Nobuhiko Obayashi_Haunted House_1977
7.9
When director Nobuhiko Obayashi passed away a month ago, my friends lit candles, and I am not very familiar with his works. This is the first film I've ever seen, and it's so appetizing in every way that it completely made me interested in the rest of his films.
The previously commercially successful classic film was 1975's "Jaws" directed by Steven Spielberg, which presented certain thriller routines to later generations while also representing a mature formal system, such as its long-standing Acclaimed deep focus photography and editing awareness. The "Haunted House" drama became famous because of "Rescue the Cat". The simple drama installation is a confined space plus a murderer. After that, the plot is driven by the protagonists' desire to survive, whether Jurassic Park, Great White Shark, Alien These are pretty much the same.
The form of this film, which draws lessons from the story routine, goes in the opposite direction. The audio-visual editing, scheduling, and performance are all blunt, and many things that do not conform to the grammar of the film have created a very strange aesthetic system. Some viewers have called the editing of the film a special effect, but it seems to me that it is more in line with the concept of meta-film, and its weird and confusing second half is like a separation from the special effects photography used by the early director Georges Mérieux. Empty interaction.
Often absurd and hilarious, Mérieux's film-historical status stems from his blending, inversions, montages, slow motions, split exposures, slide close-ups, plane moves with fake sets and fireworks effects to create the initial screen magic. Scary images of skeletons, ghosts and demons appear repeatedly as subtopics of Mérieux's dreams, and in "Haunted House" you can also see traces of masterpieces such as "Eraserhead" and "Hell Gait Dance."
The hand-painted background boards help the film to present a lack of depth theatrical effect, coupled with the dramatic ghosts and animals, impetuous lines, and terrible music, these elements make this farce feel particularly comical . The difference is that the great white shark intends to directly intimidate the audience with its sense of fidelity, while the haunted house relies on the sense of distortion to indirectly intimidate the audience. It goes beyond the steps of restoring material reality to the result of spiritual reality.
From the aunt to the seven students, the discussion of female subjects permeates it. The adjectives as Oshare, Mac, Fanta, Kungfu, Gari, Sweet, and Melody are used as female labels to reflect their self-objectification, and the incarnation of the aunt's haunted house is even more exposed. The real harm done by women to women in this society. Compared with unknown living bodies such as great white sharks and aliens, the film depicts the horror of everyday objects in a different way, and the transcendental effect created by women's gaze directly hits the heart.
The aunt, who was waiting for her husband's return, died in this haunted house, and her spirit was attached to inanimate objects such as buildings and daily necessities. The episode of watching the silent film before the arrival of the schoolgirl points the source of suffering to the war of aggression, but the film probably shows more than that. Those labeled by beauty die in the mirror, those labeled by gluttony die in watermelons, and those labeled by romance die at the piano. When these horrific plots happened, we couldn't even clearly judge whether it was the evil pair of aunts who were female Others. Did they commit murder or self-objectification made them commit suicide.
"Leone said he liked my music better than Morricone," the band Godiego and Kobayashi Yaxing, who supervised the film's soundtrack, had only previously composed music for commercials. What impressed me most was the slobbering song called "Cherries Were Made For Eating". I was successfully brainwashed by the texture of its department store. It circulated for a few days, and it felt like returning to that distant era. In 1977, director Nobuhiko Obayashi, who mainly filmed TV commercials, was less than forty years old.
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