Tag Archives: Amnesia

9*. GEMINI (1999)

Sôseiji

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Recommended

DIRECTED BY:

FEATURING: Masahiro Motoki, Ryô

PLOT: Yukio is a successful doctor, decorated for his service in the war. His wife Rin is an amnesiac. Yukio discovers he has an identical twin from whom he was separated at birth—a resentful and savage twin, bent on revenge.

Still from Gemini (1999)

BACKGROUND:

  • Tsukamoto adapted the story from a 1924 short story by Edogawa Rampo (“the Japanese Edgar Allan Poe”).
  • In an unusual move, fellow director assembled a 15-minute “making of” featurette to accompany the film on DVD.

INDELIBLE IMAGE: Our first glimpse of the twin in the shadows. He looks just like Yukio, but wears ragged robes and a bizarre fur earmuff that covers half of his face. He shakes like he’s having a fit, then approaches the camera by doing cartwheels. It’s scary enough to give someone a heart attack.

TWO WEIRD THINGS: Eyebrowless clan; somersaulting doppelganger

WHAT MAKES IT WEIRD: Pulling back from the unbridled mania of Tetsuo: The Iron Man and similar body-horror experiments, Shinya Tsukamoto proves that he can generate cold sweats with a more subtle, purely psychological approach. With its deep shadows and determined pace, Gemini generates an uncanny horror that seeps into your bones.

The opening minutes of “The Making of Gemini

COMMENTS: Gemini begins with an abstract, ominous prologue. It Continue reading 9*. GEMINI (1999)

APOCRYPHA CANDIDATE: EXECUTIVE KOALA (2005)

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DIRECTED BY:

FEATURING: Elli-Rose, Hironobu Nomura1

PLOT: A koala in a business suit who works for a Japanese pickle company is accused of killing his wife and girlfriend, and can’t defend himself because he’s got selective amnesia.

Still from Executive Koala (2005)

WHY IT MIGHT MAKE THE LIST: Consider this “Apocrypha Candidate” designation a placeholder for Minoru Kawasaki. This is the first of his movies we’ve seen, and we’re impressed with his manic-yet-deadpan sense of absurdity;  it suggests something of his will be worthy of an honorable mention designation on our weird movie canon. Is Executive Koala the one, though? Or should Calimari Wrestler or Rug Cop occupy that slot?

COMMENTS: There’s a point in Executive Koala where a pretty woman (Japanese singer Shôko Nakagawa, making her first movie appearance) sees our hero Tamura buy a sack of groceries from a frog-headed convenience store clerk and quizzically comments, “A koala? A frog?”  Aside from the occasional background double-take from a passerby in the street (suggesting scenes shot guerilla-style in the wild), this is the only time anyone notices anything odd about the man in the business suit with a giant round fuzzy head and claws, or the frog, or the bunny rabbit president of Rabource Pickling Co., Ltd. It’s a kind of fourth-wall breaking moment: Nakagawa addresses the audience indirectly, acknowledging the absurdity of a world that apparently contains a total of three anthropomorphic animals whose existence otherwise surprises no one.

Aside from one montage of paintings depicting a surreal Australian koala massacre, complete with crucified marsupials, little is made of the fact that Tamura’s a koala; he might as well be Korean. So, viewed from one angle, Tamura’s koalaness adds little to the script: Koala could have been a competent psychological thriller without the gimmick (at least, until the story devolves into complete goofy chaos at the climax). The resulting film would have been serviceable, but forgettable, parody riff on American Psycho.

But there’s just something about casting a cute fuzzy mammal as the lead in your serial killer thriller that lets the audience know not to take anything too seriously, you know? The casting ensures that every frame of film is stained with absurdity that can’t be scrubbed off. Considering the fact that the only part of Tamura’s face that moves (and sometimes light up) are his eyes, the actors that wear the koala suit do a remarkable job in bringing the executive to life through head shakes, claw gesticulations, and simple props like a handkerchief used to mop his furry brow when he’s nervous. Tamura’s uncredited voiceover actor deserves praise, too, because we quickly come to accept this character’s reality (within his world). At times, we too forget that he’s of another species, and simply see him as a harried salaryman fretting about putting together a deal with a Korean kimchi magnate while under investigation for the murder of his wife and girlfriend.

