If you’ve never seen the 1977 Japanese horror-comedy-musical House, then you’re in for the wildest, strangest trip of your life.

Hausu Poster
Miki Jinbo (Kung-Fu) and Nobuhiko Obayashi on the set of Hausu (House, 1977)
Miki Jinbo (Kung-Fu) and Nobuhiko Obayashi on the set of Hausu (House, 1977)
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Hausuu (1977)

Episode 28, 2 Guys and a Chainsaw

Todd:  Hello, and welcome to another episode of 2 Guys and a Chainsaw. I’m Todd. 

Craig:  I’m Craig. 

Todd:  And today, we decided to go with a bit of a departure. This is a film that is near and dear to my heart. We will see how near and dear ended up to Craig’s heart. This is a Japanese film called House or in in Japanese, Hausu. It was released in 1977 in Japan. Never got a worldwide release. 

Craig:  You’re kidding. 

Todd:  I think I could see where this is going. Until 2010 when it was sort of resurrected, and, for example, we watched The Criterion edition. You can get this on a Criterion DVD. Has quite a cult following, has gotten some pretty good critical reviews now. Did not get great critical reviews when it was released in Japan. However, it was a box office hit, especially with young people. 

Craig:  When it was originally released? 

Todd:  Oh, yes. And they didn’t even expect it to, to be a big hit. Even the creators of the film did not expect it to be a hit. The industry over there, you know, is just a little different, especially at that time, even the industry over here was, but there’s a a very large, pretty much the monolithic Japanese production studio called Toho, and it was the Hollywood. It still is to an extent, but Japanese films aren’t really as big as they used to be even in Japan. They’re really watching a lot of foreign films more than Japanese films with the exception of the anime Right. 

Craig:  Right. 

Todd:  Within the Japanese society. But at its day, Toho was cranking out a tons of movies, and so it was very much the studio type system that we had in Hollywood where they would just make a lot of movies. Actors and actresses were under contract to the studio, and as long as the successful ones did well, then the other films, you know, could be experimental or an era that I think we’re missing now a little bit. Yeah. You know, where we’ve just rely on those box office hits. Right. But we can talk more about the movie, the movie’s background a little later. I wanna just get your initial impressions before we move on. 

Craig:  I have no idea what we just watched. That was the weirdest thing I have ever seen. Really? I don’t even know how we are gonna go about talking about plot. Like, it was just a collection of the weirdest, most bizarre visuals that I’ve ever seen on film, I think. So strange. So strange. And I watch a lot of weird stuff. We’ve watched some weird stuff together.   Yeah. I think this kinda this this one takes the cake. 

Todd:  It takes the cake. Well, it does have a plot. Right? I mean, it’s not I feel like I’m gonna be apologizing for this movie the entire way through. Poor Craig. People have likened this film to a live action Scooby Doo. 

Craig:  Yeah. And I can totally see that. And you can definitely see elements of anime in there too. You know, I don’t know a lot about Japanese cinema. I, you know, I have friends who are big into anime, like, big time into anime, and I’ve seen a few things. And, you know, we kinda over here, I think, in the States, we get tickled by clips of Japanese game shows and and commercials. And this felt very much like that. I mean, it it remind, again, this isn’t even real, but it reminded me of that episode of Friends where Joey shows a Japanese commercial that he did for men’s lipstick, and, like, it’s just all these crazy bright colors and flashes of weird imagery, and that’s that that’s what’s going on here.   It’s a lot like, times a 1000000. 

Todd:  Well, it’s interesting you say that because the director, Nobuhiko Obayashi, before awful. Good job. Thank you. He actually I think this was his 1st feature film or perhaps, he did some other feature films, but they weren’t, as big or they were more small and experimental. He mainly did commercials before doing this. In fact, the whole cast of this film with the exception of who you would call the lead, who’s Kimiko Ike Ikegami, who if you’re into Japanese cinema, you’ll recognize her. She played gorgeous in the movie, which gorgeous actually translates a little better into Angel, which gives a little more explanation for 

Craig:  her role in the film. Sense. 

Todd:  With the exception of her, these are mostly amateur actresses in this film, and it shows in many ways. 

Craig:  Mhmm. 

Todd:  They, were people that he worked with on his commercials and things that he tried to bring in. The studio had approached him and wanted him to make this is 1977. Mhmm. They wanted him to make a movie that was kind of on the realm of Jaws. You know, some big production, something that would be big blockbuster. And he was floundering around for ideas and approached his daughter and asked his daughter, well, let’s talk about some of the things we should do. And she was like, you know, movies right now are kinda boring. They’re real grown up, and they talk about adult matters that kids can’t understand.   Can’t you make something that’s maybe a little more youthful and appeals more to youth? And she came up with all these ideas from her dreams, from ideas that she had. And as you can tell, it just got thrown in a blender and made into this movie. It took a while for it to even get green lit because everybody thought the script was total bonkers. Mhmm. And eventually, his producer, this producer at Todd, said, well, why don’t you direct it? And, Obayashi remembers this as basically being him telling him, we’re tired of losing money on comprehensible films. Let’s go ahead and shoot this movie, which is totally incomprehensible, and see how it does. 

Craig:  Yeah. It’s it’s weird that you say that because I feel like on paper, it would have looked like a very different movie. I I mean, the story is is weird, but relatively straightforward. It’s really more the way that it’s shot and all the wacky effects that make it strange and and bizarre. I mean, there are elements of the plot that, to me, made absolutely no sense. Like, there’s at one point, a guy turns into bananas for no reason that I can understand. I have no idea what was happening, but but other you know, aside from those few things that really just seem to completely come out of left field. Few things? Well, yeah.   I mean, I don’t know. I don’t know. Like, I I’m dumbstruck. I don’t even know 

Todd:  what to say. Well, we have this Scooby Doo type assortment of girls. They’re all, starting their summer vacation. They’re all high school, and all of them, like cartoon characters, have names their distinct one note personality. So you have gorgeous, who’s the girl who’s the star of the film, and she’s the one who’s doing her hair and her makeup all the time. And everybody’s talking about how gorgeous she is. You have the professor who is the mousy girl with the glasses on who’s very smart. 

Craig:  She’s the logical one. Right? Yeah. 

Todd:  And and even at one point in the movie, they they take the glasses off and say, you look beautiful without your glasses. There’s like this sort of nod, I think, to that whole aspect of these films, which is funny. We had Mac, who’s the person who eats a lot. 

Craig:  Uh-huh. 

