The Texas Chain Saw Massacre (1974)

Director:

Tobe Hooper

Writers:

Kim Henkel (story) and
Tobe Hooper (story)

Release Date:

1 October 1974 (USA)

Genre:

Horror | Thriller

Tagline:

The idyllic summer's day that became a nightmare of fear and blood... [UK Video]

Plot:

Five friends visiting their grandpa's old house are hunted down and terrorized by a chainsaw wielding killer and his family of grave-robbing cannibals.

Plot Keywords:

Grandfather | Cannibal | Chainsaw | Leatherface | Hitchhiker

Awards:

1 win

Cast

Marilyn Burns	...	Sally Hardesty
Allen Danziger	...	Jerry
Paul A. Partain	...	Franklin Hardesty
William Vail	...	Kirk
Teri McMinn	...	Pam (as Teri Mcminn)
Edwin Neal	...	Hitchhiker
Jim Siedow	...	Old Man
Gunnar Hansen	...	Leatherface
John Dugan	...	Grandfather
Robert Courtin	...	Window Washer
William Creamer	...	Bearded Man
John Henry Faulk	...	Storyteller
Jerry Green	...	Cowboy
Ed Guinn	...	Cattle Truck Driver
Joe Bill Hogan	...	Drunk

Also Known As:

Headcheese (USA) (working title)
Leatherface (USA) (working title)
Stalking Leatherface (USA) (alternative title)
The Texas Chainsaw Massacre (USA) (alternative spelling)
Akuma no ikenie (Japan) [ja]
Bloodright in Texas (West Germany) [de]
Blutgericht in Texas (West Germany) [de]
Das Kettensägenmassaker (West Germany) [de]
El loco de la Motosierra (Argentina) (video title) [es]
La matança de Texas (Spain: Catalan title) [ca]
La matanza de Texas (Spain) [es]
Masacre en Texas (Venezuela) [es]
Massacre à la tronçonneuse (France) [fr]
Massacre no Texas (Portugal) [pt]
Moottorisahamurhaaja (Finland) (informal title) [fi]
Motorsågsmassakern (Sweden) [sv]
Motorsavsmassakren (Denmark) [da]
Non aprite quella porta (Italy) [it]
O Massacre da Serra Elétrica (Brazil) [pt]
O shizofrenis dolofonos me to prioni (Greece) [el]
Texasin moottorisahamurhat (Finland) [fi]
The Devil of Punishment (Japan: English title) (literal title) [en]
The Texas Chain Saw Massacre (Finland) (video title) [fi]

Runtime:

83 min | Germany:75 min (new longer Version)

Country:

USA

Language:

English

Color:

Color

Aspect Ratio:

1.85 : 1

Sound Mix:

Mono

Certification:

West Germany:(Banned) | New Zealand:R18 | Canada:13+ (Quebec) (re-rating: 2004) | Sweden:15 (re-rating: 1994) (cut) (re-rating: 2001) (uncut) | Sweden:15 (re-rating) (2001) (uncut) | UK:18 (re-rating: 1999) | Canada:18+ (Quebec) (original rating: 1974) | UK:R (original rating: 1975) | Finland:(Banned) (1984) | Finland:K-18 (1996) | UK:(Banned) (original rating) | Italy:VM14 (re-rating) (2003) | Italy:VM18 (original rating) | Brazil:18 (1998) | Brazil:(Banned) | Australia:(Banned) (original rating) | Belgium:16 (video rating) | West Germany:18 (cut) | New Zealand:R16 (re-rating) (2007) (uncut) | Singapore:M18 (re-rating) | Italy:VM18 (DVD rating) | Argentina:16 | Australia:R | Canada:R | Chile:(Banned) (re-rating) (1978) | Chile:18 (original rating) | Denmark:15 (video rating) | France:-16 (re-rating) | France:X (original rating) | Hong Kong:III | Iceland:(Banned) (original rating) | Iceland:16 (re-rating) | Ireland:(Banned) (original rating) | Ireland:18 | Japan:R-15 | Netherlands:16 | Norway:(Banned) (video rating) | Norway:18 (re-rating) (1997) (uncut) | South Korea:18 | Spain:18 | Sweden:(Banned) (1984) | USA:R | Singapore:(Banned) | Germany:BPjM Restricted

Filming Locations:

Austin, Texas, USA

Company:

Vortex

Trivia:

The van the kids drive was owned by location sound recordist Ted Nicolaou.

Goofs:

Continuity: When Sally escapes from the Leatherface family in the dining room, she runs and jumps through a window, and as she lands shards of glass land all about her. In the next shot as she gets up they're gone.

Quotes:

[first lines]
Narrator: The film which you are about to see is an account of the tragedy which befell a group of five youths, in particular Sally Hardesty and her invalid brother, Franklin. It is all the more tragic in that they were young. But, had they lived very, very long lives...

Movie Connections:

Spoofed in Police Academy 4: Citizens on Patrol (1987)

Soundtrack:

FOOL FOR A BLONDE

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.