The plot moves inexorably towards establishing a structural correspondence between two superficially opposed families who face off in a battle to the death on the desolate site of a U.S. Air Force bomb-testing range. In one corner are the suburban middle-class Carters, headed for Los Angeles by car but making an unwise detour through the Yucca desert to locate a silver mine willed to Ethel and her husband ‘Big Bob’ by a deceased aunt for the couple’s silver wedding anniversary. In the other is a clan of primitive scavengers who live in the surrounding hills and are ruled with an iron fist by a mutated monster-patriarch named Jupiter. This group of cannibalistic guerillas, standing in for any number of oppressed, embattled and downtrodden minority/social/ethnic groups – from African and Native Americans to backwoods hillbillies to (in Tony Williams’ astute analysis) the Viet Cong during the failed 1970s U.S. invasion
(1) – manages to eke out a squalid existence by using discarded army surplus tools and weapons for the purpose of committing petty thievery.
When their station wagon crashes in Jupiter’s neck of the desert, the members of the Carter family – including teen siblings Brenda and Bobby, eldest daughter Lynn, Lynn’s husband Doug and the couple’s infant daughter Katy – reveal the extent of their ideologically-inherited arrogance, repression and capacity for denial, all of which makes them prime targets for victimisation by their ruthless, unscrupulous enemies. Big Bob is crucified and finally immolated by his counterpart Papa Jupiter in a highly symbolic act signifying utter repudiation of Judeo-Christian values – values which Big Bob himself hypocritically denounces in an earlier racist diatribe. Two of Jupiter’s sons later raid the Carter’s RV trailer, where they rape Brenda and murder Lynn and Ethel. Stripped of all pretensions, desperate for survival, the remaining members of the Carter clan finally find within themselves the courage, wrath and craftiness to kill off their enemies. The film closes with a powerful red-filtered freeze-frame of Doug in full fury, set to stab Jupiter’s son Mars in the chest though Mars is surely already dead. As D.N. Rodowick succinctly puts it, by the end “we are…to understand [these families] as being two sides of the same coin; or better yet, the violent ‘monster’ family could be characterized as the latent image underlying the depiction of the ‘Whitebreads.’”
(2)
It is likely that most viewers of
Hills would second Rodowick’s assessment that, “in the final analysis, I’m not sure whether I would consider
The Hills Have Eyes to be a progressive text or not.”
(6) This can be explained at least in part with reference to the contradiction lying at the heart of Craven’s film: the bourgeois Carter family’s phony values and repressed rage may eventually be exposed, but this does not make any less loathsome or unsympathetic the depiction of Jupiter’s marauding cannibal clan. As in so much of Craven’s work, at the end of the day everyone is guilty, everyone is to blame.
What are the underlying themes for Last House on the Left and Hills Have Eyes??
We in th there for the fukkery or nah?
No doubt. We in there. 
".. him- "ok 
" .....