Todd:  And I guess by Japanese standards, she’s fat. 

Craig:  She’s barely what we would consider pudgy here in the States. She’s cute. I mean, they’re all they’re all cute, girls. 

Todd:  She’s the butt of every single joke. 

Craig:  And she’s always eating or talking about wanting to eat. It’s pretty funny. 

Todd:  You have fantasy who, like, is the girl who’s wrapped up in her fantasy world, I guess. She’s the dreamer. 

Craig:  Mhmm. 

Todd:  She has a crush on mister 

Craig:  What is this? Togo? 

Todd:  Mister Togo. Yeah. It’s A teacher. Teacher. What? Okay. And she’s been fantasizing about running off with him. And then we had Kung Fu, who is the sporty girl. And, like, we have to explain that That’s true.   Kung Fu who does kung 

Craig:  throughout the film. She even has her own little kung fu score. That’s right. That was fun. Melody Plays the piano. 

Todd:  That’s right. And who am I missing? 

Craig:  Sweet. Sweet. Who likes cleaning? Oh, man. 

Todd:  Little insight into Japanese culture too sometimes with this film. So the movie’s, we’re not gonna probably explain the entire plot to you because it makes no sense, but we’re gonna hit the highlights. Essentially, the threat of it is that Gorgias is planning to take a trip to see her auntie out in the middle of nowhere, Japan, where who she hasn’t seen since she was a tiny little girl. And her backstory is that her mother died 

Craig:  Right. 

Todd:  Quite some time ago when she was young. And, then her father is now getting together with another woman who he just surprises her with Mhmm. Out of nowhere really, and that’s an interesting scene. 

Craig:  It’s so weird. The whole thing is so weird. First of all, it it looks like it’s set or it looks like it’s shot on, like, a soap opera set, like a really, really bad soap opera with what what’s what’s clearly just a stage with, arguably fairly impressive backdrops lit backdrops behind, but it I mean, it almost looks like a parody of a soap opera. It’s so over the top and ridiculous. 

Todd:  I think it is. You know? And I think that’s what’s really cool about this movie is from the very get go, they’re pulling you into an obvious fantasy world. 

Craig:  Mhmm. 

Todd:  Like, this world doesn’t reflect reality even in the scenes that seem like they would reflect reality. Even that shot that scene between, her and her father when she’s talking with him and he introduces his new bride to be, It’s shot, like you said, on the soap opera set, like it’s on the out, the balcony. 

Craig:  Like a 

Todd:  like a veranda. Right? But it’s shot through glass, like a glass pane 

Craig:  Mhmm. 

Todd:  That warps the people as they’re walking past it and through it, and we never get to the other side of that glass. Right. It’s all shot through that. So even as we’re seeing these characters having what’s supposed to be a fairly real interaction, the interaction is so overwrought. And sometimes it slows down and becomes slow motion for no apparent reason. Right. And they of wind come in. 

Craig:  And we’ll have, like, superimposed close ups of characters’ faces. And the fiancee, I I have no idea Ryoko. Yeah. Ryoko Ima. She apparently has her own personal wind machine that follows her everywhere she goes. That’s right. Because she’s always draped in these scarves, and they’re always just billowing around her face. Always. 

Todd:  And she’s always in slow motion. Yeah. And she always has these dreamy, far off smiling looks as she turns from one place to another. And even her dialogue is very carefree. Like 

Craig:  It is good. I’m not gonna 

Todd:  Because, Gorgeous doesn’t take to her at all. Right. She’s very ticked that her father is, marrying somebody else. 

Craig:  She’s taken by her until the dad says she’s gonna be your new mom, and then then Gorgeous is not pleased. 

Todd:  Yeah. And so, it seems to be this really overdone contrast what you’d see in a romance film from the fifties times 10. 

Craig:  Mhmm. Like Casablanca or something. 

Todd:  That they’re parodying here 

Craig:  in a way. 

Todd:  Yeah. And it it presents a nice contrast with whatever what what else is happening in the film. Except for Gorgeous, the rest of the girls were going to go to this summer camp or something with mister Togo, and it turns out for some reason, they can’t go. What what was the reason? I don’t even remember. 

Craig:  Mister Togo. So they’re they’re, like, waiting for him to go or whatever, and it’s his sister has, like, a a summer resort or something something like that. And she’s sick. No. He pulls up, and he’s like, bad news. My sister’s gonna have a baby. 

Todd:  Oh, that’s so awful. 

Craig:  So so we so we can’t go. And just the it’s so silly. So gorgeous comes. She was supposed to go on a trip with her dad, but now she’s not gonna go because she’s mad. So she was go she comes, and she was going to join them. And when he says we can’t go, they’re all the other girls are disappointed, and she says, well, let’s all go together to visit my aunt who I haven’t seen in a long time. And then, like, in voice over you here, and that’s how I invited them all to your house. Like, aunts who I haven’t seen or spoken to in 10 years. 

Todd:  I hope you don’t mind. 

Craig:  I invited my whole class to come hang out at your house. 

Todd:  She has this cat. And did she did they discover the cat, or has she always had the cat? 

Craig:  That I was confused about that through the whole movie until the end. I thought it was her cat in the beginning. And then as soon as they so they they go. I mean, they she gets a letter from her aunt. Yeah. Bring everybody. Great. So they go and they take this cat.   I thought that it was Gorgeous’ cat. 

Todd:  It is. It I think it is. 

Craig:  But it says later in the movie, the aunt is like, these girls are gonna come here, and there haven’t been any girls here for a long time. So I will send Blanche, the cat, to them. So I and and when they said that? Yeah. Yeah. The aunt said I’ll send Blanche to her to them or something. 

Todd:  Oh, okay. 

Craig:  And then when they get there, the cat immediately runs in, and there’s I don’t know. To where, like Yeah. There’s some random dialogue about how which cats can close doors or something. 

Todd:  It does become important. It, the they’re on the train there, and they’re teasing each other and spooking each other out. And, 1 girl says, cats can close doors, but only a witch can open them. 

Craig:  Or something something along those lines. Yeah. And when they get there, the cat, they’re trying to get in the gate. The gate won’t open, and then the cat pushes it open. It opens up, and the cat immediately runs and jumps in the ant’s lap. The ant, is white haired and in a wheel Craig. And then it seems like the cat stays with her. It’s her cat, and, like, there’s pictures of the cat all over the house. 

Todd:  That’s a big motif in the 

Craig:  whole film. So as it I mean, it it appears that the it’s like a witch’s familiar. Right? 

