Audition (オーディション, Takashi Miike, 1999)

audition-posterReview of Takashi Miike’s Audition (オーディション) – first published by UK Anime Network.


The world was a much more innocent place back in 1999. Takashi Miike already had 34 films to his name before Audition became his breakout hit even whilst seeing him branded “sick” by a disgusted audience member at the film’s otherwise successful screening at the Rotterdam film festival. Based on the book of the same name by Japan’s master of the nasty psychological thriller Ryu Murakami, Audition is the twisted romantic nightmare to end all twisted romantic nightmares.

Aoyama is a widower with an almost grown-up child. Now that his parental responsibilities are changing, and spurred on by his encouraging son, Aoyama perhaps feels ready to move into another phase of his life by considering the idea of getting married again. However, Aoyama is a sensitive and romantic man who’s actually a little naive when it comes to matters of the heart and obviously hasn’t had much experience in the dating world in the last twenty years. He turns to an old friend who happens to be a casting director and comes up with the novel (if somewhat inappropriate) idea of letting Aoyama sit in on an audition to look for a new wife.

In glancing over the headshot resumés, one catches his eye – that of a former ballet dancer who equates having had to abandon her dream of becoming a professional dancer because of an injury with a sort of spiritual death. This deep sense of loss strikes a chord in the widowed Aoyama and despite his friend’s warnings that she gives him the creeps, Asami is the one he’s set his heart on. However, Asami is not the sweet and innocent girl she first appears to be…

In the intervening 15 years since its original release, Audition has amassed something of a reputation which is to say that viewers will almost certainly be aware of its “extreme” nature. However, Audition arguably works best when seen blind as it begins as a fairly straightforward romantic drama in which a broken hearted widower begins to live again thanks to the attentions of a shy young woman. Of course, Miike is peppering the otherwise anodyne love story with subtle (and not so subtle) clues all the way through, planting doubts in our minds right away. Is Aoyama just an old fool who’s lost his head over a young beauty or is he right to grow suspicious in the face of the ever increasing, yet circumstantial, evidence of Asami’s strangeness?

Is Asami hiding a dark secret, or is Aoyama projecting his fears of romantic entanglements onto her  silhouette and therefore creating, in some sense, a villainess worthy of his anxieties? According to Miike himself, Audition is not a horror movie (Japanese horror movies are linked with the supernatural and Audition’s terrors are very much of the real world) – Murakami in fact wrote the book as a strange kind of “love letter” to a woman he had wronged. Miike sought to envisage her reply and gives her an opportunity to offer a series of extremely dark explanations of her own. Neither Aoyama or Asami have been honest with themselves or each other. Aoyama is looking for a cookie cutter ideal to fit into the pre-made box marked “wife”, and well, it would be better not to go into all the various ways Asami has misrepresented herself but she does have a point when she calls Aoyama on how easy it was to make him fall for her meek and feeble innocent act.

Asami and Aoyama are always working at cross purposes to each other, engaged in a macabre dance where Asami leads by stealth, waltzing Aoyama into her spider’s web of vengeance by neatly subverting his ideas of femininity. However, this is not to cast Asami as a vile temptress or the predatory female born of male fears of emasculation (though these ideas are definitely in play), nor is she an avenging feminist warrior so much as a lonely, damaged woman. At the very end of the film the pair have perhaps reached a kind of understanding as, according to Asami, only in extreme pain does one understand one’s own mind. Left maimed and helpless, each is scarred and broken but alive and, perhaps, at peace at last.


Audition is now re-released on blu-ray in the UK from Arrow Films in a significantly better transfer than the previous US blu-ray from Shout Factory.

 

Love & Peace (ラブ&ピース, Sion Sono, 2015)

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Another day another Sion Sono – review of Love & Peace from the London Film Festival up at UK Anime Network. Quite liked this one, shame it’s not out in time for Christmas.


