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This is the kind of story in which the rape victims actually start to "enjoy" themselves and give in willingly to their rapists.
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The main problem I have with it is in the depiction of rape.
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More than most of the movies today that get labeled "torture porn", this is a movie I would certainly classify as such.
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But there can be no question that it was designed to titillate, and to do so using some very questionable means. I found it distasteful at times, but nevertheless I was fascinated by it, and also cannot deny that it is a fine little piece of filmmaking, for what it is. I cannot deny that this movie enthralled me. One of Britain's notorious "video nasties". Banned in Singapore, Finland, the U.K., Canada and Norway denied ratings classification in Australia and also released unrated in America.
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Much like CH, it took a full five years for it to be released in the U.S. Make no mistake, this is not a movie for everyone. And perhaps it's the close proximity to that quintessentially controversial movie that causes House by the Edge of the Park to get a bit overlooked when it comes to amazingly offensive cinema. This was the film that Ruggero Deodato made right before shooting the infamous Cannibal Holocaust-even though it was officially released in Italy nine months after Cannibal Holocaust. So let's talk about this gem of an exploitation picture. There's a rawness to movies like House by the Edge of the Park that is unmatched in horror of any other era. It is my favorite era for motion pictures, horror or otherwise, with the 1930s being a close second. There's something about films of this era that will always draw me in. And although I have some issues with it, more thematically than artistically, I can't deny its effectiveness. No film like this could ever be made today, for a variety of reasons. This is a film that is entirely of its time. My first reaction when reading about the film was, how the heck had I gone so long without ever seeing or hearing of this? That thought was further magnified after actually seeing it. This was one of them, until it was brought to my attention by the delightful Vault dweller Marilyn Merlot-who, like me, shares an admiration for the work of one David Hess. I'm always thrilled to come across a '70s/early '80s exploitation horror flick with which I was totally unfamiliar.