Todd:  Yeah. It’s like a manifestation. Although, we learned later on that the witch herself is more of a manifestation than an actual witch person who lives. 

Craig:  Well, strange things start to happen right away. I mean, for, you know, the weird opening gate and then the ant takes them in the house and she talks to her chandelier and it comes on. And then, like, crystals start flying off the chandelier, and, like, one of them stabs a lizard into the floor and the others, like, shoot at the girls, but Kung Fu breaks into her Kung Fu action and, like, chops them all away. It it’s like, oh, well, 

Todd:  that was weird. Thanks, Kung Fu. 

Craig:  Yeah. Let’s let’s have fun. 

Todd:  Well, the whole tone of the film is not terribly serious. No. Even and there’s a score that underscores the entire thing, and it’s bouncing from place to place, but the music is pretty much always there. 

Craig:  Mhmm. 

Todd:  And a lot of times, even in the scary scenes, it’s a bouncy seventies Yeah. Soundtrack, a little funky. Like low budget. 

Craig:  Mhmm. And and like a like a like a like an old seventies Burt Reynolds movie or or something like that. Yes. Exactly. Like Cannonball Run 

Todd:  or something. And and it and even in even the way that it the soundtrack is mixed into the film at times, it sounds like it’s in the background almost playing in another room. 

Craig:  Uh-huh. 

Todd:  The way that it lays under the dialogue, it doesn’t seem like it’s scoring the film so much as it’s just a song that happens to be playing. 

Craig:  It’s it’s bizarre. Everything about it is bizarre. 

Todd:  Yeah. 

Craig:  There’s nothing conventional about it. And I guess that, you know, that that’s interesting. If you’re looking for something different, you’re not gonna get much different than this. It’s unlike anything I’ve seen before. 

Todd:  But in a good way? 

Craig:  I don’t know. It’s There you go. Aw. 

Todd:  You break my heart. 

Craig:  I don’t know. Todd’s wife, has never watched a movie with us before. And, she sat in on this one, and I thought that she had seen it before. But after I found out she hadn’t when she said, I spent my Sunday afternoon watching this. And I don’t know. It’s one of those things where I think I’m glad to have seen it just because I’m like a collector of trivia and and and whatnot. But and it, you know, it would be fun to talk about with anybody who has seen it or who hasn’t seen it. But as your wife said, and I think very astutely said, this could have been 20, 30 minutes.   Like, I feel like I coulda got what they were going for in 20 to 30 minutes. 

Todd:  Oh, I don’t know, man. To be fair, almost any movie could be redeemed 

Craig:  in 20 to 30 minutes. But, I mean so, basically, then what happens is in a lot of weird well, the ant just acts weird and, like, you know something weird is going on from the beginning. Like, the cat’s eyes sparkle, like, magical green, and the ant’s eyes sparkle magical green, and weird things are happening. So you know that there’s something weird going on. And then the girls and it takes a while. You know, they’re there for a little while. The girls kinda start getting picked off and really, really, I’ll say weird. You could also say creative ways.   Cartoonish. Very much. Very car and actual cartoon. But, you know, a lot there’s a lot of animation, throughout the movie and a mix of animation and and live action, which, you know, I mean, it’s it’s it’s different. Well, in some 

Todd:  of the the special effects are reflective of the time where you can tell it’s green screen and it’s kind of a cheesy green screen. Other effects, you can tell they were meant to be goofy and outlandish and out there like you’re watching a Pink Floyd video. Mhmm. Yeah. You know, if you’ve seen The Wall, this movie is very reminiscent of that where it it moves from from animation into live action into weirdness all at at the same time. The 1st kill is, of course, the fat girl girl, Mac. Mac, and she goes outside. They have, basically tied a watermelon to the end of a rope and dropped it down a well in order to cool it off because the auntie says the refrigerator doesn’t work.   Uh-huh. And so Mac goes outside to get the watermelon, and we don’t know. We don’t 

Craig:  know why that happened. Disappears, and they the other girls eventually say she seems like she’s been gone a long time. That’s right. And I I I’m pretty sure it’s fantasy because Fantasy. Fantasy is typically the one who finds these weird things, and then nobody believes her because they think that it’s all in her head. But she goes out, and I feel like things are just kind of weird in general, but she goes to pull up the watermelon. And when she pulls it up, it’s Mac’s decapitated smiling living head. And it it it kind of flies around her.   Laughs at 

Todd:  her, and then it bites her in the ether. 

Craig:  Gets stuck to her butt 

Todd:  for a while. Mac is trying to eat something. 

Craig:  Oh, man. But, of course, 

Todd:  it’s fantasy, and nobody believes her. Oh, well, that can’t be right because they go outside and they pull up the watermelon. It’s just a watermelon. And it from here on out up until the big climax, fantasy is the one who sees all the creepy things outright. 

Craig:  Uh-huh. 

Todd:  And, of course, they never believe her. 

Craig:  Well and then they go to eat the watermelon, and I feel like you can kind of hear Mac’s little voice in the background. Like, it’s coming from the watermelon, and then the ant is eating the watermelon. And I don’t know if she showed this to 1 of the girls or if she was just showing us because she broke the 4th wall on more than one occasion, and she, like, opened her mouth 

Todd:  Just a little bit. 

Craig:  Just a little bit just so that we could see that there was an eyeball she was eating an eyeball. So I guess 

Todd:  The eyeball would look left and right. 

Craig:  Yeah. So I guess they ate Mac in the form of the watermelon. 

Todd:  That’s right. 

Craig:  It it doesn’t make any sense, folks. It it it’s and at that point, that was when I realized I’m just gonna have to roll with it. Just just let it just let it just let it roll. 

Todd:  But honestly, I think, yes, it doesn’t make sense, but in the fantasy world of a witch and a witch who could do pretty much anything, 

Craig:  who can 

Todd:  transform things, who can make them whatever. We just saw the witch. Right? We saw the American kind of Yeah. Yeah. Mhmm. Version of the witch, and there’s transformation, and there’s flying, and there’s that. In this film, okay, the witch killed Mac and transformed her into a watermelon, and now everybody’s eating Mac and they don’t even know it. It’s this sly, funny, and creative way of dispatching of them.   Later on, 1 of the girls, sweet, I believe, is attracted to this doll in one of the rooms and starts getting pummeled by futons. Yeah. It’s like 

Craig:  death by mattress. Nonstop. And when they 

Todd:  come in, they notice that all of her clothes are in there, and they pick up this doll that’s completely naked. Mhmm. And so it’s obvious she’s been transformed into this doll. Right. And but not obvious to them. So I felt like they were very conventional witchy type things going on. I mean, within the fantasy realm, these things aren’t that weird. Yeah.   It’s just the delivery. 

