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I had a hard time getting into it but when it finally kicks in...it really kicks in. Seven girls on their summer trip pay a visit to a possessed house which plans to eat them in extremely bizzare and surreal ways. Hollywood Insider is a media network thatfocuses on substance and meaningful entertainment/culture, so as to utilize media as a tool to unite and better our world, by combining entertainment, education and philanthropy, while being against gossip and scandal. There is, however, something underpinning all the madness, a quietly melancholic undercurrent that ultimately elevates the film.
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On this, Obayashi said, “adults only think about things they understand … everything stays on that boring human level” while “children can come up with things that can’t be explained”. By having his daughter’s insights on the film, Obayashi was able to come up with some of his most surreal scenes, like a haunted piano and a mirror’s reflection attacking the viewer. Now, if all this sounds like style over substance to you, that wouldn’t be an entirely unfair assessment. After all, House is ostensibly a horror film and, although often a little creepy, it’s never truly scary; it’s much too excitable to establish any considerable dread or tension. But as with many other ‘midnight movies’ of the period, the style itself proves substantive, offering viewers a spooky, funny and often downright trippy ghost-train ride. There’s also some subplot involving a professor, a bucket, bananas, and a poltergeist but I’ll leave that to you, dear reader, to decipher.
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The encounter is initially disregarded by the other girls, but over time they also begin to encounter other supernatural traps throughout the house. Influenced by ideas from his daughter Chigumi, he developed ideas for a script by Chiho Katsura. After the project was green-lit, it was put on hold for two years as no one at Toho wanted to direct it. However, Obayashi kept promoting the film until the studio allowed him to direct it himself.
s ‘Hausu’: The Funnest Haunted House Movie
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The pretty but pensive Gorgeous is joined by Prof (brainy), Kung Fu (violent), Fantasy (a daydreamer), Sweet (homely), Melody (musical) and the ever-eating Mac (short for ‘stomach’) on a summer trip to her aunt’s creaky old house in the countryside. The result plays like a head-on collision between The Evil Dead (1981) and Yellow Submarine (1968) – a fevered flight of horror-fantasy like no other. “A movie” is right, for few films have as much fun simply being a movie as House does.
"People are getting more and more interested in Japanese culture," says Executive Director Kazumi Teune. "Our mission is to share the Japanese culture in Philadelphia. People are embracing shogun culture, anime, samurai, sake and it's all here. Throughout the year we have programs that celebrate the Japanese culture." We are a cultural charity, a National Lottery funding distributor, and the UK’s lead organisation for film and the moving image. Gorgeous tells Ryoko that her friends will wake up soon and that they will be hungry.
The aunt disappears after entering the broken refrigerator, and the girls are attacked or possessed by a series of items in the house, such as Gorgeous becoming possessed after using her aunt's mirror and Sweet disappearing after being attacked by mattresses. The girls try to escape the house, but after Gorgeous is able to leave through a door, the rest of the girls find themselves locked in. The girls try to find the aunt to unlock the door but discover Mac's severed hand in a jar. Melody begins to play the piano to keep the girls' spirits up and they hear Gorgeous singing upstairs. As Prof and Kung Fu go to investigate, Melody's fingers are bitten off by the piano, and it ultimately eats her whole.
House (1977 film)
Hausu’s creepy old woman is Auntie (Yōko Minamida), who is just having a great time in the film. Instead of being old and shrewd, Auntie revels in the spooky, eating eyeballs and dancing with skeletons. Auntie, like the film itself, has a playful energy unlike the trope of the “creepy old woman”. Auntie acts as a parody of the “creepy old woman” trope by putting the trope on its head, acting differently than the creepy old women that came before her yet still being spooky.
Cast
Commercial director Obayashi came up with a story inspired by his daughter's nightmares, and with presumptuous rogue campaigning and promotion that hyped the film and got him signed to direct, he took the helm of one of the most unusual pieces of cinema to ever be created. It’s a film that is as frustrating as it is enlightening; perhaps a misguided masterpiece, perhaps excessively self-indulgent, but more creative and comprised of more vision than most of the horror films made in the past thirty years. To read this, one might think that this were a horrible film and in a way it is, however, Obayashi is very self-aware and uses the lackluster/subpar cast and limited budget to his advantage. He does not attempt to obscure the shortcomings of his resources and this is a respectable twist on making the most of what one’s stuck with.
