House On The Edge Of The Park

• 27th Oct 2011

On October 31st horror fiends and cult film enthusiasts in the UK will finally get a chance to see, for the first time, Ruggero Deodato’s House On The Edge Of The Park (La Casa Sperduta Nel Parco) it its most complete form to date. This means it still contains around 42 seconds of cuts mainly involving the infamous switchblade razor sequence. It now runs (thankfully a lot longer) at 88 minutes instead of the 2002 release which ran at a measly 76 minutes. The BBFC’s  official decision for the cuts are; ‘make cuts to one sequence of sexualised violence in which a razor is traced over a woman’s naked body, after which her body is cut with the razor’

This was also one of the initial films to be part of the DDP’s notorious list of 72 video nasties which were banned in the 80s. It is by far one of the more psychologically twisted and socially relevant of the bunch. It also contains a early performance from genre film actor John Morgen aka Giovanni Lambardo Radice (of Cannibal Ferox and Cannibal Apocalypse infamy). It is because of these two genre actors, that House On The Edge of The Park is such an engrossing watch. The partnership between the two twisted friends (or rather fiends) is hard to look away from as they completely commandeer the screen with their presence.

In Radice we have a partly sympathetic character with is role of Ricky, a young man that has no direction apart from following that of Alex (David Hess) lead, like a perverse lapdog. Radice performance is so compelling that you genuinely wish he would ditch his violent, sociopath, partner in crime. While in Alex we have a character who judges his violent actions on the fact of his lower class up bringing, proclaiming towards the end of the film that its the higher classes who made him do his crimes. It certainly provides something to think about long after the viewing finishes.

Unfairly judged as a Italian rip-off of Wes Craven’s own Last House On The Left, most notably because of similar elements (themes of revenge, rape and psychological violence as well as physical), not to mention the inclusion of the great David Hess (who sadly passed away in early October). But dig a little deeper and this grimy little euro-trash classic has a lot to recommend it. For starters David Hess turns in one of his best screen performances, providing his character of Alex with more character development and depth.

The violence on screen is more uncomfortable then gory (thought it is not without its fair share of bloody money shots). It tries hard to mess with the head and ultimately succeeds, making for intriguing and uneasy viewing at times. The final sequence, without spoiling, is a torturous watch as character is unflinchingly beaten down. You need to look away but can’t help but be transfixed as the outcome is arduously drawn out. It shows that as a director, Deodato knows how to orchestrate tension to make the hairs on the back of your neck stand up.

The infamous switchblade sequence really does keep the audience on the edge of their seat. When compared with the violence in Deodato’s Cannibal Holocaust, this feature has enough moments to feel as though you have been punched in the stomach. It is certainly a more polished and sophisticated feature then Last House On The Left but no less shocking.

Extras for this release, while thin on the ground are in fact incredibly informative for the cult film fan. Included on the disc is an introduction by the greatly missed David Hess, making this release both timely and poignant with it being in its most longest cut so far. Fans are also treated to two newly commissioned interviews.

The first is with director Deodato on this thoughts on the films violence, while the second again features Hess discussing its subsequent banning within the UK during the video nasties act. Its clear from this interview that he is both confused and infuriated by the british governments decision during the Thatcher years. Finally this package is topped off with the original trailer (worthwhile for all cult film collectors) and a reversible sleeve, which contains the original Italian switchblade image with a shaft of light seen through a door slightly ajar. Its a shame as the original american artwork of a hooded and skeletal figure holding a switchblade, holds a particular grindhouse film poster feel in its illustration.

In the end the film asks its viewers this; No matter what class you are is it morally just to take revenge out on those who have wronged you? You will have to watch the film to make your own mind up about that. It continues to show that Deodato is a truly underrated director and hopefully with this release by Shameless Entertainment (part of their Shameless Fan Edition range), it will find a few new followers.

If you are after something edgy or wish to know why both Deodato and Hess are the legendary cult figures that fans laude them as, then check out this under appreciated cult classic. Give it the recognition it deserves by having a more psychologically disturbing film screening this Halloween and put that Saw boxset away. This is how tense filmmaking in horror should be done.

Dominic O’Brien