Craig:  Right. I mean, it’s it’s We’re not 

Todd:  used to seeing the comedy and the the over the top silliness, almost cartoonishness of it. Right. 

Craig:  And I mean, I don’t know if I would say conventional aside from she’s magic and she can do what she wants. Like, she can she can sneakily slip into the refrigerator and then and close the door behind her and then appear dancing in the rafters as well. Great scene. Wasn’t that not a 

Todd:  great scene? Overhead shot of the girls talking, and they’re and they’re talking about her and where where could everybody else be. And I think even I think is it professor? Leaves. It’s just fantasy and professor, and they’re doing dishes or whatever. And the aunt is dancing around because she’s rather happy. You could tell she’s getting her power from the death of the girls. 

Craig:  Right. That’s it. I mean, as soon after the first after they eat Mac, all of a sudden, now she can walk again. Yeah. And she says something like, you girls are giving me my energy back or something like that. 

Todd:  Yeah. Dancing around, and it’s it would be creepy if they weren’t so oblivious. Mhmm. And so the 2nd professor leaves the frame, like, the very second, the ant is just dances her way right into the refrigerator in front of fantasy so that only fantasy could see it. And the door shuts, and she freaks. She drops her glasses, and, like, immediately, professor comes right back in, but it’s too late. Uh-huh. It’s just one of those moments.   I’m trying to think of another movie that does this exact same thing where where the person just playing with them, and they make something happen in front of them just at the right moment where nobody else sees 

Craig:  it Right. 

Todd:  And nobody else sees any evidence of it afterwards? 

Craig:  Yeah. I can’t think of any examples either, but I know exactly what you’re talking about. Like, you know, in those those kind of old horror comedies where something will appear in the mirror just for a moment for just 1 character to see or, like, a a trap door will open and only 1 character will see and the others won’t believe. It’s it’s that kind of tone. 

Todd:  But in a devilish way, like, when your protagonist is clearly playing with somebody and getting a lot of glee out of it because while the then while professor runs back in and asks Fancy what happened in their fridge, as you said earlier, we see her the the, ant crawling. We’re up in the rafters, and so we see the ant’s head come into frame like she suddenly magically appeared on the rafters. And she just turns and looks at us 

Craig:  Directly at the camera. 

Todd:  And smiles like, 

Craig:  I’m sorry. I take 

Todd:  such joy in these moments. 

Craig:  I’m glad. 

Todd:  And maybe it’s because I’ve seen it before. So I really, from the very beginning, was gonna roll with it. 

Craig:  Right. Well and you you kinda knew what to expect. I didn’t even know what we’re gonna be watching when I showed up today. So I knew nothing about it going in. I you know? And then there’s so, again, like, I don’t even remember how they all get picked off, but there’s lot you know, lots of just supernatural weird things happening. And it’s like you said before. It’s kinda like they took a whole bunch of ideas and threw them in a blender, and they don’t all really connect and make sense, but it kinda doesn’t really matter. Right.   You know? It’s not like you’re looking for some sort of explanation. Like, at one point, 1 of the girls is in a a tub bathing, and you get that, like, j horror black hair thing coming up over her shoulders, and then it, you know, goes back down under the water real quick when somebody else comes in the room or something. Gosh. What I 

Todd:  Well, Melody, the aunt is showing them around the house, and I guess it must be told that there is a backstory to all this. Yeah. There is some clearly some tension between the aunt and Gorgeous’s mother. And and this is played out in a really creative way, I thought. This was on the train ride in where they’re talking about the girls are talking, and Gorgeous is telling the girls about her aunt and about her mom. And, apparently, her aunt lived in this great house, obviously, with her mom, and, her aunt fell in love with this man. And this man had to it was World War 2, and this man had to go into the army, and he died in an airplane crash, but not before he left promising her that he would return. 

Craig:  Mhmm. 

Todd:  And so you see later that the that that, Angel’s mother or Gorgeous’ mother falls in love with another guy and they get married, and the aunt is like a bridesmaid of some sort. And you can tell that the aunt is really kind of jealous or upset that her mom and that’s where I got the sense that the aunt was had been waiting for Gorgeous to come this whole time. 

Craig:  Well, she says that. I mean, she says, I’ve been waiting for your letter. 

Todd:  Yeah. And this is why I think she was waiting for her. It’s almost to exact some revenge on the girl because, obviously, her her husband never comes back. His plane crashes into the ocean. There’s no body. There’s no nothing. And we learn later on as the explanation is doled out to us at the end of the film that the aunt died a long time ago and that this is just a manifestation of her love, for her husband who never returned. 

Craig:  Right. 

Todd:  And, it is in the form of a ghost, and it takes its revenge by eating the girls in the village. 

Craig:  Right. She under the guise of, like, giving them piano lessons, but she says she doesn’t anymore because there are no more young girls in the village because she’s eating them all. 

Todd:  Yeah. It’s a voluminous. 

Craig:  And so she’s she’s now eating all these girls, and and they they go in different ways. Like you said, I think it was sweet was the one that, got attacked by pillows. Sucks. And then the girls later on see her, like, trapped in a clock or something. Yeah. 

Todd:  And the it seems like the 

Craig:  gears of the clock are are chewing her away. Uh-huh. Gorgeous actually goes pretty early on, I think. She’s sitting in front of a mirror, like, putting lipstick on, and the image in the mirror changes to her aunt’s like, a a younger version of her aunt, and then the mirror shatters. And then there’s a weird effect where, like, 

Todd:  her face. 

Craig:  Her face kinda shatters and falls away. 

Todd:  That was I thought that was a very interesting scene because it was almost a sister scene to the flashback we were talking about Uh-huh. Where she’s what I interpreted anyway to be discovering her mother’s old makeup chest Mhmm. And going through and maybe using the same combs and the same brushes and putting on the same lipstick that her mother, you know, had long ago. And the ant the evil ant sort of in the mirror makes this connection, and there’s a possession of sorts. Right. It’s how I took it to be. Yeah. 

Craig:  And so then Gorgeous is she’s not around as much, but you still see her around and the girl see her around too, but it’s not really her. It’s it’s the ant. Right? 

Todd:  Yeah. Yeah. I mean, like, the like, the ants 

Craig:  is yeah. Like, the ants has possessed her. 

