#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – En route to visit their grandfather’s grave (which has apparently been ritualistically desecrated), five teenagers drive past a slaughterhouse, pick up (and quickly drop) a sinister hitch-hiker, eat some delicious home-cured meat at a roadside gas station, before ending up at the old family home… where they’re plunged into a never-ending nightmare as they meet a family of cannibals who more than make up in power tools what they lack in social skills…
Plot: When Sally hears that her grandfather’s grave may have been vandalized, she and her paraplegic brother, Franklin, set out with their friends to investigate. After a detour to their family’s old farmhouse, they discover a group of crazed, murderous outcasts living next door. As the group is attacked one by one by the chainsaw-wielding Leatherface, who wears a mask of human skin, the survivors must do everything they can to escape.
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Indisbutably a classic of cinema, and not just horror cinema
Those who have posted here comparing Tobe Hooper’s (one and only) masterpiece with the dreadful remake are presumably young children with no real understanding of cinema. The 1974 film is the antithesis of the slick, MTV-influenced, cynical cash-in mentality that informed the later remake. The fact that the remake’s target teen audience (well, at least some of them) appeared to lap it up is just a sad reflection of how far standards have fallen since the heyday of the horror film in the 70’s.
But Hooper’s CHAINSAW is more than just a classic horror film. With its print in the permanent collection at the NY Museum of Modern Art, it truly is a classic of cinema. I’ve shown this to Bergman fans, Tarkovsky fans and, yes, horror fans too – none of them have been prepared for its power, its inventiveness, its willingness to push the envelope of what cinema can do. And, with its simple story and powerhouse, unstoppable delivery, it is as open to interpretation as any piece of “modern art” – whether it be from the “vegetarian treatise” angle, or the post-Vietnam traumatised America school of thought. But, as I was on my first (of several) viewings, those I have introduced to this movie have been bowled over by the quality of the film-making, and the filmic techniques (soundtrack, editing, startling images) used by Hooper to capture his “waking nightmare” on screen. It is something I really don’t think any other film has quite achieved, though many have tried.
Now, of course, there is a fluke element at work here. Hooper never came close to achieving anything like this again, and many, though not all, of the film’s fascinating resonances are a product of the era and the filmmaker’s unconscious sensibilities. What he obviously had as a director was the kind of daring to take the visceral power that cinema can deliver so well to the limit, to the the edge of acceptability, skirting on exploitation. That the film is so unrelentingly dark and so unbelievably sadistic in its second half, and yet fascinates even as it traumatises, is a definite testimony to the skill of its director. What could have been sleaze is instead a horrible nightmare experience, sure enough, but one that borders on the transcendental. Should be seen by ALL students of cinema at least once in their lifetime.
Gripping, disturbing, grainy looking thriller from the ’70s…
Tobe Hooper must have gotten on the bandwagon that began when all the slasher films started a trend in the mid-’60s that continues to this day, getting bloodier and gorier with each new film, only done a little more stylishly by someone like Quentin Tarantino.
This one seems more like a cheap exploitation film that capitalizes on the idea of a man running berserk with a chainsaw, intent on butchering whomever comes into or near his decrepit old farmhouse. And unfortunately, he’s not the only insane creature. It seems there’s a family of butchers who thrive on the killing and torturing of their victims.
MARILYN BURNS has the biggest role among the teens that stumble upon a haven of killers and she no doubt earned her “Scream Queen” reputation for the way she shrieks violently for the last half-hour or so of the movie. PAUL A. PARTAIN is the wimpy wheelchair friend without a full deck, such an annoying character that his demise comes as somewhat of a relief, although I’m assuming his character was meant to be a nuisance all the way through.
Trouble is, none of the characters have likable traits so that caring what happens to them is not a top priority. The accent is strictly on the chills that come from the realistic look of a house full of menace at every turn, a showcase of human bones, skulls, body parts and all that is weird and downright gruesome. In addition, the man with the leather face and chainsaw (GUNNAR HANSEN) is a gruesome enough sight on his own, especially in close-ups.
Strictly for those looking for cheap thrills, it doesn’t pretend to be anything more than a spine-tingler filmed on a low budget with a cast of relatively unknown players, a grindhouse sort of film that lingers in the memory for all the wrong reasons.
Summing up: Be warned, a disturbing film without subtlety or taste–but then, what can you expect from that title? Oddly enough, some call it a cult classic.
Original Language en
Runtime 1 hr 23 min (83 min), 1 hr 15 min (75 min) (new longer Version) (Germany), 1 hr 28 min (88 min) (Unrated Edition)
Director Tobe Hooper
Writer Kim Henkel, Tobe Hooper
Actors Marilyn Burns, Edwin Neal, Allen Danziger
Country United States
Awards 1 win & 2 nominations
Production Company N/A
Sound Mix Mono
Aspect Ratio 1.85 : 1
Camera Bolex HR 16, Eclair ACL16
Laboratory Consolidated Film Industries (CFI), Hollywood (CA), USA (prints)
Film Length N/A
Negative Format 16 mm (Eastman Ektachrome 25T 7252)
Cinematographic Process Spherical
Printed Film Format 35 mm (blow-up)