Most of the time, that is, these movies follow the usual detective-story trajectory, in which the moral and social order disrupted by crime is symbolically restored by the efforts of the lone-wolf detective. The may have a or a bicycle. Not only does Kurosawa anticipate a popular motif in J horror with this scene think of the videotape curse in Ringu , he also refers back to the history of hysterical epidemics and their origins in the medical professions of the 18th and 19th century, when Jean-Martin Charcot and Sigmund Freud founded schools of thought that intended to explain human behaviour and to cure it of its most burdensome psychic maladies. Charcot gave popular demonstrations every Friday morning in which he brought the medical concept of hysteria — stripped of its previous religious connotations -- to wider recognition by publicly demonstrating how hysterical symptoms could be stopped or created using hypnosis. And Kurosawa achieves his effects by refusing to be pinned down to logical explanations, evoking instead a sense of loneliness and emptiness by his choice of settings: anonymous, semi-industrial sites on the edges of cities. It received a wider release in the West in 2001.
His wife's strange behavior and concerns about his own mental stability lead him to have her committed to a mental hospital. It seems a specifically Japanese take on the subject: the approach of an anonymous, modern but conformist consumerist society that ranks cohesion of community above the needs of the individual. I write reviews for Horrorview. In the scene where the possession's videotape is shown, you can see the shadow of someone. Kurosawa creates a mood of dislocated terror by keeping the audience as confused as the police. If it was this guy, he took off in the raw.
A suspect is apprehended who seems to have a connection to several of the bewildered perpetrators. The killer, a slender, delicate-looking young man, seems less a person than the incarnation of the vague dread that surrounds him. Baffled, Takabe consults his psychologist friend Sakuma , who finds no relationships among the perpetrators and rules out any connection with the media. I haven't been able to find any kind of soundtrack if there even is one. Rather than resort to clever plot twists and reversals, Mr. Detective Takabe and psychologist Sakuma are called in to figure out the connection, but their investigation goes nowhere. Takabe latches onto the idea that this man, known as Mamiya Masato Hagiwara , has somehow hypnotised all of these previously upstanding, conscientious, law-abiding citizens and one-by-one turned them into an army of killers.
Okay, let's talk about Rate this script: 0. The film ends ambiguously at a restaurant where a waitress serves Takabe then suddenly draws out a knife, seemingly ready to kill her supervisor after speaking to the detective -- suggesting that the bizarre ceremonial crimes are being carried out inadvertently by Takabe himself after having been hypnotized by the cylinder recording created a century earlier. This means that Mamiya is the Devil, considering the opinions of some characters in that scene. This is followed by the image of a flashing electric light made faulty by a short in the circuit caused by the sudden outpouring. An old scratchy piece of film has led to this site, discovered by Sakuma before he committed suicide to prevent himself succumbing to the syndrome that he and Takabe have now inevitably been exposed to because of their interrogations of Mamiya.
But most of them don't. Why were you on the beach? There've been no leaks, either. Water overflowing a sink basin in a restroom, the spread of a pool of liquid across the floor when a glass is spilled in a hospital clinic or the sudden appearance of a damp stain on the ceiling of the cell where Takabe interviews Mamiya, denote this permeable state of consciousness — no longer confined by bodies but percolating through the culture at large. I heard about this film years ago but only recently managed to find it on television to watch. Thus, the film appears initially to be defined by the conventions of the detective genre: a few minutes in, and we are presented with the familiar figure of the rain-coated detective, here played by Kurosawa regular Kôji Yakusho.
The aren't in any way, and they're all rational. Perhaps it is better not to over praise it because I thought it was at its best because I didn't know what was going to happen. Looking around they find that each room leads to another one that looks just the same. But whodunit is only part of the mystery, and the second half of the film tries to explain why, how and with what consequences. People like to think a has some meaning. Perhaps your family, your work. Could that be your name? It is hard to think that it is almost a decade old now but that it is still effective and a regular cult movie that people will still talk about.
Detective Takabe Koji Yakusho , whose wife suffers from a mental illness that eerily resembles the killer's state of mind, becomes more vulnerable the closer he gets to his man. I had expected poor performances from a low budget film but actually they were all quite good. Mamiya finds Takabe fascinating, possibly because he cannot force Takabe to kill. Advertisement He is able to respond to questions only with other questions, which may be part of his diabolical technique. The woman later killed her son in a namer similar to Mamiya's crimes. Synopsis: A wave of gruesome murders is sweeping Tokyo.
I'm to out his neighborhood. You don't have to go this far just to kill someone. Usually this sort of stuff makes for a great pitch but not always a good movie because the idea can't stretch beyond a catchy gimmick, however here it does it and makes it look easy. But I just had a question about the music is the movie. In an archive, Sakuma finds a videotape of a mysterious man, speculated to be the originator of Japanese mesmerism, and shows it to Takabe. Kurosawa, who in 1997 completed ''Cure,'' his first film to be released commercially in the United States, pulls his story in the opposite direction and turns the thriller into a vehicle for gloomy social criticism. Charcot first established his clinic at the Salpêtrière hospital in Paris in the 1770s, when it was part poorhouse, part medical establishment, and part prison for women.