Although the acting is deadpan, the film doesn’t simply play its premise as a straightforward thriller that happens to star a koala. Although it builds its absurdity slowly, it gradually accrues dream sequences, a martial arts demonstration against a bacon backdrop, more fakeout dream sequences and false memories, behind-the-scenes footage hidden inside the actual movie, a musical trial, and extensive koala kung fu. Oh, and believe it or not, there might be a few plot holes and loose ends flying around, too—like just who the hell was the frog? It may not all add up, but all in all, you get your entertainment dollar’s worth from Executive Koala. He may even deserve a raise.

WHAT THE CRITICS SAY:

“While funny in the ‘boy, that’s odd’ sense more than the ‘laugh ’til you ache’ sense, the film is fast-paced and freewheeling… This is a director who makes movies designed to leave audiences saying, ‘I watched the weirdest thing last night.'”–Noel Murray, The A.V. Club (DVD box set)

(This movie was nominated for review by AlgusUnderdunk, who described it as “a strange Japanese film I still can’t quite describe…” Suggest a weird movie of your own here.)

331. DARK CITY (1998)

Recommended

“The fleetingly improvised men are transient figures of human shape, which naturally disappear or slowly dissolve after a short period of existence. Their appearance always is the result of a wonder.

Fleetingly improvised men lead a dream life. As a result, they are incapable of entering a regular conversation with people around them.

Fleetingly improvised men sometimes resemble dead people.”–M. Rautenberg, Daniel Paul Schreber: Beginner’s Guide to Memoirs of My Nervous Illness

DIRECTED BY: Alex Proyas

FEATURING: Rufus Sewell, Jennifer Connelly, William Hurt, Kiefer Sutherland, Richard O’Brien,

PLOT: John Murdoch awakens in a bathtub, remembering nothing: certainly not the reason why the dead, mutilated woman is in the other room. As he travels through a night-cursed city to discover his identity, John is simultaneously pursued by a dogged police detective, a psychiatrist who knows more than he lets on, and a coterie of very pale gentlemen in black coats and hats. Ultimately he discovers that his alleged past is just that—and that the forces behind the frame-up are responsible for something far more grand and sinister.

Still from Dark City (1998)

BACKGROUND:

  • The opening narration, included over Alex Proyas’ objections, was included at the insistence of producers who feared the audience would be confused by being thrown into this world. Many fans think it’s a spoiler of the worst kind. Proyas’ director’s cut of the film excises the exposition.
  • Proyas based the Strangers’ looks and mannerisms on Richard O’Brien’s “Riff Raff” from Rocky Horror Picture Show. Proyas also wrote the role of “Mr. Hand” specifically for O’Brien.
  • The Matrix not only ripped off did a variation of Dark City’s central premise, it also re-used a number of its actual sets after Dark City‘s production had wrapped up.
  • Kiefer Sutherland’s character, Dr. Daniel Schreber, was named after an early 20th-century schizophrenic who wrote a memoir of his illness.
  • Proyas intended the final showdown between John Murdoch and Mr Book to be an homage to the famed manga comic (and anime) Akira.

INDELIBLE IMAGE: We’ll cast aside the montages of warping buildings, stylish noir streets, and sinister Stranger gatherings in favor of the mirroring scenes of Mr. Hand and John Murdoch after their respective imprints. Both rise from the gurney with comparable looks of grim determination, after painfully twitching through a series of forced memories.

THREE WEIRD THINGS: Steampunk brain syringes; quick-rise concrete; creepy kid with teeth

WHAT MAKES IT WEIRD: About five years ago we argued that Dark City shouldn’t make the list. Since then, our minds have been changed—possibly while we were asleep. Any movie the plot of which can be described as “telekinetic collective memory space jelly bugs abduct tens of thousands of earthlings to populate a jumble-Noir cityscape in perpetual darkness in order to find out more about us” deserves a slot on the list of the weirdest movies ever made. The fact that it follows its dream logic into uncanny valley Gothic visuals is to its credit as well.


