Already badly beaten and covered in dirt, Jennifer is confronted by another member of the group sitting atop a rock and playing the harmonica.
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The entire sequence is without a doubt extreme and gut-wrenching, but one moment in particular stands out as the most chilling. Of course, this is quickly countered by a vicious, unwarranted attack.Īlthough further down the lake, she is seen again naked in the same general area, surrounded by the same natural environment that offered tranquility and peace only moments before. As the camera pulls back from the other side of the lake, the same scene implies something idyllic and serene. When Jennifer first arrives at her summer cottage, she undresses before jumping into the lake, as if it were a natural thing to do and showing that she's comfortable in her surroundings. It's impressive, because this was intended as his directorial debut, and scenes are surprisingly suggestive and understated, clearly displaying Jennifer's harrowing ordeal - or any woman's, for that matter - exactly for what it is: ghastly and horrifying. Meir Zarchi shows he has some impressive skills behind the camera, carefully balancing the mise en scène from suddenly turning into a glorification of violence. It has us sympathizing with her justification for revenge, and we cheer her on like we would a Charles Bronson or Clint Eastwood character. We are made to identify with Jennifer (Camille Keaton) and be repulsed by her attackers. And to suggest otherwise is as equally distressing as the depiction itself. It is meant to disturb, upset, and anger.
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This is where the gruesome rape scene comes in. This then places power into the hands of the woman - another first as opposed to the aforementioned films with male leads - a person that reasons that such violations of the body ought to be met with a corresponding violation. To look at it from this same point of view, 'Day of the Woman,' as it was originally titled, features a main character who feels not only traumatically victimized but also helpless, that the system might actually fail to serve fair justice. As a vigilante flick, the heroine is allowed to exact vengeance with any means necessary, giving it the same respect and indulgence that movies like 'Death Wish,' ' Dirty Harry,' 'Straw Dogs,' and ' Mad Max' are afforded.
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Aside from 1976's 'Lipstick,' which places its plot in a courtroom procedural, 'I Spit on Your Grave' is one of the first to give a female character the right to fight her tormentors with equally violent measure, and the story refuses to easily fit within such a specified blueprint. Categorizing it within a rape/revenge genre, as it often is, actually downplays the narrative's impact and power because it oversimplifies the complex emotional arcs of the victims into an uncomplicated three-arc formula. Taking a cue from similar themes explored in John Boorman's ' Deliverance,' the movie is ultimately a vigilante picture, through and through. It may be one of the most appalling motion pictures ever made, but it is also a grossly misunderstood one. With graphic depictions of rape and other acts of violence against women, this low-budget shocker continues to deliver a visceral and disturbing experience which can at times be difficult to watch. Meir Zarchi's 'I Spit on Your Grave' has even been banned in several countries around the world, such as Canada and the United Kingdom, and only in the last ten or so years has it been made available for home video viewers. Repugnant, tasteless, appalling and downright offensive are the short list of words used to describe and demonize one of the most shocking and controversial exploitation films ever released in drive-ins and grindhouse theaters in the late 70s and early 80s.