Tag Archives: Suicide

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

CAPSULE: STAY (2005)

DIRECTED BY:  Marc Forster

FEATURING: Ewan McGregor, ,

PLOT:  A private practice psychiatrist takes over the case of a suicidal art student after his regular therapist takes a leave of absence due to stress, and discovers the case has metaphysical as well as psychological implications.

stay

WHY IT’S ON THE BORDERLINEStay gets a pretty weird vibe going through its trippy second act—not coincidentally, the part of the movie many mainstream critics complain grows tiresome—but ultimately this mindbending plot has been handled more elegantly before in more memorable films.

COMMENTS: Stay is often a feast for the eyes and a masterpiece of meaningfully employed techniques. Shots are packed with subliminal detail, and everyone notices the amazing transitions that flow seamlessly from one scene into the next (a character gazes out the window to see the person they’re talking to sitting on a bench, having already started the next scene, or wanders out of an art department hallway that magically becomes an aquarium).  The artistic editing and camera tricks all lead up to a beautiful visual climax on the Brooklyn Bridge, where Sam (Ewan McGregor) and Henry (Ryan Gosling) deliver their “final” speeches while engulfed in a sea of waving strings, as if small filaments of cable have broken off the bridge and are drifting in the wind.  Unfortunately, the story, while clever at times, can’t justify the enormous care devoted to the production design.  Long time fans of psychological thrillers will guess the twist from the first shot, although through directorial sleight of hand and a shift of protagonists the film constantly suggests that it’s just about to head in a novel direction.  In the end, the story is both resolved and unresolved—the unresolved parts being those leftover scraps of the script that relate not to the mystery’s solution, but to the screenplay’s attempts to misdirect the viewer from that solution.  These questions wave around in the mind like those wavy filaments from the Brooklyn Bridge: not part of the supporting structure, just there to add atmosphere.  The end result is a series of admirable tricks strung together, without a huge narrative or emotional payoff.

A curious and disappointing feature of the DVD release is that the widescreen version of the film, with limited commentary by director Forster and star Gosling, is hidden on side B of the double-sided DVD, with a fullscreen version with no commentary taking up side A.  Renters who don’t have the opportunity to read the box cover or who miss the note on the disc’s label may view an inferior presentation of the movie by default.  Ironically, one of the B-side commentators advises, “Never watch this in 4:3.  You’ll miss too much.”

WHAT THE CRITICS SAY:

“Sam can’t figure out why Henry wants to kill himself, but it probably has something to do with his inability to differentiate between his hallucinations and reality. Despite his professional training, Sam fails to come to the obvious conclusion: the movie around him has been hijacked by an overzealous D.O.P.”–Adam Nayman, Eye Weekly

(This movie was nominated for review by reader “Melissa.” Suggest a weird movie of your own here.)

CAPSULE: WRISTCUTTERS: A LOVE STORY (2006)

Recommended

DIRECTED BY: Goran Dukic

FEATURING: Patrick Fugit, Shannyn Sossamon, Shea Whigham, Tom Waits

PLOT:  In a special afterlife reserved for suicides, three lost souls hit the road: Zia is

wristcutters_a_love_story

searching for his earthly lover, Mikal is convinced she’s here by mistake and is looking for the People in Charge, and Eugene is along for the ride because he has nothing better to do.

WHY IT WON’T MAKE THE LIST:  Despite the sunglasses-snatching black hole that’s taken up permanent residence under the passenger seat in Eugene’s old beater, Wristcutters never really crosses the shaky border into the land of the weird.  A few magical realist touches decorate this otherwise conventional, indie-flavored road movie/love triangle that’s best described as “quirky.”  (If you know of a review that doesn’t use the word “quirky” to describe this movie, please contact the proper authorities; the writer needs to have his or her critical credentials yanked).

COMMENTS:  Adapted from a story by Etgar Keret, Wristcutters is a romantic comedy disguised as a black comedy, a conventional movie disguised as a bizarre movie, and a shamelessly hopeful movie disguised as a bleak movie.  None of those disguises are particularly hard to penetrate.  “Who could think of a better punishment, really?  Everything’s the same here, it’s just a little worse,” newly deceased wristcutter Zia realizes soon after he gets a pizza delivery job in the afterlife.  In Wristcutters, new suicides wake to discover a Great Beyond that’s not so great: in fact, it’s set in the middle of the Mojave desert where everything is so run down and recycled, even the automobiles are held together mostly by duct tape.  Furthermore, in the most dreadful dissimilarity to the living world, its denizens find themselves unable to smile, a restriction that makes the sympathetic performances of the young principals all the more impressive.  Still, the movie always has a hopeful sense that the main characters can find a way out of their existential predicament, and it doesn’t disappoint those hoping for a happy ending (though some may consider it a cop-out).  Although Wristcutters sometimes reeks of missed opportunities to explore deeper themes and blacker comedy in a more mystical landscape, it’s also apparent that director/scripter Dukic has hit exactly the lightly offbeat tone he was aiming for, and he has the good sense to wrap the story up quickly after his world runs out of new Purgatorial quirks to offer.  A couple of tunes by Tom Waits (who also offers up a memorable turn as ramshackle but wizardly guiding spirit Kneller) and Gogol Bordello bump up the cool quotient considerably.

After this successful debut, Croatian director Dukic is poised between worlds: he could use this feature as springboard to do something even more conventional, or push his offbeat impulses to their logically weird conclusion.  We’ll keep an eye on him.

WHAT THE CRITICS SAY:

“What makes it work is that the performers, trapped in a weird movie about a weird place, underplay their astonishment.”–A.O. Scott, New York Times (contemporaneous)

(This movie was nominated for review by reader “Natalia.” Suggest a weird movie of your own here.)