Original trailer for Dark City

COMMENTS: Focus. Focus. Every event flows into, bolsters, and undermines every other event. John Murdoch can defeat the Strangers Continue reading 331. DARK CITY (1998)

285. DEAD LEAVES (2003)

“A guy with a TV for a head and a girl with a panda-like mark on her face find themselves naked on Earth with no recollection of how they got there. After attempting to violently acquire food and clothes, they get arrested and sent to the Lunar prison Dead Leaves… and things get weirder from there.”–Dead Leaves synopsis from the listicle “15 Bizarre Anime That Make You Wonder ‘Wtf Did I Just Watch?’

DIRECTED BY: Hiroyuki Imaishi

FEATURING: Voices of Takako Honda, Kappei Yamaguchi, Amanda Winn Lee (English dub), Jason Lee (English dub)

PLOT: Pandy, a woman with mismatched eyes, and Retro, a man with a television for a head, awaken naked with no memories and immediately go on a crime spree. Quickly arrested, they are sent to Dead Leaves, a prison housed on what remained of the crumbling moon, where they have sex and then arrange a prison break. Pandy grows pregnant and comes to term in a day, and faces a giant caterpillar monster with the help of her precocious newborn son.

Still from Dead Leaves (2003)

BACKGROUND:

  • The directorial debut of Hiroyuki Imaishi, who had worked as an artist on many animes, including the TV version of “Neon Genesis Evangelion” and it’s bizarre theatrical incarnation.
  • Released as an OVA (original video animation, a common direct-to-video release strategy in Japan).
  • Dead Leaves was made with the American and European secondary markets in mind. The English dub was made contemporaneously with the Japanese version.

INDELIBLE IMAGE: Dead Leaves‘ images, while carefully painted, streak by almost too fast for the eye to register, leaving an impression of havoc rather than focusing on particular images. Since the main characters—especially monitor-faced Retro—appear most often, it’s their faces that stick most in the memory.

THREE WEIRD THINGS: TV-headed Retro-reprobate; penis drill; inexplicable psychedelic caterpillar

WHAT MAKES IT WEIRD: Dead Leaves moves so fast and makes so little sense that it’s the equivalent of putting an ultraviolent manga in a high-speed blender and trying to read it while the pieces swirl around. The plot is nearly incomprehensible, but somehow involves mutant clones and a psychedelic caterpillar. Weird? Hell yes. Recommended? Well, definitely not to epileptics. Even for older folks with a healthy neurobiology, the breakneck pacing is as likely to induce a headache as an adrenaline rush. It’s definitely one-of-a-kind, though, and as an experiment in compressing as much berserk and illogical anime flavor as possible into as short a running time as possible, it’s worth a look.


Short clip from Dead Leaves

COMMENTS: Although the director advised the audience at Dead Continue reading 285. DEAD LEAVES (2003)

229. ROSENCRANTZ & GUILDENSTERN ARE DEAD (1990)

“No! I am not Prince Hamlet, nor was meant to be;
Am an attendant lord, one that will do
To swell a progress, start a scene or two,
Advise the prince; no doubt, an easy tool,
Deferential, glad to be of use,
Politic, cautious, and meticulous;
Full of high sentence, but a bit obtuse;
At times, indeed, almost ridiculous—
Almost, at times, the Fool.”
–T.S. Eliot, “The Love Song of J. Alfred Prufrock”

Recommended

DIRECTED BY: Tom Stoppard

FEATURING: , , , Iain Glen

PLOT: Two of Hamlet’s old school chums are summoned to Elsinore to glean what afflicts the moody prince. Along their journey they encounter a traveling troupe of Players, whose leader offers to a put on a performance for them. Magically transported to the castle from the Players’ stage, Rosencrantz and Guildenstern find themselves trapped within the convoluted machinations of the royal court, confused as to their own identities and struggling to keep their heads while discussing basic questions of existence and fate.

