This Japanese Horror Movie Is A Psychedelic Nightmare
1975JawsThe summer blockbuster was born. The film demonstrated the strength of a good horror movie while moving the genre in a bold new direction. As it was before star WarsThe market was restructured once more by him. Every studio was searching for Jaws. Who would have thought that Toho’s attempt to ride that wave would result in a film like this?HouseWhat is the best way to get started?
The Japanese film industry was experiencing a decline in the 1970s. Even Toho, the studio that created Godzilla, was struggling. Television had made theaters obsolete. Who better to bring back cinema than someone who has directed commercials? Enter Nobuhiko Obayashi, a filmmaker who mainly worked in the ad industry. This made him the odd man out among his peers, who saw ad work as beneath them. Obayashi said that it was a great opportunity to learn about big budgets. It didn’t stop him from being creative. Toho’s avant-garde approach would be his hallmark throughout his career. The studio was fed up with its current films and wanted something “like” Jaws but not understandable.
Obayashi was the obvious choice. Fortunately, he was also a director who wanted to take on this project. Chiho Katsura, his collaborator, wrote the script.HanagatamiIt was titled “The Movie”, which was made into a movie in 2017. It was namedHouseToho could not say no. Obayashi was not employed by the studio so he couldn’t direct it. Toho still allowed Obayashi to promote the film even though production was not yet underway. They began to search for a director. Obayashi was the only one who was willing to take on this risk. Obayashi was granted permission by the studio to direct. Production began on the project that would be called one of the most bizarre films ever made.
The concept of a group visiting a malevolent home is simple on paper. The name of each girl indicates the dominant trait. “Gorgeous”, “Kung Fu”, “Prof” and “Prof” are all examples. It’s the interesting part about the house that “attacks” its visitors that is most fascinating, but it didn’t come directly from the director. His young daughter, who ended up with a store credit, drew them out of her own ideas. These creations make the film both beautiful and strange. The film’s monsters range from a carnivorous piano to one girl’s own reflection, irrational fears fully realized.
Scares that a child thought up to fit in nicely with the film’s coming-of-age themes. Gorgeous, the main character, decides that she will flee to her aunt’s home after learning that her father had remarried. She still struggles to deal with the loss of her mother eight years later. She wants to avoid changes so she contacts someone she hasn’t seen in many years. In an attempt to relive a simpler time when her mother was still living and things were simpler, This brings us to the second major theme of this film: loss and how hard it can be to move on. Multiple characters share this sentiment; even the aunt, who lost her fiance in World War II, still longs to see her family. This plotline was very personal for Obayashi, who lost many of his childhood friends to the Hiroshima bombing.
House’s horror elements are meant to convey the horrors of war, which is a common interpretation. The current generation was not aware of these things by 1977. If you haven’t lived through war, it is difficult to grasp the concept. Obayashi has said that House “expressed the atomic bomb for children using extremely childish imagery that they [could] understand.” This is where it gets meta. It could be said that the girls in the movie represent the audience. While their lives seem idyllic, a ghost lurks within every frame. This unspoken terror is something that even a peaceful generation can’t fully grasp the effects of. It is always threatening to return. These parallels make House‘s subjects very relatable. It’s sadder than it is upsetting when someone remarks that a mushroom cloud “looks a lot like cotton candy”.
The film has many poignant social themes, but those aren’t what made it a cult classic. Many reviews have compared it to an acid trip due to its stunning visuals and editing. These moments are too amazing to be explained. What can be explained behind the scenes is what made House such a unique experience. First, the cast and crew shared a strong family bond. Many of the cast members had previously worked with Obayashi on commercials. The film’s composer was also a former Obayashi collaborator. The film has an almost personal feel. Obayashi did not use a storyboard and often improvised while on set. When it came to special effects, Obayashi used every trick in the book. This is the part of the film that attracts the most attention, and it’s not surprising.
The special effects in the house are amazing. They appear amateurish at times, but that only adds to the film’s cartoonish zaniness. Obayashi wanted them to look child-like. He might not have known that it would lead to a psychedelic experience unlike any other. He made many great films in his later years, including a trilogy about anti-war dramas. But none of them could top House. It is a unique movie.
It’s much more than what one article can cover. There are many memorable quotes in this book (“You’re so cool, Kung Fu!”() and characters. It is distinctly feminist and has an underappreciated soundtrack. It’s better to be there than to discuss it. Botha ghost story with surprising emotional weights’s a mind-melting, hallucinogenic journey through the unknown. house is truly magical.