenge against society by creating snuff films.
Last House on Dead End Street has one storied but murky history in the horror world. At one time being screened at Cannes as well as the Berlin Film Festival until ultimately being listed as “lost media”. Originally released in 1973 under the title The Cuckoo Clocks of Hell (and reportedly clocking in at around 3 hours long). Rumor being, this version was so disturbing that it incited riots over the violence displayed and was quickly pulled. Not surfacing again until 1977. Heavily edited and titled The Fun House. Then eventually being titled Last House on Dead End Street in 1979. More than likely to capitalize on Wes Craven’s hit that year, The Last House on the Left. This exploitation horror flick has actually gone through a few name changes in its life. Creating quite a bit of confusion surrounding this piece of horror history
This was one of those films that you heard rumblings of growing up. The whole cast was credited under pseudonyms and it was extremely difficult to get your hands on. The original was damn near non-existent and every subsequent release was stripped down to 78 mins. Why the secrecy? Was it a real snuff film? The rumors flew.
In reality, it was Roger Watkins all along. Stepping forward in 2000 to take credit for writing, directing, producing and also acting in the lead role. At the time of conception, Watkins was a student at State University of New York at Oneonta (wow, that’s a mouthful). After being inspired by the Charles Manson biography The Family (1971) he commissioned the theater department cast to take part. Finding the ones ok with the content as well as the nudity. He shot the entire thing for about $3,000 utilizing an empty building on campus and the rest is history.
Last House on a Dead End Street follows Terry Hawkins (Roger Watkins) as he’s released from prison after serving a year for drug charges. After unsuccessfully attempting to make some stag films and sell them. He decides to go a little darker. Thinking that modern audiences hunger for more extreme content he delves into snuff films. Gathering together a ragtag group of societal outcasts, he orchestrates the execution of the business associates that wronged him. Memorializing it all on film.
This is the definition of ultra low-budget exploitation horror. From the shaky camera work to the graphic violence, this cinematic curiosity is a brash and somewhat disturbing ride into the mind of its creator. By no means is it perfect. The ADR (Automated Dialogue Replacement) will drive you nuts if you focus too hard. But the tone of the film mixed with the budgetary restraints add to the realism and grit of it all. That bumps it up in my book. The fact that this is Watkins only foray into the world of horror is rather disappointing. I would have loved to see what he could do given more resources. From what I hear though, his arthouse adult films are quite impressive works.
Last House on a Dead End Street is one of those films that scholars like to deconstruct. Citing the surrealist imagery and graphic themes as the overall catalyst for the aestheticization of violence in media. When in actuality it’s just an art school project made to create pure horror and nothing else. That right there is reason enough for anyone calling themselves a horror fan to check this one out. If you don’t, you’re missing out on a truly original piece of work.
I found this one streaming on Tubi as of the time of this writing.
3 out of 5
So grab your popcorn, kill the lights and join me again tomorrow as we continue our journey on this strange little trip down the 31 Days of Horror rabbit hole. See you soon…