Still from Rosencrantz & Guildenstern Are Dead (1990)

BACKGROUND:

  • Adapted from his own 1967 hit play, Rosencrantz & Guildenstern Are Dead is the first and (so far) only film directed by accomplished playwright and screenwriter Tom Stoppard (who also contributed to Brazil).
  • The title comes straight from “Hamlet,” from the very last scene (Act V, Scene II). Arriving in Denmark to find nearly everyone in the royal court dead, the English ambassador bemoans, “The sight is dismal,/And our affairs from England come too late./The ears are senseless that should give us hearing,/To tell him his commandment is fulfill’d,/That Rosencrantz and Guildenstern are dead.”
  • Though it received tepid-to-positive reviews from contemporary critics (with most of the negative reviews comparing it unfavorably to the stage experience), Rosencrantz & Guildenstern did bag the top prize at the 1990 Venice Film Festival.

INDELIBLE IMAGE: I suspect I take no risk of spoiling the ending (the title itself gives something of a hint as to our heroes’ ultimate fate) by singling out the execution scene of Guildenstern and Rosencrantz. The former has a look of a man of reason who’s been broken by the illogical; the latter sports the complementary look of a man of whimsy who’s been worn down by niggling reality. Both accept their fate in states of differing exasperation.

THREE WEIRD THINGS: “Heads,” “heads,” “heads”…; am I Rosencrantz or are you Guildenstern?; play within a play within a play within a movie

WHAT MAKES IT WEIRD: Tom Stoppard’s semi-medieval world is one of modern wordplay, post-modern comedy, existentialism, tragedy, and ambiguous identity. As it stands, the movie is perhaps the only example to be found in the “Nihilistic Farce” genre of cinema.


Clip from Rosencrantz & Guildenstern Are Dead

COMMENTS: Sometimes it’s just better to stay home. This lesson is Continue reading 229. ROSENCRANTZ & GUILDENSTERN ARE DEAD (1990)

CAPSULE: NIGHT OF THE HUNTED (1980)

La nuit des traquées

DIRECTED BY:

FEATURING: , Vincent Gardère, Dominique Journet, Bernard Papineau

PLOT: A beautiful woman is imprisoned in an unofficial asylum housed in a skyscraper with dozens of patients; because they all suffer from short-term amnesia and can only remember events from the last few minutes, no one knows why they are there.

Still from Night of the Hunted (1980)

WHY IT WON’T MAKE THE LIST: Jean Rollin. There’s not room for too many movies from this peculiar director on the List, and while Night of the Hunted is of oddball interest, it’s neither memorable enough not typical enough of the artsploitation auteur’s vampire-centric output to be the representative of his oeuvre.

COMMENTS: A woman has just been shot in a courtyard. A storm arises. We hear thunder rolling and a gale howls through the wind tunnel formed between two skyscrapers with an unnatural keening. We see shots of the brewing storm churning water in a fountain pool. Cut back to the dying woman. Her hair is gently rippling in a light breeze. It’s moments like these that make you wonder if the incongruities that continually crop up in Jean Rollin movies result from incompetence or sly surrealism. In Night of the Hunted the director latches on to an intriguing idea: a group of people suffering from a persistent form of short-term memory loss that leaves them unable to remember what happened two minutes ago. Imprisoned in a secret asylum on the top floor of a tall building hidden in plain sight in the middle of Paris, the lost souls shuffle around the halls and the communal room, unable to remember each other, their children’s names, or where their room is. Their situation is uniquely tragic, bearing an existential dimension that’s reminiscent of later classics like Memento and Cube, while their submission to the doctor and his assistant suggests an anti-authoritarian political fable. Rollin fashions surprisingly affecting dialogue out of  a conversation between two amnesiac women; doomed to be strangers forever, they make a desperate game out of trying to construct a shared past. And yet, there are so many problems with Night of the Hunted script, it’s almost hard to decide where to begin. The most obvious issue is Rollin’s insistence on inserting so many sex and nude scenes that the movie frequently turns from horror into soft porn. There is no doubt Rollin knows how to photograph a nude woman, but he doesn’t know how to gracefully integrate nude women into his stories. The movie’s porniness is at war with its artiness. In the opening, the beautiful amnesiac heroine, Elisabeth (Lahaie), has temporarily escaped captivity, together with a soon-forgotten companion—who is (inexplicably) naked. Robert (Gardère), a kindly motorist, picks her up and takes her—not to a hospital, or the police station—but to his bachelor pad. He’s lucked into a beautiful blonde with a blank mind who lives only for the present and doesn’t know any other man in the world exists but him. A five-minute sex scene (the kind where, no matter what new position the lovers try out, a potted plant always winds up between our eyes and their genitals) follows. The tender rutting completely breaks up any intellectual flow the story was developing. Furthermore, there’s really no way to spin this scenario other than that Robert is taking advantage of Elisabeth for an easy lay; yet, in the modern fairytale world of this movie, we’re supposed to view their love as pure. The gallant knight will spend the rest of the movie trying to rescue the forgetful princess from the tower where she’s been imprisoned. And the funny thing is, the movie works on an emotional level, despite its essential illogic and sleazy interludes. We feel for Elisabeth and her predicament. All the usual complaints against Rollin—his ignorance of or disregard for storytelling conventions, proper pacing, and logic—are on display here. But there are also sublime moments, such as when a dying redhead’s tresses slowly fall down a nearby drain like spilled blood, that make you think there is a genius buried somewhere in there. Rollin’s flaws are the flip side of his virtues, and largely reinforce them; that’s what make his movies unique, and uniquely weird.

