Nobuhiko Ôbayashi's surreal and psychedelic satirical scare fest was the most startlingly strange film to still follow a linear storyline, and still to this day remains a complete and utter anomaly. This is particularly with American audiences who are not used to witnessing such schismatic entertainment when it comes to defying, while simultaneously defining genre.
Hausu successfully utilizes simplistic horror formula while bucking the system with its highly unorthodox editing, transitions, compositions, arrangement and juxtaposition techniques... all an implication that Nobuhiko was in fact a cinematic genius despite his lack of notable follow-up successes sadly.
The music is another great accomplishment--as simplistic as the narrative's formula. In fact, the reciprocal would be a more appropriate statement--the narrative's formula is as simplistic and enthralling as its theme music, which effortlessly carries this psychedelic rowboat across the turbulent sea of treachery which takes place in the film's content.
The word "formula" in this review connotates a reference to something tried and true throughout the ages. This can be either a good thing when executed expertly, or a downfall if utilized as a lackadaisical method to produce a "money maker." Hausu is far from the latter. In fact, it may be a difficult watch for most American audiences due to its jarring differences in cinematic creation.
The cinematography and editing in particular stand out like a sore thumb. Its formulaic nature is very self-aware in the sense that the film understands its relatively simple nature. Even the character names are explicitly derived from their character traits (Gorgeous, Fantasy, Prof, Kung-Fu, etc.). This is, of course taking into consideration the translation factor, but this review refers to the Criterion release. Criterion, being famous for their meticulous attention to detail including translating the film's intention and purpose I can trust.
A reasonable percentage of Hausu's audience, who undoubtedly search for more treasure with horror candy have seen Sam Raimi's famous American cult hit Evil Dead II, another self-aware horror comedy which takes stereotypical elements and makes light of them at risk of being its own self critic. There are scenes that are so over the top they become simply funny. This approach is an extremely risky direction to take, and both succeed equally as well.
In fact, the Evil Dead II has uncannily similar scenes which may or may not have been denied or admitted by Raimi as an inspiration. There are several comparable scenes, such as holding the talking severed head, the dancing skeleton and excessive fountain of blood squirting from a hole in the wall. Raimi himself has acknowledged (in paraphrase) that filmmaking has somewhat "evolved" for better or for worse out of "borrowing," a politically correct phrasing of hijacking essentially. This is in fact a true statement throughout film history, a medium chock full of references, tributes and copycats.
Despite its lack of high-end complexity narratively speaking within the script itself, the director's highly enigmatic interpretation (though he was himself the writer, allegedly based on a dream his daughter once relayed to him... terrifying) and execution is one of the most original, enthralling, and engrossing repeated viewings I have personally had.
I recommend this film with a solid 9.7/10 largely due to its sheer boldness and originality, so rare in filmmaking these days. Many readers of this review who decide to view the film themselves will likely find it an unforgettable experience. From the top of my head of writing this review and completing my approximate 5th viewing, I have yet to see another film as iconoclastic and dissident in the horror genre this side of Santa Sangre (1989, Alejandro Jodorowsky).
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