A decapitated head in a wishing well, a piano that eats its player, and a dancing skeleton. While this may sound like a list of random spooky story ideas, these are all scenes in ‘Hausu’, the 1977 Japanese film by Nobuhiko Obayashi. ‘Hausu’ may have been criticized when it was first released, but it has since become a cult classic, especially among the film buff community. Interestingly enough, the horror film is not admired for being scary but is instead admired for being fun and quirky thanks to its trippy visuals and off-color humor.
Quite the contrary, there are outlandish visuals and moments in the film that will make the audience wonder how the heck that even happened, like a man turning into a pile of bananas. The visual wonder of ‘Hausu’ will keep audiences glued to the screen while causing them to never expect what will happen next. Upstairs in the house, Kung Fu and Prof find Gorgeous wearing a bridal gown, who then reveals her aunt's diary to them. Kung Fu follows Gorgeous as she leaves the room, only to find Sweet's body trapped in a grandfather clock, which starts bleeding profusely. Panic-driven, the remaining girls barricade the upper part of the house while Prof, Fantasy and Kung Fu read the aunt's diary. When Fantasy goes to retrieve the watermelon from the well, she finds Mac's disembodied head, which flies in the air and bites Fantasy's buttocks before she escapes.
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During its opening titles, Nobuhiko Obayashi’s House (Hausu, 1977) introduces itself on screen as “a movie”, briskly knocking down the fourth wall before the action has even begun. This slyly knowing gesture at the film’s outset serves as a statement of intent, with everything in House reinforcing a sense of hyper-cinematic unreality, from its painted skies and candy-coloured palette to its hyperactive editing and every-trick-in-the-book visual effects. A schoolgirl travels with six of her classmates to her ailing aunt’s creaky, remote country home, where supernatural events occur almost immediately. They come face to face with evil spirits, bloodthirsty pianos, and a demonic housecat. The reading is interrupted by the giant-sized head of Gorgeous, who reveals that her aunt died many years ago while waiting for her fiancé to return from World War II.
‘Hausu’ makes you feel like you’re tripping at a Halloween party in the best way possible. Moreover, it was perhaps Chigumi’s input that began moving the project further and further away from Toho’s initial brief, imbuing the emerging story with a certain dream logic. At times House almost feels like a children’s film, its opening scenes featuring broad slapstick, a cheesy pop song and endless girlish giggling. ‘Hausu’ isn’t one of those movies that is “so bad that it’s good” because its look is fully intentional, it doesn’t look this way due to a lack of budget like other cult classics such as ‘Troll 2’. It instead looks like a children’s Halloween themed pop-up book because of the film’s inspiration. While making the film, Obayashi regularly talked to his pre-teen daughter about what scary ideas she thought should be in the movie.
As the video essayist is keen to note, Ôbayashi Sr., a Hiroshima survivor, had plenty of his own childhood trauma to draw upon. And the ultimate impression is of a father-daughter duo working through the things that scare them on-screen (be it cannibalistic pianos to losing your friends to an unfathomable catastrophe). Welcome to The Queue — your daily distraction of curated video content sourced from across the web. Today, we’re watching a video essay that looks at the making of the Japanese 1977 horror movie House. The unpredictable quality of the film adds to the horror since the audience never truly knows what to expect. There is not one moment in the film that will make the audience roll their eyes and say “of course, I saw that coming a mile away”.
The film, with its vibrant colors and confusing editing, doesn’t look like our reality. The film, not looking like our version of reality, takes the viewers on an immersive journey into the unknown. After the blockbuster success of Jaws, the Toho studio wanted to produce a Japanese competitor in that market.
‘Hausu’ is the funnest haunted house movie ever made thanks to its trippy visuals and playful nature. It plays homage to the typical haunted house story while turning its tropes and visual style on its head. With its bright colors, hybrid of different visual effects, and rapid editing, ‘Hausu’ is a film that one can’t look away from. It will keep you glued to the screen and wondering both what will happen next and how we even got here in the first place. Hausu is a gleeful and playful look at the demented, a fun and engaging experience that any horror fan will love. While ‘Hausu’ is an extremely rewatchable film no one will forget their first time watching the mind-bending treat.
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