Hausu

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Movie
German title House (international)
Original title ハ ウ ス Hausu
Country of production Japan
original language Japanese
Publishing year 1977
length 88 minutes
Age rating FSK 16
Rod
Director Nobuhiko Ōbayashi
script Chiho Katsura
production Nobuhiko Ōbayashi, Yorihiko Yamada , Tomoyuki Tanaka
music Asei Kobayashi , Mickie Yoshino with Godiego
camera Yoshitaka Sakamoto , Tatsuo Shimamura
cut Nobuo Ogawa
occupation
  • Kimiko Ikegami : Oshare, Oshare's mother
  • Yōko Minamida : Obachama ("Auntie")
  • Miki Jinbo: Kung Fu
  • Kumiko Ōba: Fanta
  • Ai Matubara: Gari "Prof"
  • Mieko Satō: Mac
  • Eriko Tanaka: Melody
  • Masayo Miyako: Sweet
  • Kiyohiko Ozaki : Keisuke Tōgō
  • Saho Sasazawa: Oshare's father
  • Haruko Wanibuchi: Ryoko Ema
  • Asei Kobayashi: fruit merchant
  • Fumi Dan : teacher

Hausu ( jap. ハウス , Hausu ), International House , is a Japanese horror - experimental film of Nobuhiko Obayashi from 1977, which is about a student who with friends in the haunted house bleary-eyed her aunt.

Tōhō Video suggested Filmbayashi make a film in the style of Jaws (1975). Inspired by the fears of his 11-year-old daughter, he contributed these ideas to the script of Chiho Katsura. After its completion, two years passed without a director, ultimately Ōbayashi was allowed to direct. The film was a hit at the Japanese box office and among young audiences, but received consistently poor reviews.

In 2009 House was relaunched in North America, where it was received mostly positively.

action

Sixteen-year-old Oshare ( オ シ ャ レ , eng. "Gorgeous; modern") has not yet got over her mother's death and wants to spend the holidays with her father in the holiday home in Karuizawa when he introduces his new friend Ryoko Ema to accompany her. He wants to marry again. Without further ado , she writes to her aunt ( Obachama ), whom she invites to visit her house. She sets out on the trip with her friends named after her characteristics, whose summer camp with the popular teacher Mr. Tōgō is canceled. In addition oshare the group consisting of Fanta ( ファンタ ) of the Träumerin, kung fu ( クンフー , Kunfu ) of the fighter, analytical Gari ( ガリ ), the home Sweet ( スウィート , Suwito ), Melody ( メロディー , Merodī ) on the piano and Mac ( マック , Makku ) of constant appetite.

A fruit grower who sells melons shows them the way, the reception from the supposed aunt in a wheelchair with her snow-white cat is warm. Spooky furniture does not sadden them at first until Mac leaves the group in the evening without returning. Fanta finds her severed head floating by the fountain, but her friends don't take her seriously. Meanwhile, the aunt's mobility seems to increase through the consumption of the missing friend, she can walk again and appears crawling in the framework. Kungfu can fend off firewood flying towards her in front of the house, but later believes that she only imagined it. When Oshare is seized by her reflection in the mirror and Sweet becomes part of the floor clock, panic breaks out. Shortly thereafter, Melody is devoured by a piano .

Meanwhile, through a diary, Gari discovers the secret of the love that failed in the war, the fiancé who perished as a pilot, the enduring grief of the lonely deceased aunt. Mr. Tōgō had promised to come with me instead of the canceled excursion, but is turned into a truckload of bananas after a nightly wandering through the melon dealer. Before the day breaks, Kungfu is attacked by electrical installations and drawn into the living room lighting, damaging a picture of the cat. Gari lost himself shimmering blue in the bloody eddies of the lower ground floor . Fanta seeks refuge with the new landlady Oshare, who has become part of her aunt's world, and in the process damages her old wedding dress.

The next morning Ryoko arrives to make up, but she only finds a kimono- wearing oshare with a cat. This tells her that the other girls are still asleep, but "wake up when they are hungry". Finally, she lets Ryoko go up in flames.

The film ends with a monologue about change and loving memory of the deceased.

production

Emergence

After the success of the American film Jaws in Japan, Tōhō came up with the proposal of a similar concept to Ōbayashi. As an inspiration, he discussed the plot with his daughter Chigumi and followed the approach that adults "only think about things they understand, while children come up with inexplicable things". Her contributions include the attacking reflection in the mirror, the watermelon and the man-eating house. Other scenes relate to fears from her childhood, such as crushing futon mattresses, her grandparents' floor clock or getting fingers caught on the piano. Nobuhiko Ōbayashi shared these influences with screenwriter Chiho Katsura, who was reminded of a short story by Walter de la Mare in which an old woman puts her visiting grandchildren in the closet.

