First, some full disclosure: I’ve skipped a Craven-directed movie, but some of you might not realize it. Remember what I wrote in my first Cravenous entry about the relationship between horror and porn during the late 70s and 80s? Well, Craven’s next documented movie after 1972’s The Last House on the Left<\/em> was a 1975 Swedish-cocreated “arthouse porn” called The Fireworks Woman.<\/em> You might have never heard of it as a Craven film because he wrote and directed it under the name “Abe Snake.” Gee, wonder why. He appears in the film as well. See?<\/p>\n

<\/p>\n

Doesn’t he look groovy? <\/p>\n

The movie is available online if you’d like to watch it. It’s about a brother and sister’s sexual obsession with each other. I decided to skip it, but you feel free to tackle that one, denizens. I’m holding out for the other<\/em> Craven movie that features a canoodling brother and sister team. <\/p>\n

\/foreshadowing<\/p>\n

[Loba Tangent: Oh, and just in case you’re wondering about the interconnections between these two genres? It’s because a lot of horror movies received X ratings from the MPAA, and the only theaters that would go anywhere near such a rating were…you guessed it: adult movie theaters. See? Travis Bickle could have taken Betsy to see a nice Wes Craven movie on their first date…]<\/p>\n

So next in the horror line is Craven’s 1977 film The Hills Have Eyes.<\/em><\/a> <\/p>\n

<\/p>\n

We get some recognizable faces this go, with Horror Queen Supreme Dee Wallace in one of her first film roles. Also making one of his earliest appearances in movies is Michael Berryman, the gentleman whose unique visage graces this movie’s poster. Berryman, whose Hypohidrotic Ectodermal Dysplasia causes his odd appearance and leaves him with no sweat glands, hair, fingernails, or teeth, has bankrolled a full career from horror and science fiction movies, thanks in part to appearing as Pluto in this movie. We’ll even see him a few more times in future Craven films, as the director was often quite loyal to his actors.<\/p>\n

As with his first film, Craven clearly still was fascinated by the exploration of humanity’s depravity and breaking points. He also was still fascinated by exploring the superficiality of our “civility.” No matter how refined we imagine ourselves to be, we still are animals<\/p>\n","protected":false},"excerpt":{"rendered":"

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