Sir ￦illiam Blake 🎥’s review published on Letterboxd:
Hoop-Tober #1: September of Darkness, The bleeding edge
This film is a truly proof that sound and images can be truly a hell; and Miike did a convenient hell in all conventions, dimensions and courage as a sledgehammer hits his audience in the skull and squeezing in our brain; the heart get stabbed and the mind meltdown; destroying and obliterating all the sense; the eyes and the ears and even the touch. It’s a very delirium experience and ultra sensory work. An auditory nightmare. A violent knock on the soul.
And the film begins with a grief; a very melodic music plays, almost melancholic a father and son look sadly to a woman dying in the bed; the gloomy sadness of a TV producer and his son begins. And nothing will fulfills their hearts till find: “ideal woman” or “ideal mother" – and of course: “ideal wife” -- Miike and subtly touches the loneliness of a man and a woman; a couple of world in solitude and existential hell. But make no mistake; this is not how things work here in this crazy story of a mad man for love, or a shy girl looking for company. What definitely happens in this fantastic story? Shigeharu Aoyama is well portrayed as a TV producer in constant mourning, and living in a life watered in widowhood, for example to ignore the portrait of the deceased wife, and turning his eyes to the beautiful girls in the photographs. Getting drunk on whiskey all day; sad eyes and an inexorable sadness of knowing a young woman in his life, and with the help of his friend produce a "false" audition in search of a new wife for life Aoyama. And the girl is found; is a lovely girl, beautiful and delicate almost a perfection of girl if it was not his tragic story this could be an amazing ballet dancer, but is not, and end up in a very shy and sad girl ever, and beautifully being played by Eihi Shiina being Asami Yamazaki. And Aoyama and Asami meet and fall in love.
And Miike fooled me to think was like that. And soundtrack as pointed fools you more yet; from melodic/melancholic rhythms when he presents the grief of father and son; a very funny and sweet tone in the moment which “fake” audition occurs to present many girls at the same time; or when Aoyama reads the back story from Asami (so tragic in tone, so gloomy in the feeling); the music from the film hooks you up depends the scenes which Miike builds; either tragic or happier or sweetie; asking yourself, where I am going? What is story is all about? – Unpredictable enough conforming the tone or atmosphere increases. Soundtrack by Kōji Endō, dialogues with narrative, and wisely guides you into this story of love and violence, foolishness of a man.
..Sound track by the way, is not the only sound who gestures the narrative dramatic, melodic or thrilling as the mood and the atmosphere at the same time; is the sound design which is the protagonist of the narrative; starkly and well aimed into viewer’s mind; An auditory nightmare like therefore said. And is a hell! – filled with raccords and sensory rhymes composed in your sublime climax; either noises or silence so well respected on editing work by Yasushi Shimamura (when x character cuts y leg; the silence and agony preserves the opportunity to the silence screens) – is very pointy end, edgy in these situations, like: (a girl in the dark silence of your Apartment back to us, and if phone rings; tense noise and a stark cry of a bag of bones meets this insane connection) - and so ends an absurd situation where the sound causes a thematic rhyme, and very macabre. The raccord is also violently jokes in our ears; an elegant design… is when the fire burns a girl….…
one frightened little girl with an insane man holding a stick of fire burning violently his little leg, so she hissed in pain, one agonizing scream does creak a wheelchair on the wooden floor, a hellish and subtle touch by raccord. There are times when the sound edge to the subtle and brilliant way to manipulate your delusional imagery, especially in its climax.
And audition with these technical elements can create surprises and moments of shock and horror (what else needs); Dynamic, agile, organic; without the usual predictability of the genre.
..And foolishness of a man this film is all about; how stupid our heart can be, or obviously lack of brain…, poor heart of a man so crazy for love, or what the eyes don’t see, the heart don’t feel….And story continually follow the life of this man, in a rhythm slow pace, in constant slow burn, conform they meet each other… A girl which can’t barely see your face so shy, looking up at their feet; a conservative spirit to see their own body full of scars, traumas from past; full of shame, maybe? Woman can be crazy sometimes, and this film is a proof of that … and the beginning what it was all about gloomy urban sadness about love, loneness and being only after the fear for the past…A horror of woman so cold and starkly as that wire who can be able to cut the flesh and bones this woman is so scary kiri kiri kiri I have shivers up spines in those close-ups not so intensely graphs; fright, dread and fear they are more than a sharp knife or wire ... able to cut her leg like a saw or neck as rotten wood ...kiri kiri kiri I have shivers up spines in those close-ups not so intensely graphs; fright, dread and fear they are more than a sharp knife or wire ... able to cut your leg like a saw or neck as rotten wood ... and holding their feet with thick and firm handcuffs: clack! - A push so violent ... A Horror able to knock you down and wake up in a restaurant to the sound of cars buzzing in your ears table; a hell of images and sounds.kiri kiri kiri That’s is very frightening horror less than to scary but provoke. Miike did with excellence like a wire in the flesh and bones, and so hitting down the audience; without errors. kiri kiri kiri
kiri kiri kiri