Ōbayashi related parts of the content to the atomic bombs on Hiroshima and Nagasaki , he was born in Onomichi ( Hiroshima Prefecture ) and lost his childhood friends at that time. The aunt's house waits in vain for her lover to return from World War II . Their aura of bitterness results in a demon eating away at the naive next generation. In the film, a mushroom cloud can be seen for two seconds, a girl describes how she looks "like cotton candy " and giggles.

Ōbayashi and Katsura had been working on a script called Hanagatami before Hausu . Ōbayashi gave the script the title House, which was unusual for a Japanese film at the time .

Pre-production

Although Tōhō's script was approved shortly after its presentation, no director wanted to direct the material. Offers from Ōbayashi were rejected because he was not an employee, so it took two years for production to start. The film's application included a manga , a novel version and a radio play. Ōbayashi was already known in Japan for his experimental films, but had not yet made a feature-length production.

Soundtrack

The soundtrack was pre-released by Nippon Columbia . The composer Asei Kobayashi wanted a more youthful contribution with pieces by Mickie Yoshino and his band Godiego, based on Yoshino's piano works.

Songs

Mickie Yoshino has worked on all of the titles.

  1. Main Theme ( ハ ウ ス ー ハ ウ ス の テ ー マ ), Kobayashi Asei
  2. Buggy Boogie ( バ ギ ー ・ ブ ギ ー )
  3. Hungry House Blues ( ハ ン グ リ ー ・ ハ ウ ス ・ ブ ル ー ス ), Steve Fox
  4. Eat ( イ ー ト )
  5. Sweet Dreams Of Days Gone By ( い つ か 見 た 夢 ー ハ ウ ス の テ ー マ よ り ), Kobayashi Asei
  6. A Letter In The Past ( 昨日 来 た 手紙 ー ハ ウ ス の テ ー マ よ り ), Kobayashi Asei
  7. Cherries Were Made For Eating ( 君 は 恋 の チ ェ リ ー ), Yukihide Takekawa
  8. Eat Eat ( イ ー ト ・ イ ー ト )
  9. In The Evening Mist ( 夜霧 は 銀 の 靴 ー ハ ウ ス の テ ー マ よ り ), Kobayashi Asei
  10. Oriental Melon Man ( 西瓜 売 り の バ ナ ナ )
  11. Eat Eat Eat ( イ ー ト ・ イ ー ト ・ イ ー ト )
  12. Love Theme ( ハ ウ ス の ふ た り ー ハ ウ ス 愛 の テ ー マ ), Atsushi Hashimoto, Kobayashi Asei, Ken Narita

occupation

The cast is largely drawn from Ōbayashi's previous work on commercials and independent films . Ōbayashi had used the two years of waiting to cast the seven actresses . Only Yōko Minamida and Kimiko Ikegami had film experience. The role of Keisuke Tōgō was cast by the Japanese country music singer Kiyohiko Ozaki, a friend of the director. Crew members and their relatives play supporting roles. Chigumi Ōbayashi can be seen briefly, the production designer plays a cobbler, and the composer Asei Kobayashi appears as a melon seller.

Filming

Ōbayashi remembers that Tōhō conveyed to him that he was tired of losing shares with understandable films and therefore let him do what they found incomprehensible and ridiculous. After the success of the radio play, he was allowed to continue film production. He received a special permit to direct without being employed. Hausu was shot at Tōhō without a storyboard for a period of two months. Ôbayashi describes the mood at the shoot as optimistic, there was singing and quizzes were played. Aside from entertaining days of shooting, Tōhō employees involved found the film Nonsense . The special effects of the film come from Ōbayashi and the cameraman Tatsuo Shimamura, with an intentionally unrealistic look as if made by children. The result of many of these effects was not evident until the film was completed, sometimes not as Ōbayashi's imagination was.

publication

Hausu was released on July 30, 1977. The first release was a double feature with the romance Pure Hearts in Mud . In Germany, the film was shown for the first time as part of the Fantasy Film Festival 2006 in Munich , and an uncut version of Rapid Eye Movies with German subtitles has been available since October 2006 .

In the US , the film was only shown to a wider public in 2009 after Janus Films acquired the distribution rights. Following inquiries from cinemas, it was shown at two sold out screenings at the New York Asian Film Festival 2009. From 2010 to 2011 it was shown subtitled in American cinemas. In the UK , Hausu is marketed under the Masters of Cinema . A bonus DVD contains interviews with the cast and crew as well as a cinema trailer . In October 2010, Hausu was released on DVD and Blu-ray in The Criterion Collection .

In 2015 Tōhō brought the film out again on DVD as part of the Tōhō Masterpiece Collection.