Todd:  Yeah. And and and I think, again, I think that in an in admittedly incomprehensible movie, all that makes some certain amount of sense. Yeah. It’s the sins of the father are visited upon the children 

Craig:  Right. 

Todd:  In the same way because Gorgeous even looks so much like her mother, that whole looking in the mirror and her aunt looking back at her, possessing her allows her aunt to almost fulfill Right. In a way her her revenge fantasy. 

Craig:  It even says, you know, it’s like they figure it out somehow. I mean, they find a journal or something. Called lost what was the name? I don’t remember. 

Todd:  I don’t remember. Lost memories or Yeah. Yeah. Professor, of course, figures it out Right. 

Craig:  From reading the journal. And so they figure out that, you know, she eats these girls so that she can be young again, and she and then she wears her wedding dress. And so gorgeous puts on the ceremonial wedding dress and is wearing that for the last part of the movie. Yeah. The plot is not hard to follow. You know? It it’s it’s pretty simple. It’s just that everything plays out in such a crazy way visually. Have no idea what the significance of the melody was, but there’s this melody that repeats throughout and eventually oh, the melody, the character melody, sits down to play, the piano, and, like, there’s, like, this old faded sheet music there, and she plays the melody.   Like, the metronome starts on its own. She’s sitting there playing this melody. And the melody is really repetitive, and it plays throughout the whole 

Todd:  hear anything but this melody for much of the time. 

Craig:  And it sounded really familiar to me. I think it didn’t wasn’t similar in tune necessarily, but it almost was reminiscent of, like, jolly old Saint Nicholas or something like that. Really simple, but she you know, it’s like she’s drawn to the piano. And at one point, she’s playing the piano, and then we see the girl other girls in another room. And Melody screams. And they come running in, and they’re like, oh, it’s just a little cut. Why are you, you know, acting like such a baby? And she’s like, it’s so weird. It’s like the piano bit me.   And then later on, I think that they’re upset at somebody else having disappeared, and, they say, why don’t you play the piano to calm us down or something? And she does. And then it it’s just her and fantasy in there. I don’t even remember who’s left. I know professor is left, and the piano eats melody. 

Todd:  Yeah. Right right in front of well, one of in front of fantasy. 

Craig:  Yeah. Yeah. 

Todd:  The other 2 leave. Yeah. 

Craig:  It it eats, like again, it’s 

Todd:  it’s bizarre. 

Craig:  It’s a mix of animation and and, like, stop motion, and her limbs are getting spit out of the of the piano fantasy and Flying around and floating in the air. 

Todd:  Her legs are still kicking, but her head is floating around and boy. Because because her legs are we get sort of a almost an up the skirt shot basically of her legs kicking as they’re going. And then her head floats by and looks down and goes, oh, that’s naughty. Yeah. 

Craig:  Oh, man. 

Todd:  Well, it’s funny because as goofy and as intentionally over the top and silly as some of those moments are, even in the moments that are ostensibly to be poignant and a little quieter, it’s almost as though the director cannot help but insert something goofy in there anyway. Yeah. And I’m thinking back to that scene where you were just talking about where she sits down at the piano for the 1st time and she plays, and the metronome starts up, but she doesn’t seem to notice or care. Right. And she’s playing, and it goes into a slow motion sweep where the camera starts at her back and starts to slowly sweep around the piano on her playing and it’s it’s a really kind of a nice little scene. Uh-huh. And as it gets around to face her, we see in the background this skeleton that’s been in the corner of the room because this room used to be a medical clinic is conducting. Yeah.   Do you know what I mean? It just pops up in the back there. Yeah. Just subtly conducting music in the background. You can’t help but just bowl over and laugh. And 

Craig:  Yeah. I mean, it’s it’ll. And the effects are cheap, I guess. I I I mean, you can tell that it’s just the skeleton’s arms are on strings, and somebody’s just pulling the strings. So there’s go and you can hear the bones rattling, but Melody apparently can’t or doesn’t or is enchanted or or something, but it’s funny. 

Todd:  That’s going comes to life in the background a few times Yeah. Just for comedic effect, it seems. And I know that the director, being a director of television commercials and wanting to go really over the top with this movie, tried a lot of different techniques. He said he really didn’t even know how it was gonna show up in you know, until it was done. Right. And that he wasn’t happy with how a number of the did end up turning out. 

Craig:  Well and I read that they were really just kind of doing these effects as they went. Like and it was just the director and the cameraman who are figuring out ways to do this. It’s not like there was some sort of, like, effects team. You know? It was just them trying what what they could do, and it looks that way. But but at the same time, it doesn’t look 

Todd:  super cheap though, does it? I mean I don’t know. I mean Cheap as in the cheap effects of a low budget movie where everything’s string and twine and and, you know into account that 

Craig:  it was made in 1977, I would say no. You know? It I it’s probably pretty comparable to except for there’s so much more over the top. It’s like so many different effects blended together. It’s very ambitious. Yeah. Yeah. Yeah. Yeah? And I appreciate that.   I mean, I will give it credit for being creative. I think that it would take a creative maybe that’s being a nice Todd. A creative mind to come up with, these ideas. It’s it’s interesting that, you know, so much so many of the ideas came from his daughter who was young, presumably, and it feels very much like Scooby Doo, like you said before. But then at the end, all of a sudden, there’s a a bunch of nudity. Like, it’s that seemed unexpected and kind of out of place to me, and it seemed forced. Like, how can we get her top off? So, you know and people are like the way that professor goes is Kung Fu. She’s, you know, she’s the tough one.   She’s trying to end things, and I think professor says, kill the cat. Kill the cat. Like, they think the cat is, you know, bewitching them or something. And she doesn’t even try to kill the actual cat. There’s a a a picture or an illustration of the cat on the wall, and it’s changing and looking scary and demonic. And so she goes to kung fu kick it, but before she can get there, she gets eaten by a hanging lamp. But she gets chopped in half, and her legs are still able to kung through this this picture of the cat. And, like, the picture rips and blood starts spewing out of the cat’s mouth.   The whole house fills with blood, and all of a sudden, the floor panels become like rafts. And and this is pretty ambitious. I don’t even know how they pulled that off. But, professor and is it fantasy? The only ones who are left at 

Todd:  that point Yeah. 

Craig:  Are floating on the raft, and professor loses her glasses, so she can’t see anything. And then she either falls off or somehow gets pulled off. 

