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They also examine the themes of the film, including the muddled nature of the class conflict on display, the seemingly consensual sex scene late in the film, and the ambiguous sexuality between Ricky and Alex. (They both feel that the ending is justified, so there you go.) They close by covering the theatrical and home video releases of the film, including the famous source of the theatrical print currently in circulation. It’s always interesting to hear a spirited defense of a film like House on the Edge of the Park, even if they won’t necessarily change many minds about it. House on the Edge of the Park is a horror-thriller film released in 1980 directed by Ruggero Deodato (Cannibal Holocaust).
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Alex throws Howard outside the back door, beats him viciously, and throws him into the pool. Laughing, Alex urinates on Howard and drags him back inside, tying him to a piano leg and proclaiming that he is running the party now. NEW YORK (NY Daily News) — A major uptick of muggings in Central Park — including three violent robberies within a 28-hour span — has left parkgoers on edge, wondering if they will be targeted next, visitors to the iconic greenspace say. Most of the Deleted Scenes are just as interesting as what made the final cut.
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The Special Features on the version that I own are interviews with those involved in the making of the film and an original theatrical trailer. After weathering the storm of controversy that followed the release of Cannibal Holocaust in 1980, director Ruggero Deodato followed it up quickly with House on the Edge of the Park (aka La casa sperduta nel parco) that same year. While the film reduced the level of graphic gore compared to its predecessor, it increased the levels of sexualized violence on display, generating plenty of controversy of its own. While it may have long been a center of the film industry and a cultural hub for the arts, it is also the second-largest city in the United States and the most populous metropolitan area in California. It’s not only home to Hollywood, Beverly Hills, and Santa Monica, but it also has some of the most iconic tourist attractions in the world.
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The violence (although extreme) stays subtle and adds to the realism… Which I loved. There is slicing of the flesh with Alex’s straight razor and there is a little bit of sexual assault and forced sexual assault (not counting the opening rape scene, which is the reason for the party in the first place… Figure that one out on your own). Of course, you can’t go wrong with a sadistic bastard played by David Hess, so you know that part is taken care of. The score is Italian disco-ish dance music with a soothing voice throughout the feature.
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In addition to the usual collection of stills and promotional materials, it also includes many signed items from Art Ettinger’s personal collection. There’s also an Easter egg that can be accessed by choosing the scene selections, scrolling to chapter 10, and pressing the up arrow. It’s a brief clip of Karoline Mardeck, who played Alex’s rape victim during the opening scene, and who happened to be married to David Hess at the time. Deodato Holocaust is a feature-length documentary by Felipe M. Guerra that was originally released in 2019. Deodato is front and center throughout, as the film primarily consists of interviews that the filmmakers conducted with him, interspersed with production stills, promotional materials, and clips from his films. Deodato tells stories about growing up, including the conflicting advice given to him by his parents, before talking about how he got into the film business.
Overall, I highly recommend this film for anyone who is a fan of brutal, in your face cinema, the rape/revenge genre or course, the bastard that Wes Craven invited into our homes and hearts, Mr. David Alexander Hess. If you can make for strong stomached company, the door is wide open for you. I give this film, House on the Edge of the Park, FOUR (FLESH DESECRATING, RAZOR SHARP) HORNS UP. The film is something we’ve generally seen before, but not executed in this sort of way.
It’s easy to see why some of them were eliminated, as there really isn’t a natural place for them in the finished film, but others should probably have been left in—especially since Deodato Holocaust only runs a brief 71 minutes. Note that they aren’t encoded individually, and must be played as a group, but there is the option to chapter skip through them. It’s more like time to bail when two psychotics gate-crash a perfectly delightful get-together and turn it into a gore-fest with a huge body count. Directed by Ruggero Deodato, House on the Edge of the Park makes no pretense — it’s an exploitation flick complete with ritualistic torture. 59th St. and East Drive to practice his cello on the weekends.
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From there, he steps through each of his films in chronological order. He says that he doesn’t consider himself to be a horror director, and feels that 1986’s Body Count was his first true horror film (not one of his favorites, either). It’s an effect that he would reuse repeatedly, most notably in Cannibal Holocaust, and he gives much of the credit for the success of that film to Riz Ortolani. Deodato also talks about seeing the beauty in strong images, which is a lesson that he learned while working for Roberto Rossellini—he even draws a link from Rossellini’s neorealism to the found footage style of Cannibal Holocaust. When asked how he would like to be remembered, he says that he wants to be known as an adventurous and versatile filmmaker, since he doesn’t like being labeled a horror director. That’s probably why everything ends with a bang after he’s asked about the animal killings in Cannibal Holocaust—he angrily defends himself, verbally attacks the filmmakers, and then removes his microphone and storms off.
He also discusses the other actors, the sexuality of the two criminals, and his own experiences with drug use. (He still insists here that his sex scene with Annie Belle was unsimulated, even though it clearly wasn’t.) He admits that he doesn’t hold anything back as an actor, and brings a lot of who he really is into his roles—take that as you will. House Sweet House is an interview with set designer Antonello Geleng, who gives his thoughts about the film after rewatching it for the first time in 40 years—he’s not entirely comfortable with it. He also talks about the compromises he had to make due to budgetary constraints.
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