Premieres

reception

source rating
Rotten tomatoes
critic
audience
IMDb
OFDb

Tōhō did not expect any success in the cinemas in 1977 and was surprised by the high number of visitors with a predominantly young audience. In Japan, the film received few reviews after its premiere, which were generally negative and struggled to classify it. Some denied the work being a film.

The film did not gain attention in Europe and North America until about 30 years later, where it was recognized for its unconventional style and unpredictability.

Reviews

“On the one hand a playful horror film full of kitsch and candy colors, whose sophisticated, stylized images are reminiscent of young girl fantasies, on the other hand a bloody fantasy that turns into the most bizarre types of killing. A completely exaggerated film that achieved cult status in fan circles. "

- Lexicon of international film

“To what extent the extravagant and possibly mind-expanding something that Hausu represents can be traced back to aesthetic reflection and not to excessive drug use by everyone involved, can no longer be clarified today. Of course not interested at all. Because the unbridled desire to experiment, the trust in the possibilities of the film medium and the anarchic will to destroy all conceivable conventions and audience expectations make Obayashi's first film a sensual and intellectual experience that is second to none. "

- critic.de

"Delirious, deranged, freaked out or just gone, baby, gone "

- New York Times

Awards

Web links

literature

Individual evidence

  1. ↑ Release certificate for voluntary self-regulation of the film industry June 2, 2007, Rapid Eye Movies GmbH, Cologne, accessed on March 14, 2016 (test no .: 106864 / K): "Released from 16 (sixteen) years".
  2. ↑ House in the Grindhouse Database, accessed March 14, 2016.
  3. ↑ a b c Feature on Nobuhiko Ōbayashi (Japanese), accessed March 15, 2016.
  4. ^ Hausu on the Maboroshii Productions Blog, accessed on March 14, 2016.
  5. ↑ a b c d e f g h i j k l m n Nobuhiko Ōbayashi (director), Chiho Katsura (screenplay), Chigumi Ōbayashi. (2009). Constructing a House  (DVD). The Criterion Collection. March 12, 2016.
  6. ↑ Nobuhiko Ōbayashi. (2002). Interviews: Beginning  (DVD). Eureka Entertainment. March 12, 2016.
  7. ^ Hausu at Moviepilot , accessed on March 12, 2016.
  8. ↑ a b c Hausu in the Internet Movie Database (English)
  9. Jump up ↑ Asei Kobayashi, Micky Yoshino, Godiego: House Original Motion Picture Soundtrack (1977) , accessed March 15, 2016.
  10. ↑ Ōbayashi, Nobuhiko (director). (2002). Interviews: Casting & Production  (DVD). Eureka Entertainment. March 12, 2016.
  11. ↑ House ハ ウ ス in the JMDb (Japanese), accessed March 14, 2016.
  12. ↑ a b Bryan Hartzheim: Maniac Mansion . In: Rodrigo Gudino (ed.): Rue Morgue . No. 106, November 2010, p. 47.
  13. ↑ The fingerkauende Piano , The Standard April 1, 2010, accessed on 12 March 2016th
  14. ↑ Roquet, Paul: Nobuhiko Ōbayashi, Vagabond of Time . In: Midnight Eye . Retrieved March 12, 2016.
  15. ↑ Ôbayashi, Nobuhiko (director). (2002). Interviews: Release and Legacy  (DVD). Eureka Entertainment. March 12, 2016.
  16. ↑ a b Stephens, Chuck: The Housemaidens . In: The Criterion Collection . October 26, 2010. Retrieved March 12, 2016.
  17. ^ Hausu (1977) sectional reports, accessed on March 14, 2016.
  18. ^ House: Awards - Allmovie . In: Allmovie . Retrieved October 31, 2010.
  19. ^ House (Rerelease) at Box Office Mojo.
  20. ^ House [Hausu] . In: Masters of Cinema . Retrieved March 12, 2016. UPC / EAN 5060000403107.
  21. ^ House [Criterion Collection] [Blu-ray] . In: Allmovie . Retrieved March 14, 2016. ISBN 978-1-60465-318-2 .
  22. ↑ a b c Hausu at Rotten Tomatoes (English) Template: Rotten Tomatoes / Maintenance / Various connoisseurs in Wikipedia and Wikidata, accessed on March 14, 2016.
  23. ↑ Hausu in the Internet Movie Database (English) , accessed on 14 March 2016th
  24. ^ Hausu in the online film database , accessed on March 14, 2016.
  25. ↑ Hausu. In: Lexicon of International Films . Film service , accessed March 2, 2017 .Template: LdiF / Maintenance / Access used 
  26. ^ Hausu at critic.de, accessed on March 12, 2016.
  27. ^ Watch Out for That Disembodied Head, Girls , New York Times, January 14, 2010, accessed March 12, 2016.
  28. ↑ Hausu in IUCATplus , accessed on 12 March 2016th