Rollin liked the atmosphere created by two women making their way through the world in a daze, reminiscing about a past they may have invented, so much that he reused the idea in Two Orphan Vampires (there, the girls try to remember past lives instead of the past minute, but since they are immortal and their time scale is different, the effect is the same).

WHAT THE CRITICS SAY:

“…it possesses a wonderful and wonderfully disconcerting charm… In tandem with its bizarre storyline, the film offers a largely unique meditation on the importance and yet fictional nature of human memory.”–Gary D. Rhodes, Kinoeye  Vol. 2, Issue 7 (Apr 2002)

126. THE RED SQUIRREL [LA ADRILLA ROJA] (1993)

“They are also cunning, humble and light, like flies. Liars, shy but strategic, sinuous, and very capable of weaving clever plots behind men’s backs.”–TV commentator describing red squirrels in a dream in The Red Squirrel

Recommended

DIRECTED BY:

FEATURING: Nancho Novo, Emma Suárez, Carmelo Gómez

PLOT: A despondent musician is working up the courage to commit suicide by jumping off a bridge when suddenly a motorcycle crashes through the railing next to him. Going down to the beach to investigate he finds the victim is a beautiful woman who has survived the fall with no lasting damage, but is suffering from amnesia. He convinces her that they are lovers and takes her to a campground to continue the charade; but does she have a secret past that may come back to haunt them both?

Still from The Red Squirrel [La Ardilla Roja] (1993)

BACKGROUND:

  • The Red Squirrel played out-of-competition in Cannes, but won the “Award of the Youth” (an award given by jurors who are 18-23 years old).
  • Stanley Kubrick was an admirer of the film and, according to rumor, recommended Medem to Stephen Spielberg to direct The Mask of Zorro; Medem rejected the opportunity.
  • The Red Squirrel did not find a theatrical distributor in North America, and might have remained nearly unknown if the arthouse successes of Lovers of the Arctic Circle and Sex and Lucia hadn’t sparked interest in Medem’s earlier movies. The film was released on VHS in the US, but although it was released in Europe it did not appear on Region 1 DVD until 2012.

INDELIBLE IMAGE: We won’t reveal the precise moment we’ve selected as The Red Squirrel‘s indelible image, because we think it will hit you harder if it comes as a surprise. We will say that it takes place in a dream confrontation on a barren windswept plain, and point out that we love it because it’s representative of the way that Medem builds up an almost unbearable tension, then breaks it with the unexpected interjection of absurd comedy.

WHAT MAKES IT WEIRD: With its tragically creepy protagonist seeking to recreate a woman who may not be what she seems into his idealized love, The Red Squirrel plays like a postmodern Spanish version of Vertigo, only with obscure portents of squirrelly doom and comically absurd dream sequences.


Brief clip from The Red Squirrel

COMMENTS: Obsession is always a promising starting place for a movie plot; so is mystery. If Continue reading 126. THE RED SQUIRREL [LA ADRILLA ROJA] (1993)