Todd:  There’s a floating in the water. There’s a floating tea kettle. It was the tea kettle they had used earlier to pour the tea, and it has a flip top on it. And, the floating tea kettle comes by and opens up and it has teeth, and it bites her hand and pulls her in. And then It’s like out of Alice in Wonderland 

Craig:  or something. And so she goes underwater, and then she comes back up. And then we get the underwater shot of her, and she’s completely nude. Yeah. And we get a pretty good long shot of her lithe nude body in in the water. Kick her around. And it’s not that it’s not a good shot. It’s actually a really good shot.   I’m just like, why does she have to be naked? I don’t understand it. And then so then she’s gone. And then, Fantasy, like, paddles her way over to the staircase where Gorgeous, who we know is actually the aunt in Gorgeous’ form now, starts coming down the store stairs towards her. Fantasy is saying, help me, gorgeous or something like that, and she reaches for her. But then she She grabs her blouse, but falls backwards. Right. She so she grabs her blouse, but falls backwards. But, you know, conveniently, the blouse rips off so that Gorgeous’ breasts are now exposed.   And Fantasy then, is able to get up to her and kind of lays her head on her breast and says, mommy or 

Todd:  Yeah. I see. I saw that as a sort of mothering kind of thing. Not like she’s breastfeeding her Right. But evoking that similar image of buttering her. 

Craig:  And I get it. It just seemed a little much for me. I I I have no problem with nudity. You know? I’m all for nudity. It just seemed it that that would be one criticism I had. It seemed out of place. 

Todd:  You know? And I’m not sure the explanation of this because I haven’t done, like, a complete anthropological study of Japanese film, but you do tend to see that a bit in Japanese films where it’s not just that it, whatever. You know, we don’t really care about it so much, like a French film or whatnot, but it’s it’s almost there’s some excuses made to pull a top off or to have somebody nude for some reason, and I really don’t know why. I don’t know if it’s just because they’re mostly men making these films or, if there’s some cultural explanation beyond Yeah. 

Craig:  I don’t know. 

Todd:  Maybe some symbolism or maybe even, you know, for all I know the whole notion of them eating them, of her eating them, they’ve, you know, you gotta get the clothes off before you can eat them. It’s like Yeah. But sort of like you’d strip down an animal, but 

Craig:  Right. 

Todd:  Who knows? 

Craig:  Right. Yeah. And, I mean, we’re talking these are beautiful girls. It’s you know, it just it felt a little bit exploitive. 

Todd:  Yeah. Oh, no question. Yeah. I agree. Like, this is how we get our r rating. 

Craig:  Yeah. What is this? I mean, does it is it rated? 

Todd:  I mean not rated. No. I mean 

Craig:  because up until that up until the nudity, I was thinking, you know, this could be easily a PG rated film. You know, the there’s there’s 

Todd:  or less. 

Craig:  There’s implied violence, and and you see it, but it’s so over the top that it’s it’s and there’s not a whole lot of blood. When there is blood, it doesn’t look like real blood. It looks like red water. Like, yeah, like, people are getting dismembered and stuff, but you can tell it’s like a cut and paste job. You know? Yeah. It doesn’t look it doesn’t look real. It’s not gory. It’s really not scary.   I mean, it’s it’s more just, you know, eye candy than scary. 

Todd:  And I think that was intentional. Yeah. Probably. I mean, they certainly had the ability to make it, you know, realistically gross, but it would’ve it would’ve ruined the comedic, like I said, cartoony aspect of it. Don’t you think? 

Craig:  Yeah. I mean and I think I would need to you know, Japanese culture is so different than ours, and I know so little about it. I can’t imagine what audience they would have been making this movie for. I mean, it’s just yeah. I mean, do you know more than I? I mean, is this reflective of a type of Japanese if I went out and looked, would I find other movies like this? 

Todd:  If you were to take this and tone it down considerably, it is not out of the tone of, of where Japanese comedy tends to go. Gotcha. A lot of its can be buffoonish, a little over the top, a little silly. I’m thinking about that character toward the beginning of the movie, the watermelon salesman Uh-huh. Where they pull the watermelon off, and he’s making these faces at them. 

Craig:  And Right. To reveal his head, his face behind. 

Todd:  Yeah. And he’s being really over the top silly. He’s almost the guy in the film who warns you away from the house, except he almost seems like he’s not warning them, but, like, oh. 

Craig:  Well and, I mean, it’s just it’s silly. You know? It’s like this watermelon stand just right outside of where this mansion is in the middle of nowhere, this big fat watermelon vendor, I guess, that sits out there. And, like, when he’s when he sends the girls off towards the house, he’s, like, waving goodbye. And in the background, there’s a a watermelon laughing. Like, I mean, it looks like something out of Sesame Street or or something along those lines. 

Todd:  That aspect of it’s a little silly, but but that sort of character 

Craig:  Mhmm. You know? 

Todd:  I mean, you could liken him to a Jim Carrey type character in the US. We we have these buffoonish over the Todd, outlandish, silly characters that almost almost seem like they’re not even acting very well, but we tolerate it because we like the kind of humor, we like the kind of slapstick that comes out of it. So you get a lot of that same stuff here, and I would say this film is definitely geared more towards children. 

Craig:  It seems that way. Mhmm. I I don’t know. I mean, it and and, I mean, we’ve we’ve pretty much covered the plot except for so we assume that fantasy gets eaten. We don’t see it, but she’s being be she’s being embraced by the witch, and it cuts away, so we assume that she’s gone. The other subplot is that the, fiance, gorgeous’s to be stepmother, she said very early in the movie, I’ll go meet them there. I’ll let them stay for a little while, and then when it’s time for them to come back, I’ll I’ll go and I’ll talk to her. 

Todd:  Yeah. It’s her way of, making amends 

Craig:  with Todd. An olive branch. Right? And so at the very end well, we mister Togo was supposed to show up Todd, that he can’t find the mansion. There’s a 

Todd:  there are all kinds of sequences of mister Togo getting waylaid. Yeah. One one way or not, whether he’s in a noodle shop just taking his time or he’s stuck in traffic. 

Craig:  In a noodle shop where apparently a bear is the chef, and nobody nobody that, you know, A bear in like a like a karate suit 

Todd:  Suit. Yeah. Yeah. 

Craig:  Is is cooking the noodles. Okay. So eventually, he almost gets there. He gets to the watermelon stand, and he says like, the watermelon guy’s like, do you want a watermelon? He’s like, no. He’s like, I don’t like watermelons. And and and the guy’s like, well, what do you like? And he’s like, bananas. And he just starts screaming, bananas. Bananas.   And he gets in his car, and it cuts away from him. The the fiance arrives at the watermelon shop. There’s nobody there, but there’s mister Togo’s car full of bananas in the kind of general shape of a person. So I guess he was turned into a whole bunch of bunches of bananas. 

