Tag Archives: Ryo Ishibashi

286. AUDITION (1999)

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It’s a pretty strange script, he must’ve been taking some really bad drugs when he was writing this stuff.”–Takashi Miike on Daisuke Tengan’s Audition script

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DIRECTED BY:

FEATURING: ,

PLOT: Seven years after the death of his wife, Shigeharu Aoyama decides it is time to marry again, but he has no idea how to meet an appropriate mate. His movie producer friend comes up with a plan: they will hold a fake audition for a movie role where the widower can secretly interview dozens of women. Aoyama becomes smitten with shy, mysterious Asami and asks her out; but when she disappears just as things start to heat up between them, he goes on a quest to find her, only to discover that his ideal love may not be the innocent creature she seems.

Still from Audition (1999)

BACKGROUND:

  • Based on a novel of the same title by Ryū Murakami.
  • This was only Eihi Shiina’s second acting role, and her first lead, after a career as a model.
  • Along with than the relatively tame 1998 drama Bird People in China, Audition was Takashi Miike’s breakout film, after specializing mainly in yakuza pictures seldom seen outside of Japan.
  • Audition was ranked #21 in Time Out’s 2016 List of the 100 Best Horror Films. and included in Time’s 2007 Top 25 Horror Films.

INDELIBLE IMAGE: Poster and cover images always feature Asami holding a syringe, a moment that hints at bad things to come. But the weirder images that sticks in my mind are the shots of the mysterious beauty sitting in her apartment, head down, hair covering her face, telephone within arm’s reach. The implication is that she has been sitting there, motionless, in a trance for the entire time she has been offscreen, just waiting for Aoyama’s call. Also, she has something lying in the background. Something wrapped in a burlap bag…

THREE WEIRD THINGS: Thing in the bag; disembodied tongue; torture hallucinations

WHAT MAKES IT WEIRD: Takashi Miike’s most accomplished film, Audition initially shocks because of how normal it seems, before the director slyly pulls the rug from under our feet and launches us headfirst into a nightmare of pain. Fortunately, a perfectly positioned 13-minute hallucination sequence gives this movie the surreal hook (meathook, as it were) needed to elevate this master of the perverse’s best-made movie onto the list of the weirdest movies ever made.


Trailer for Audition

COMMENTS: Audition‘s broad outline is this: an older man falls for a Continue reading 286. AUDITION (1999)

BORDERLINE WEIRD: SUICIDE CLUB (2002)

DIRECTED BY:

FEATURING: , Masatoshi Nagase, Saya Hagiwara

PLOT: A shocking mass suicide in a train station attracts the attention of the police and a curious hacker who may have found a link to the seemingly random act.

Still from Suicide Club (2002)


WHY IT MIGHT NAKE THE LIST: This exercise in the Japanese new school of shock horror does not have enough substance to be considered extremely weird.  There are moments that light up the screen with an inspired energy that recalls the best horror-thrillers.  Yet, like a Noh theater performance, Suicide Club chooses to keep actual events close to the chest, relying on long pauses and slow takes to create the mood . Noh theater has dancing and music to fill up the entire performance, though; Suicide Club languishes with scenes that are filled with empty silence and shots that mean nothing.

COMMENTSSuicide Club is the odd story of one country’s affinity for self-termination, represented by a strange and tragic mass suicide in a train station.  Why this happens is never explained in a way that leaves one satisfied, but such is the state of the high suicide rate in Japan, and, to be fair, to ask why is almost besides the point. The point seems to be the journey into the strange underbelly of Tokyo and the detectives who must investigate the suicides by journeying into that hoary netherworld.

Well, the detectives and their sole lead, the idiosyncratic hacker Miyoko– I’m sorry, “The Bat”– who has a strong fascination with the tragedy.  This fascination drags her from the safety of her malicious computer activities to a world where secret messages are written in human skin and dropped off at hospitals and where J-Pop groups wield a heady authority over an unassuming generation.  As she becomes wound up in this mystery that seems to go deeper than anyone could have imagined, a youth named Mitsuko also becomes involved when her boyfriend commits suicide.  She too falls into the web of what is appearing more and more to be a sort of suicide club (how titular!) whose members might even be unaware of their membership.   And the deeper she falls, the closer she comes to realizing that she might even be in this unfortunately named club…

But this is all told through the visual narrative, because dialogue is in extremely short supply in this mannered horror exercise.  As is character development.  Or much of anything, really.  Suicide Club is a very visual film, told through a Morse code string of images that reads normal-normal-normal-weird! And when the images are strange or grotesque, the audience becomes intrigued and downright enthused.  But during the slow mood-building scenes, the movie falters in the wake of the sterile, lifeless Tokyo Sono sets up.  It surrounds and eclipses most moments of tension, replacing the anxiety with a vague sense of ennui that does not behoove a horror-thriller.

There are moments of inspired lunacy in Suicide Club that set it apart from the rest of the Japanese formalists, and if you can make it to the middle of the film where we meet the conspicuous character named Genesis, then your patience has truly paid its due diligence, because the film rolls along by then with images too weird and too delightful to spoil for you.  And Suicide Club feels meticulously fabricated in its down time, where the details brim forth from a lack of any real action; seemingly trivial things like the posters hanging up in Mitsumo’s boyfriend’s room are very well designed and hold little clues to the secret waiting at the end.  When it wants to be, Suicide Club has the potential to be a very good weird movie.

So give it a shot.  Suicide Club is worth trying, even if you find it to be a failure.  It’s a labyrinthine horror-thriller with a touch of mystery that will have you guessing, even if the mystery has no real bearing on what actually happens at the end.  Sono delivers what might be one of the only minimalist conspiracy movies, and on that note alone, it’s worth a gander.  Suicide Club is a valiant effort and a weird movie, just not often enough to make it something special.

WHAT THE CRITICS SAY:

“Sono has been making weird, formalist indie films for more than a decade, but [Suicide Club] represents a shift into weird, free-form exploitation. None of it makes any real sense, but it sure does keep you watching.”–Time Out Film Guide