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DIRECTED BY: Mika Ninagawa
FEATURING: Erika Sawajiri, Shinobu Terajima, Kaori Momoi, Kiko Mizuhara, Nao Ômori
PLOT: The struggle to keep up appearances and growing pressure from younger models pushes supermodel Lilico’s physical and mental well-being to the breaking point.
COMMENTS: A helter skelter is a slide. A lighthouse-shaped structure that you climb up through the inside to then slide down on a curving ramp nailed to the outside. The Beatles’
song of the same name gives it away in its opening lyric: “When I get to the bottom, I go back to the top of the slide.” Regardless of what Charles Manson thought it meant, it’s supposed to be about something that’s fun for a brief moment, but it’s also a reminder that everything that goes up must eventually come back down, and sometimes right quickly at that.
If the higher you go means the faster you fall, then Lilico is about to come crashing down at light speed. She is living her peak life: impossibly beautiful, her face graces countless magazine covers and advertisements. She’s about to branch out into film acting, and every girl in Japan knows her by name. So when she spots a sizeable flaw in her perfect skin, it’s a literal crack in her facade, the augur of an explosive downfall. Helter Skelter is all about that implosion, the slow-motion train wreck of her discovery that perfect beauty has always had an expiration date, and that page on the calendar has finally turned.
It’s hard to work up a lot of pity for someone who is rich, famous, and ridiculously attractive, but
Helter Skelter does a solid job in showing how Lilico’s life of luxury is not especially enjoyable. She is monstrous but also desperate, and how her misery expresses itself is the primary source of
Helter Skelter’s weirdness. She takes out her rage on her doggedly loyal assistant Hana through sexual abuse and humiliation, and starts to have out-of-control hallucinations at inconvenient moments. The fact that she is being tracked by a pair of detectives who resemble the cast of a Japanese reboot of “The X-Files” is appropriate, because Lilico herself is otherworldly. These moments of panic and cruelty are so outlandish, so extreme, that the biggest surprise is that we are expected to view them realistically. Perhaps tales like
The Substance have trained us to expect a supernatural element, but
Helter Skelter offers no twist. The film straightforwardly insists that Lilico’s beauty has a scientific (if illegal and amoral) explanation, and that her behavior is all her own. The arrival of her very own Eve Harrington, the naturally stunning Kozue, who achieves success despite expressing apathy toward the fashion business, reinforces that point. Kozue doesn’t expect to be beautiful forever, and while she knows some regurgitation goes with the job, she plans to give it up someday. By contrast, considering everything Lilico has done to secure her position, her fear of decline and the collapse of her enhanced body utterly short-circuit her.
Japanese culture is both fascinated and repelled by celebrity, and Helter Skelter enlists exactly the right people to delve into its darker side. Director Ninagawa was a fashion photographer herself, and she films with the barely controlled energy of a wild photo shoot. Sawajiri also knows the world, having been a successful model before turning to acting. (She gained notoriety for a press conference where she was viewed as disrespectful to reporters and her castmates alike, so audiences in Japan would experience art imitating life in Lilico’s ultimate, disastrous encounter with the media.) Their bona fides are beyond reproach, and there’s no question that the team produces a motion picture with a unique sensibility, bringing their personal experience to the story. The thing is, while Helter Skelter is a beautifully crafted film, a certain sameness creeps in as the story seems to be building toward something cataclysmic, but never quite gets there. Lilico’s fate is inevitable—it is painfully obvious that she is going to crash—but given the many omens of doom and the explosive nature of Ninagawa’s camera and Sawajiri’s volcanic performance, the impact ultimately feels blunted. Lilico’s fate can’t quite live up to the drama of what precedes it.
Helter Skelter is based on a popular manga by Kyoko Okazaki, and it feels like it. It jumps storylines and techniques like a page turning, and the bold and vibrant colors and off-kilter angles feel like they could have jumped straight out of the pages of a comic book. The film’s most striking image, when Lilico faces a room full of popping camera flashes, has the veneer of illustration. But like fashion itself, the movie is successful at delivering style and attitude but quickly moves on to the next new thing without imparting a message beyond the surface. It’s a fun, fast ride, but it’s just a ride. Then I get to the bottom and I see you again.
WHAT THE CRITICS SAY:
“…a feverish character study about fame, vanity, and the terrifying fragility of manufactured perfection… The visuals never settle into a comfortable place. Scenes are filled with exaggerated color palettes and surreal staging, making the environment feel beautiful and suffocating. It’s a world built entirely around image, and Ninagawa constantly reminds the audience how artificial that image really is.” – Chris Jones, Overly Honest Reviews
(This movie was nominated for review by Scott R. Suggest a weird movie of your own here.)
Helter Skelter
- This lurid body horror, based on a manga by Kyoko Okazaki and directed by Mika Ninagawa (Sakuran), is a candy-colored nightmare!
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