Todd:  That that is to me, that is the weirdest moment in a weird movie. 

Craig:  Yeah. I guess you just attribute it to the power of the witch. Like, she’s keeping him away. I I who knows? 

Todd:  Yeah. I feel like maybe she’s in cahoots with the watermelon guy. 

Craig:  Maybe. The fiance shows up and, with her wind machine. And, she, you know, very slowly and gracefully approaches the mansion, and the birds are singing, and the flowers are in bloom, and everything’s very beautiful. And she’s standing outside and, gorgeous from inside opens these big sliding doors. I’ve seen these panels before. And, you know, it’s pretty typical Japanese agriculture, I think, at least traditional. Agriculture. Agriculture.   Yeah. Not architecture. 

Todd:  Excuse me. 

Craig:  That was good. 

Todd:  I was thinking, 

Craig:  really? So these big slight and she just very, very slowly opens all these doors while the fiance is just standing out there. 

Todd:  See, see, I loved that 

Craig:  scene. Pretty. 

Todd:  It was but it was shot. It was it was so funny too because you’re getting you’re just skipping through the trees and every little flower, and it’s shot to be absolutely gorgeous, but there’s this ominousness suddenly of because we know well, if she hadn’t figured it out by now, there’s also the motif of only witches open doors 

Craig:  or Right. Right. 

Todd:  You know? And so she’s slowly opening this sliding door. 

Craig:  And it’s so long that she has to walk all the way across the Craig, and she does it very slowly. It Todd twice. Yeah. Two panels. It’s kinda neat, really. It’s it’s it’s pretty to look at. 

Todd:  Well, and it’s also a very dark comedy because this woman’s coming to extend this olive branch. She’s so delightfully doing it. She’s putting on her sweetest face, and you just know she’s gonna 

Craig:  get it. Right. Right. Well, see and that’s it’s funny because I thought I didn’t see it going where it went. I assumed that the the fiance would show up, and then somehow she would rescue them. And then Oh. They would you know, then gorgeous would like her, and it would be, you know, a happy ending. But instead, they kneel on mats, opposite each other in this, you know, kind of open air porch of the house.   And the fiance says, where are your friends? Still sleeping? And Gorgias says, yeah. They’re still sleeping, but they’ll be up soon because they’re hungry, and they wake up when they’re hungry. And then is that the end? That’s the end. Right? 

Todd:  And then and then she, says, oh, I’m so happy to see you or whatever. And, anyway, they end up holding hands. And as soon as they hold hands, the fiance burst into flames. 

Craig:  Oh, right. 

Todd:  Right. And then you’re right. Then it is pretty much the end where we get a a scene of just Gorgeous’s face tossing around and smiling a little bit. And some sort of weird It’s 

Craig:  a mommy. 

Todd:  Over, yeah, over her about and I think it’s the aunt perhaps. Yeah. And it’s about love, and it’s about how love only love endures. 

Craig:  Yeah. Like, the body may die, but love endures. And that was I thought that was kind of weird, tonally. Like Yeah. It, like, it was it almost seemed like it was supposed to be some sort of sentimental message after all this weird wackiness. And the the fact that she killed all these people. I mean, that’s 

Todd:  that’s it’s it’s odd. I saw it as a ghost thing, 

Craig:  you know. Yeah. It is haunting. 

Todd:  It is haunting. And, again, that was the explanation given for the aunt was that it was her love that endured even after she died 

Craig:  Right. 

Todd:  Just in a very negative way. Mhmm. Right? It’s the ghost that doesn’t come back to help people, it’s the ghost that needs its revenge, and and you do actually see that it’s a different kind of ghost lore. Right? And maybe we’d be able to unpack it a little better if we understood it, but we have films like The Grudge. 

Craig:  Right. That’s exactly what I was thinking. Not not dissimilar. I mean Mhmm. Different different motivation, but the same kind of in, you know, in that one, it’s that the anger, from from this event manifests itself, and it you know, it’s something different in this one, but in the same vein. 

Todd:  Before you explained what I’ve missed about the cat being sent to her to lead them back, I had it in my head that the that the cat was a cat she grew up with, that it was almost the aunt’s manifestation in the cat that was just waiting 

Craig:  keeping an eye on her? 

Todd:  Keeping an eye on her, waiting for her to get that you know, to get the impetus to go to visit her house. And then, obviously, when she did, its purpose was complete. Yeah. But yeah. I don’t know. I mean, you could probably interpret this movie 10 different ways and not be wrong because as the makers of this film freely admit, it’s incomprehensible it was in many ways meant to be that way, but I don’t know I really enjoy watching it I mean it stokes my imagination in the same way that I’ll go back and watch a He Man cartoon or a Scooby Doo, and it’s makes no sense, and it’s childish, and it’s kinda silly, but, it’s fun 

Craig:  to watch. It’s creative and silly. I wouldn’t sit down and watch it again the way we watched it Todd. Mhmm. But I could see how it would really be something super fun to put on, like, in the background at a Halloween party or something because you could just catch glimpses of it. And, visually, as weird as it is, it’s it’s really visually stimulating, and and it’s, you know, wacky and off the wall. And, if it were kind of atmospheric background, I could see you know, I I could see that, but I don’t know. You you you’ve seen it more than once, so, 

Todd:  It’s it’s too silly to be scary. 

Craig:  Yeah. Yeah. It’s it’s not it’s not scary. 

Todd:  Yeah. And like you said, it’s not bloody really. I mean, what what blood is in there is over the top and really cartoonish and not even it doesn’t even seem real. 

Craig:  No. 

Todd:  So you could watch it almost with your kids. 

Craig:  Like As long as you’re okay with with nudity. And the nudity 

Todd:  is just some boobs. 

Craig:  Right. 

Todd:  And it’s not even that long. 

Craig:  And it’s not, you know, it’s not It’s not well, it’s not it’s not gratuitous. It is gratuitous. Right. Right. It’s not sexually, graphic. It’s it’s just nudity. That’s all. 

Todd:  Well, I didn’t know how you were going to take this film, quite honestly. 

Craig:  And I don’t really 

Todd:  know. And I don’t know if it would have been better if I had told you. This is the kind of movie it is expected, and and maybe you would have taken it a different way. What do you think? Was I wrong in keeping it a completely secret from you? 