Last time we met Sion Sono it was for a street style rap musical about gang warfare. Before that we’ve mostly been admiring him for his epic and irreverent tale of panty shot perverts and bizarre religion Love Exposure, bloody serial killer true crime thriller Cold Fish or poetic exploration of a woman looking for love in all the wrong places in Guilty of Romance, not to mention a tale of teenage rage and post Earthquake anxiety in Himizu or state of the nation address in Land of Hope. Recently prolific and varied enough to give even Takashi Miike a run for his money, it should come as no surprise that Sono’s latest effort is, essentially, a family film about a man’s love for his pet turtle.

Ryoichi Suzuki is a mild mannered office worker with dreams of becoming a rock star. Belittled by his colleagues, Ryoichi has no friends – that is until he falls hard for a tiny turtle sold by a strange man on a rooftop. Hatching plans together for Ryoichi’s rise to superstardom the pair become inseparable. However, after another round of humiliation at work Ryoichi flushes “Pikadon” down the toilet! Full of remorse, Ryoichi pines for his lost friend meanwhile, Pikadon arrives at the lair of a mysterious sewer dweller who rescues broken and discarded creatures. When Pikadon is given a “wish” pill by mistake, Ryoichi’s life soon begins to change!

In case it needs saying, Love & Peace is in no way a “serious” film – much as that may sound like a pejorative comment, all that means is that it’s delightfully absurd and heaps of fun and where it harks back to some of Sono’s key concerns it does so in a light hearted, even mocking manner. The plot maybe conventional in a lot of ways – down trodden loser suddenly makes something of himself with magical help but ends up becoming arrogant and forgetting his true self before being redeemed by a massive fall from grace but as usual Sono has managed to bring something new to even this comparatively tired tale.

Largely, that’s thanks to his bizarre side story of the land of misfit toys being cared for by a mysterious yet kindly old man who lives in a tiny alcove in one of Tokyo’s sewer complexes. Cheerfully harking back to some of those classic ‘80s kids movies, the strange collection of broken robots, damaged cat toys and lovelorn dolls do their best to tug at the heart strings with their stories of loss and abandonment while the mysterious old man keeps them going with tales of hope and magic pills which grant the power of speech or wishes.

However, as Ryoichi’s dreams grow bigger so does Pikadon himself and its not long before the cute little turtle’s devotion to his master becomes a dangerous threat to the entire city. Ryoichi chose the name “Pikadon” seemingly at random and without realising that it’s become a byword for the atomic bomb. Thus Ryoichi’s eventual ballad of love and regret for his lost turtle buddy is misunderstood as a lament for modern Japan and a pledge to “never forget” the wartime nuclear attacks. Of course, this “subversive political rock song” becomes a giant hit catapulting Ryoichi on the road to superstardom. However, there is more heartbreak for Pikadon to come as he’s continually betrayed by the ever more ambitious Ryoichi who’s only too quick to sell out his beloved friend to get ahead with cruel and potentially tragic consequences.

Of course, the one thing that needs mentioning is the amazing music in the film including the title song which is tailor made for waving a lighter in the air and is sure to become your latest ear worm. Ryoichi only writes a few songs but Sono also manages to throw in a musical self reference to a previous film that makes for a fun Easter Egg for his avid fans to find and the rest of the soundtrack is equally catchy too.

In short, Love & Peace is the Christmas themed punk rock kid’s movie you never knew you needed. Yes, it goes to some very dark places – the least of which is the accidental destruction of the city of Tokyo by the now colossal kaiju incarnation of Pikadon whose only wish is to make his best friend’s rockstar dreams come true, but it does so with heart. In true family film fashion, it addresses the themes of true friendship, the importance of being true to yourself and that the love of man and turtle can be a beautiful, if terrifying, thing. Strange, surreal and totally mad, Love & Peace is the ideal Christmas gift for all the family and Sono’s most enjoyably bizarre effort yet.


I wrote this review before I’d seen Tag which is also “enjoyably bizarre”, it has to be said. Love & Peace will be released in the UK in 2016 courtesy of Third Window Films.

Some other Reviews of Sion Sono movies written by me: