Horror fans are well versed in all things Wes Craven. Craven
has presented a number of movies in the horror genre and was the creative mind
behind Freddy Krueger and the NIGHTMARE ON ELM STREET series of films. But
before that he had already cemented his name in the halls of horror. Before
SCREAM, before THE PEOPLE UNDER THE STAIRS, before DEADLY BLESSINGS and before
SHOCKER, Craven had given us two movies that are still talked about to this
day. The first was THE LAST HOUSE ON THE LEFT. The second was this film, THE
HILLS HAVE EYES.
The story is an original one. It begins with a family
traveling out west bound for California but stopping by an old silver mine they
were given as a gift for parents of the group for their silver anniversary. The
group consists of Bob and Ethel Carter (Russ Grieve and Virginia Vincent),
their daughter Lynne, her husband Doug and their infant child (Dee Wallace and
Martin Speer) and their youngest children Bobby and Brenda (Robert Houston and
Suze Lanier-Bramlett).
As they reach the desert they stop for gas at an about to be
abandoned station. The owner Frank (John Steadman) tells them the mines dried
up years ago and that now the Air Force uses that area for target practice,
advising them to turn around and get back on the highway. Of course they ignore
his suggestion, go forward and eventually run off the road resulting in a
broken axle. Bob heads back to the station and Doug goes to see if he can find
the air base.
What Bob finds when he gets to the station is Frank in a
panic. He tells him he tried to warn him and then gives him his story, how he
was once married with two children, one beautiful and the other evil as sin.
When the evil one kills his wife and other child, Frank hit him with a tire
iron and though he had killed him. But the child survived in the desolate hills
of this dessert becoming wild and kidnapping a prostitute for his bride and
raising a group of savages along the way. Before he can offer a way out one of
them grabs him, killing him and leaving Bob behind who then sets off to his
family.
As the film progresses we see this “mutant” family attack
the nuclear family with the intent of not only taking what they have but with
the hope of using them for food as well. Only one is having second thoughts,
Ruby (Janus Blythe) who looks for a way out of this life and into civilization.
By the end of the film the question of just which family is more savage is
brought to mind and the victor is determined. But which family will that be?
As with all early films this one had a limited budget but
Craven put that to good use. Most of the actors involved were unknowns,
including Dee Wallace who’d had just a few roles prior to this film and went on
to star in movies like THE HOWLING, E.T. and CUJO. That these actors were not
famous seems to have worked to the benefit of the film since had they been we
would have been more involved with that aspect rather than investing in
characters that are in jeopardy.
The concept of the “mutant” family living in the dessert
surrounded by rocks and caves to hide in was interesting and “based on a true
story” at least partially. They have a hierarchy with the father in charge and
ruling over all, keeping them in line via fear. The stand out among them is
Pluto (Michael Berryman), an actor born with hypohidrotic ectodermal dysplasia,
a rare condition leaving him with no sweat glands, hair, fingernails or teeth.
This gives him a different appearance than most people which he used to his
advantage taking on roles in numerous horror films. (An aside note, having met
him I can tell you that Berryman is a gentle giant of a man who is perhaps one
of the nicest and friendliest people you will ever meet. Like actor Bill Mosely
he is nothing like the characters he plays in films.).
The film moves at a steady pace offering us enough back
story and set ups to hold our interest from the beginning on. When the
confrontations begin we are by then invested in the family and the struggle to
survive they go through while being attacked. As viewers we are often asked to
put ourselves in the shoes of those characters we watch. Trying to do so hear
leaves you in a state of fear many movies can’t begin to form.
The film has been released numerous times on both video and
then disc so why bother with this new edition? Two words should make that easy
to understand: Arrow Video. Arrow once more proves why they are the premiere
company when it comes to releasing classic and ignored horror films. Here is
why.
To begin with you get a brand new 4K restoration from
original film elements, supervised by producer Peter Locke. Then you move on to
the extras. As always Arrow goes overboard here. Included are 6 postcards, a
reversible fold-out poster featuring new and original artwork, a limited
edition booklet featuring writing on the film by critic Brad Stevens along with
a consideration on the Hill franchise by Ewan Cant illustrated with original
archive stills, audio commentary by the late Craven and Peter Locke, LOOKING
BACK ON THE HILLS HAVE EYE a making of documentary with interviews including
Craven, Locke, Berryman, Wallace, Blythe, Houston, Lanier and director of
photography Eric Saarinen, THE DESERT SESSIONS a brand new interview with
composer Don Peake, an alternate ending in HD for the first time, trailers and
TV spots, an image gallery, the original screenplay and a reversible sleeve
with original and newly commissioned artwork by Paul Shipper.
If you’re a fan of the film or of Wes Craven then by all
means you need to add this version of the film to your collection. It is by far
the best presentation of it we’ve been offered so far. If you’ve never seen the
film you have missed out and should do so immediately. Knowing it is here
thanks to Arrow Video with the style they do everything they release is just a
cherry on top.
Click here to order.
No comments:
Post a Comment