Craig:  I don’t know. You know, after we watched it, I took a break and and and tried to read up on it a little bit, and I really couldn’t find very much. So I don’t know that I would have really known any more coming in either way. And plus, I you know, sometimes we watch movies we’ve both seen. Sometimes we watch 1 that only 1 of us has seen. And I I kinda like the element of surprise and kinda not knowing what it’s gonna be going in. I had no expectations had I had any. 

Todd:  I I You still wouldn’t have, 

Craig:  Right. It it would’ve whatever expectations I would’ve had would’ve been defied, period. That’s true. It’s so strange. 

Todd:  There’s no way I really could’ve described Todd you that would have properly set you up for what 

Craig:  you 

Todd:  were getting into. 

Craig:  Right. I don’t know how I would it it it would be difficult to describe to anybody. I mean, it’s it’s it’s very different, and, you know, you know, I I like to consume as much of this stuff as I can. So I’m it’s not that I feel like it was a waste of time. Not my favorite. And Okay. And and probably not my favorite style. And like I said, I probably wouldn’t sit down and watch it again, but if, you know, if if somebody said sometime, I wanna see something just crazy, just out there, just totally wacky, I would recommend this movie. 

Todd:  There you go. 

Craig:  It’s it’s wacky. 

Todd:  Well, a lot of people will find, especially if they’re not haven’t seen many of them, some foreign films can seem out there to a boring extent. 

Craig:  Mhmm. 

Todd:  They’re so out there, they can be incomprehensible because they rely either they use a cinematic language that’s foreign to us or outdated. They, are touching on subjects that we’re not familiar with or even comfortable with here in the US, and they do it in certain ways that, again, is not conventional be based on what we’re familiar with coming out of Hollywood, that these movies can be difficult to understand and therefore difficult to enjoy. I think this is one of those foreign films that would cut across these boundaries because even though it’s difficult to understand and it’s really out there and weird and unlike anything you’ve ever seen before, it’s not for those reasons. 

Craig:  Mhmm. 

Todd:  It’s not because there’s something you’re you can you have to unpack here, and you’re gonna leave frustrated because you didn’t get it. 

Craig:  Right. Right. 

Todd:  Right? There’s nothing to get. There’s just something to to take in and and and enjoy the goofiness. 

Craig:  Right. I do also wonder how much got lost in translation, because the again, our languages are so different. And like you said, even the the real Japanese name of the protagonist, if it you know, gorgeous is one thing. You said it really probably more closely translate to angel, and that really kinda makes some thematic difference. Yeah. And so I wonder if, some of the jokes don’t translate well. I and I have a feeling that may be the case. It’s still funny.   All 3 of us were were chuckling and laughing at parts, and it it really seems like it’s playing for the humor as much if not more than anything else. And it is a goofy, wacky movie. 

Todd:  I think, for me, I I enjoyed the creativity and the cinematography. 

Craig:  I don’t know. The cinematography is so bizarre. I mean, they’re like and it seemed like there were times when he would do things with the cinematography that it was like, let’s just try something different here. Like, it didn’t really seem to have much purpose. Like, there’s 1 there’s 1 point where the girls were trying to call the police, and all of a sudden, the filming just became really staccato. Do you know what I mean? Like, just, like, jerky. 

Todd:  It’s like he undercranked the film just suddenly instead of seeing it, like, 24 frames per second, we’re seeing it at 12. 

Craig:  Yeah. And it was weird. And I didn’t unless he was just trying to, you know, make it 

Todd:  You’re right. 

Craig:  Super you know, like, a a supernatural atmosphere. I don’t know. It just seemed weird to me, and it was for and this, I’m sure, is just preference, but it was off putting. Like, it was hard to watch. Like, it almost gave me, like, a headache. Like, I I kinda wanted to look away. 

Todd:  And it went on for too long. Uh-huh. And you’re right. It didn’t seem quite as connected. It was harder to see. I don’t think it’s always successful. No. You’re absolutely right.   Anytime you’re doing something like this, you’re really playing around, and some of it’s gonna work and some of it’s gonna fall flat. I agree with you. I don’t think it’s a, a masterpiece of cinematography and that some of the choices maybe weren’t the best. But And you’re coming at this from the perspective of 

Craig:  a filmmaker. You make films, and I don’t. And so I think that it would be a really interesting thing for a filmmaker to watch just to see how he’s doing all these different things. I I don’t have that technical background. So Well and doesn’t it get kind of nice every once in 

Todd:  a while to see something that’s different? Yeah. Oh, absolutely. Absolutely. Like, this is there are times in here where he’s trying he’s clearly trying to highlight something in the scene and whereas normally, we would do a close-up cutaway or we would somehow frame the shot so that even though it was happening in the background, your eye was drawn towards it. In this case, he just does, what do you call it, like a little spotlight where the screen kinda goes black and kinda zooms in on that one spot and then comes back out again. It’s it’s something you’d see in a music video. Mhmm. And and even then, it would be strange.   Yeah. It was interesting to see that happen a couple times in this movie. Again, I’m not sure if it worked, but so different. Right. I mean, I can there 

Craig:  are parts like the the piano eating the girl. It felt very music video to me. Yeah. But it was and it was so weird, but it was it was interesting to watch. I mean, it was it was very different. The special effects were or they were clearly not going for realism. You know? It’s it’s surrealism, and it it’s interesting to watch from that perspective. 

Todd:  Well, we have some definitely mixed opinions about this. I think Greg Craig and I agree more than we disagree about it, but I would sit down and watch it again, wholeheartedly. Not it’s not again my favorite movie, but, I enjoy it just for the goofy silliness of it. And I love sharing it with people because everyone has a different reaction to this, and some people absolutely love it, some people are more on the fence, and some people, like, leave halfway through. 

Craig:  Yeah. I just can’t take this. 

Todd:  I need to be more drunk. 

Craig:  Yeah. Right? I think that might have helped. But, no, I’m glad we watched it. I’m glad 

Todd:  you picked. Well, thank you again for listening to another episode of 2 guys in a chainsaw. If you like this podcast, please share it with a friend. Check us out on Facebook, iTunes, iTunes. Thank you. We’re on iTunes and Stitcher. And leave us a comment in one of these places to let us know what you think. We’d like to hear I mean, if you’ve seen House, if you’re one of the few people who’ve seen this movie, I would love to hear a chance. 

Craig:  I would 

Todd:  too. Until next time, I’m Todd And I’m Craig. With 2 Guys and a Chainsaw

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