Film Micrœview #40: Hausu (1977)
01.04.2014 § Leave a comment
My second viewing.
So much thought was clearly put into every special effects shot of this movie (which is certainly more than half of them!) that I have to assume that as much thought was put into the seemingly random events they depict.
You laugh toward the beginning at the random baby that Gorgeous bids farewell to, but it represents, as Gorgeous becomes more and more like her aunt, her giving up of a life where she may have kids of her own. Fantasy gets mocked for seeing things, when really she’s the only one that sees the truth (typical horror trope). In the end, Fantasy becomes the object of a fantasy: Gorgeous holds her to her naked breast like her own baby.
And you laugh at the end when Togo turns into a pile of bananas after talking with the watermelon vendor, and Gorgeous’s stepmother brushes some grapes — what is this fruit symbology? — but with Togo (as prof’s potential husband) echoing the failure of auntie’s fiancee to ever return to her from the war, and with his silly journey intercut throughout the movie consisting of getting a bucket stuck on his butt, getting stuck in traffic, and enjoying some street noodles (?) it seems likely that this pile of bananas represents the failure on the part of all males to be there for these women in their time of need (watermelons are equated with heads, so bananas could be phalluses, and the grapes could be little girls, or eggs?)