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"Mark": Takashi Miike's Abnormal Mirror Image / Vulcan Ji
before everything happens. Perhaps Christopher should have understood; all he was chasing after was the lost dream of beauty or purity. - Vulcan Ji. Inscription.
When a movie is still haunting me after watching it; it may not mean it's a good movie, but it definitely means it's a movie that fascinates me. Many times, I don't know how to define Miike's films, and his audiences seem to be divided into only two categories: abhorrence or insatiable desire, no centrists, and no compromise. Whether a follower of Miike Takashi or not, this film may always be easy to forget. This film is the finale of thirteen short films in a film collection "Master of Horror" launched by the American ShowTime TV channel. In the eyes of his followers, this may not be possible because of the erosion from American culture. A film that represents Takashi Miike's clear stand and identity. However, in my opinion, it is this 63-minute film that combines too many symbolic imagery of Miike Takashi to become complicated and thought-provoking.
With a tongue-in-cheek Japanese style, Christopher took the peach in his dream to wander around Japan, looking for the dream that was once lost on the Japanese island country. Because of the promise he once had, he still couldn't forget the beautiful and tragic woman when he was far away in the United States. Therefore, for him, this quest became his final destination. However, he never expected his end to end so suddenly. The movie seems to be re-creating the story of the dead peach, and it is also a revelation of Christopher's memory. However, this movie uses an interspersed method to focus more on the strange half-ghost and half-human life. The story of a strange geisha. The stories in Takashi Miike's films are often not what he wants to express the most, and his films have many possibilities beyond the stories. I've said before that Miike's films have so many possibilities that I'm so obsessed with. Because too full and too many clues have always brought criticism to his movies, and what is even more sad is that few people will watch his movies quietly. It seems like a paradox, because his films are always full of blood, violence and flamboyant red, and it is difficult to watch quietly and think more quietly under such visual stimuli. But there is no other way to interpret his films better. Also because of this, there is always a scold outside his followers.
The short 63-minute film tells at least three stories: the love story of Christopher and Peach, the story of him and his sister, and the story of the strangest geisha in the film. We can see many things that we have seen many times in Miike Takashi's films, such as abnormal love, incest, sadomasochism, and father murder... Some people say that Miike Takashi himself is an anti-female person, so his films will always be obscure. With all kinds of refraction traces. Behind the bizarreness of this film is actually still the kind of sad and indignant projection. The film uses an interlocking and layer-by-layer expression technique to express the main content of the story, while the standard Hollywood-style lens language but with strong personal characteristics of Miike Takashi has become the carrier that carries everything. His films always use a deformed perspective to explain everything he wants to explain. In my opinion, this deformity is more like the sadistic emotion hidden behind human nature in modern society itself, which I don't want to admit. It often becomes something that I have to admit, and this is Takashi Miike's film. Compared with other films of Takashi Miike, this film is relatively plain. At least he is willing to use layer-by-layer dissection to let us know more clearly what this movie is about. What we can see more clearly after layer by layer is the appearance that seems to be pure before the truth. Why do all people want to know the truth? Actually, the real truth is the most horrible thing to see.
The unfamiliar ghost prostitute in the main plot of the movie is told three times in a progressive and gradual way, and each time it is closer to the truth, and each confession seems so uncomfortable. . From a poor but industrious and happy family to a homeless family of beggars, and finally, the father and mother became brothers and sisters, the parents' family became incest, the mother's work changed from midwifery to abortion, and she herself She became a girl whose father had a drunken lust, and the teacher in the temple became a lecher with a human face and a beastly heart... The abnormal parasitism is the result of his father's alcoholism and promiscuity, and the cruelty is due to the darkness of Digu's childhood The true ending brought about by life, the most valuable thing about Miike's films is that he never disdains to cover up and puts the most terrifying truth directly in front of our eyes. Curiosity and quest for truth is the only way for mankind to discover the most terrifying truths. And what this film reveals is whether the world that was given to us before the truth with all its purity and beauty is worth believing in. If we forget the desire to pursue, perhaps what we are facing is a world so pure and unforgettable. However, like Christopher in the movie, we will not stop and search all the way to the end. Under his leadership, we saw the most helpless lament in the most filthy, terrifying, and gloomy world. The first story is beautiful and happy, and we don't want to be satisfied; so we see an unfortunate but still upward longing, but we still don't want to be satisfied; so what we finally get is a completely deformed and filthy human nature. This is perhaps the most allegorical aspect of the film.
The most vivid expression of the deformed mirror image is the set of shots in which Xiao Tao was tortured. Binding with ropes, stabbing his fingertips and lips with needles, burning his wrists with red cigarette butts... The most brutal scene in Takashi Miike's camera language is so gorgeously staged. In my opinion, this scene is no better than his The scene in "Love to the Skin" is so chilling and kind. Be merciful because you understand. How many times have I thought that this sentence can be used for epiphany and redemption, but in the mirror image of Michi, this sentence has become a more compassionate statement. Under the mirror image of this abnormality, when I started to chanting this proverb that once calmed me, I suddenly understood that behind this so-called compassion, there is a terrible solemn taste. There is compassion because of understanding, and there is a kind of understanding that is distressing, and there is a kind of compassion that is a heavy silence.
2007-06-14; Dinghai year Bingwu month Jimao day.
Note: Links to the Movies Expansion Expansion. ■Title: "Masters of Horror: Imprint" ■Translation: "Mark", "Memoirs of a Ghost Artificer" ■Director: Takashi Miike ■Original Work: Shimako Iwai ■Starring: Yuki Kudo, Billy Drago, Michie, Shimiko Iwai ■Genre: Horror, Gore, Violence Country: United States, Japan Language: English Duration: 63 minutes Release: Kadokawa Films Premiere Date: May 27, 2006 Plot: The film tells the story of a Japanese-American returning to Japan Find the story of your former geisha lover. However, things went wrong, and the geisha he wanted to find Xiao Tao was nowhere to be seen. After wandering around for a long time, he could not find the Xiao Tao he was looking for. When he meets an unfamiliar geisha who is half human and half grimace, she begins to tell Christopher the story of Peach and herself. ■Screenshot:
DVD jacket.
The ultimate torture is one of the most common scenes in Miike's films.
Closeup of placenta and stillbirth in pot.
Beautiful scenery and tones sometimes flash in Miike's films, but this scene is more reminiscent of solemn silence.
What do I use to redeem, this so-called cruelty.
I was wondering what kind of world Xiao Tao saw at this moment in those frightened eyes.
Xiao Tao and Christopher's sister, such a close-up here makes people feel a kind of redemptive light and holy hope.
Xiao Tao will never be able to wait for the man she has been waiting for all her life.
The dreadful desires of filthy human nature itself.
This poor little girl was burdened with an unimaginably heavy chill.
In my opinion, this is one of the most beautiful shots in the film, with the close-up of the human body framed by the binding and hanging upside down and the sunlight that is never my own.
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