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House


Original title: Hausu
Country: Japan
Year: 1977
Director: Nobuhiko Obayashi


cult film for some movies to forget for (many) more ... Hausu is the directorial debut of Nobuhiko Obayashi, which in 1977 brings a frenzy of on-screen color images and perhaps never seen before.
History, fairly trivial, part of the usual school and the usual schoolgirl at the mercy of the inevitable family crisis. From here the idea of \u200b\u200bbringing a group of companions on a trip to the home of her aunt, who lives in a kind of cursed castle on top of the cliff top surrounded by a moat and fiery lava and guarded by a ferocious dragon.
Seriously, the "home" is the true protagonist of the film, acting as a refuge and a prison at the same time, place of serenity and security family hides but (like all the houses in this world) made of a dark side perversions, violence and unorthodox rituals unheard.


do not expect the usual meatloaf psicological-dramatic Hausu is anything but boring, all but seriously ... anything but movies.
Two hours of hallucinations, delusions, visual-sound, trash found worthy to be handed down to posterity (can not forget the head in the well or the piano cannibal) and so, so, I ask.
The weaving of plots and subplots is reason for being in the presence of disturbing (even for gattofili most hardened like me) a seraphic white Persian cat (in fact, white is for the Japanese synonymous with death) and sowing terror (and mewing) for the duration of the film. A work

strange, to be taken with too many expectations and not to be considered for what it is: a long video shot in the psychedelic '70s. Funny.

Rating: 6

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Crazy Lips


Original title: Hakkyousuru kuchibiru
Country: Japan
Year: 2000
Director: Hirohisa Sasaki



... Oh, say! can you see by the dawn's early light ... So
.
explain the plot of this film can be as simple as it is impossible at first glance it seems the classic supernatural thriller in the background, with some additions in more than a girl, trying to save his brother from the charge of multiple murder, turns to a psychic who, with the help of an assistant's very shrewd, takes advantage of the situation to achieve their own purposes (and obscure) by exploiting the weaknesses of the family in question.
That seems so trivial but maybe a movie worthy of the name falls here and the donkey. What I wrote is actually the plot of another film, what they might have wished (or had?) turn in origin, but by no means but to Crazy Lips.
Here is part of a family besieged by journalists a little problem 24 hours a day and haunted by a policeman who is a little slippery to define, a mother who seems to have the character of a jellyfish in alcohol, a nymphomaniac sister and perpetually angry with the world, a younger daughter with obvious social disorders (and beyond). Not to mention Japan's version of Vanna Marchi widow at the funeral in constant company of a sex maniac in version undertaker and dandy pair of FBI agents (Japanese American and her wig as such a duty, his undercover agent in style super-KungFu Matrix) led by a mysterious Colonel suffering from penis envy.
Season with erotic scenes-like (more like lessons on how to knead the bread, now I understand the desperation of many Japanese women) and splatter sequences from kindergarten.
unique and inimitable sound track, consisting of unreleased tracks (probably an original creation of the director's son, a great musician trained in the use of the keypad of the phone), music footage (see under 70's cop) and great vocal performances : Can not forget the poignant ballad that Satomi (no, I'm not referring to the purple haired Kiss Me Lycia) dedicated to his brother so loved (well, probably if you really loved avoid opening the mouth) and the wonderful interpretation of the national anthem by American FBI agent wig.

A film that never fails to give us a smile (more of a laugh uncontrollably), despite the total absence of light in almost every scene (buy a pair of lamps would have risked undermining the budget), the complete lack of expressiveness and logic is that the characters in the plot, the absolute absurdity of the whole affair, and especially the sequence shaolin in the woods.
The only thing I must mention is how amazing the nonsense of the whole film will find its raison d'etre in those final two minutes of that call genius: a drammatica e feroce critica nei confronti della nuova società nipponica, così americanizzata, così alienata e così depravata da trovare rifugio solo nella morte (per mano propria o del "nemico"). Un epilogo feroce e crudele che regala sollievo e l'illusione (perchè tale è) di vivere al sicuro, lontani da quel mostruoso mondo.
... What so proudly we hailed at the twilight's last gleaming ...

Voto: 5