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Therefore, the story of love must be told many times so that the spirits of lovers may live forever. It’s no coincidence that the music is so closely tied to the moods of the girls. House’s soundtrack had been finished a year before Obayashi shot the film, and when he found himself struggling to give effective verbal direction to the novice actresses, he played the soundtrack for them as they acted out the scenes.
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The master bedroom and bath, plus adjoining study/guest room, create a separate wing designed to give the adults in the family a private domain. Large pass-through connects one end of the kitchen to the family room (right). White brick-patterned vinyl flooring banded with bright blue strips echoes vivacious flowered wallpaper (above). The presence of the leitmotif acts, one more time, as our guiding star here. But reality itself is subject to distortion; those things once thought unreal often come storming into our lives without a moment’s notice, like an atomic cotton-candy bloom turning hundreds of thousands of lives into dust.
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Frank Gehry is a renowned Canadian-American architect known for his imaginative and unconventional designs. He was born in 1929 in Toronto, Canada, and later moved to Los Angeles, where he established his architectural practice, Gehry Partners. Gehry’s work is characterized by his use of unique and complex forms, often incorporating unexpected materials such as metal and glass, which often challenge traditional architectural conventions. Some of his most famous works include the Guggenheim Museum Bilbao in Spain, the Walt Disney Concert Hall in Los Angeles, and the Louis Vuitton Foundation in Paris. Gehry is widely regarded as one of the most influential architects of our time, and his work continues to inspire new generations of architects and designers. Skylights and glass floors allowed light from above to filter down into the house’s lower level, filling it with light.
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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.
Auntie, a retired piano teacher who lost her betrothed to World War II, works in tandem with the house to possess Gorgeous and systematically devour her friends, so that they might both feed on the joyous youth that the war stole from her so many years before. This simple story, relatable in theory to all ages, can be hard to make heads or tails of amidst the daunting volume and furor of Obayashi’s aesthetic choices. 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.
He poked glass structures through the original house’s exterior to open the interior space, as seen in the accompanying drawing. As a result, a large glass cube appeared lodged between the house’s old and new fabric, flooding the kitchen with light and framing views of the sky and trees above. Though it was renovated more than ten years after Gehry opened his architecture firm, the residence was the architect’s first work to attract widespread attention. As his home was also his first project for which he did not have a client to please, giving him the freedom to explore ideas about different materials and take significant risks.
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She finds a powder compact music box which, when opened, plays the now-familiar House leitmotif. At the same time, a piano downstairs calls out to her musically-oriented friend Melody. After briefly studying the sheet music, Melody begins to play the leitmotif as well. Gorgeous, music box still open, watches as her reflection turns into her aunt’s, whose face twists into a terrified scream before the mirror shatters. Auntie’s fractured reflection weeps blood, a sinister cackle resounds, and Gorgeous, shellshocked, is consumed by ghostly flames.
10 Movies That Prove 1977 Was a Golden Year for Horror - Collider
10 Movies That Prove 1977 Was a Golden Year for Horror.
Posted: Sun, 21 May 2023 07:00:00 GMT [source]
“A movie” is right, for few films have as much fun simply being a movie as House does. 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. 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 resulting modest and casual appearance makes the house appear “thrown together,” an effect that required a great deal of work and planning to realize. The interior went through a considerable amount of changes on both of its two levels. In some places, it was stripped to reveal the framing, exposing the joists and wood studs. It was repaired according to the addition, showing both old and new elements. This is especially evident when walking through the house’s rooms and passing by new doors placed by Gehry and older ones originally in the house.
Within the span of human existence, everything is permissible, and the incomprehensible often comes to haunt us, just as an incomprehensible horde of monsters haunts Gorgeous and her friends. Several sequences suggested by the pre-teen Chigumi Obayashi made their way into her father’s big screen debut (including a watermelon re-emerging from a well in the form of a floating severed head), as well as the central premise of “a house that eats girls”, a threat to rival any rubber shark. 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.
But time has allowed us a clearer perspective on Obayashi’s vision, and the young generation that so loved the film in its infancy is key to this new understanding. House is a classical gothic romance repackaged in a counterintuitive wrapper—its VFX orgy intense to near-illegibility, its sense of humor a bit puerile, and most crucially, its soundtrack a mélange of the nostalgic and the funky, the classical and the experimental. Obayashi’s collaborator Asei Kobayashi wrote the score, but Kobayashi conceded early on that he was “too old” to do justice to a firecracker like House, so the two called in 25-year-old Mickie Yoshino and his band Godiego to actually arrange the tunes.
Orange polished-cotton draperies, pretty needlepoint, afghans and patchwork add bright accents. Bookcase wall is a splendid entertainment center — for TV and stereo as well as books. The dining room is patterned with an overscaled paisley wallpaper and matching fabric that have just enough color and impact to complement the wood tones of table and chairs and the rustic ceramic tile floor. House tells the story of high school ingenue Gorgeous, who embarks on an ill-fated summer vacation with her six friends to her aunt’s lonely house in the countryside.
Draperies and cafe curtains in brilliant orange create a magnificent window wall in living room (right) without shutting out light or view. Elongated sofa is in soft-textured velvet, side chairs in resilient Naugahyde. The living room, with its dark ceiling beans and rich oak-veneer paneling (opposite), is designed as the natural gathering spot when you are having friends over. You enter the house through the front door, painted an unforgettable bright blue, outside and in.
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