Yoshimitsu Morita had a long standing commitment to creating “populist” mainstream cinema but, perversely, he liked to spice it with a layer of arthouse inspired style. 2002’s Copycat Killer(模倣犯, Mohouhan) finds him back in the realm of literary adaptations with a crime thriller inspired by Miyuki Miyabe’s book in which the media becomes an accessory in the crazed culprit’s elaborate bid for eternal fame through fear driven notoriety.
Following a non-linear structure, the film first introduces us to an old man who runs a tofu shop where he lives with his middle aged daughter who is in the middle of a breakdown following the end of her marriage, and his grown up granddaughter who has become the woman of the house during her mother’s illness. Though not without its difficulties his life was happy enough but after granddaughter Mariko goes out one evening and never comes home, nothing will ever be the same again.
A severed arm and a handbag are discovered in a flower bed by a teenage boy whilst walking a dog, though a mysterious distorted voice later contacts the media to inform them that the arm and the handbag do not belong to the same woman. The boy, oddly enough, is the sole survivor of his family who were all murdered some years previously. He was interviewed at the time by press reporter Yumiko whose soba shop owning brother may have a connection to the crimes. The cold blooded killer knows all of this and is engineering coincidences into a grand plan in which he will harness the power of mass media to earn himself a kind of national respect as an “expert” on the crimes which he has himself been committing.
Hitting a style somewhere between The Black House and Keiho, Morita opts for a dreamlike atmosphere filled with dissolves, soft split screens and hacker inspired graphical touches. Not only is the killer interested in appearing on TV either in voice or in person but can also manipulate mass media by hacking commercials and billboards to proclaim his own messages. As well as the early computer inspired effects, photo zooms, and contemporary methods of evidence presentation, Morita wrong foots the audience by zigzagging through the chronology of crime beginning with the central murder then switching back to the killers as they are now, then their childhoods, and cutting back to each of the other protagonists – the grandfather, teenage boy, and reporter.
Possibly inspired by the Leopold and Loeb case, the killers are a duo of psychotic young men who think they can achieve everlasting fame and personal satisfaction by committing the kind of murders which have never been committed before. The true motivator of the crimes even tells one of his victims that she ought to be grateful. That she was leading a “pointless” life and now she’s being given the opportunity to “serve” in something greater as a component in his master plan. Before, he explains, she’d just have gone on living until she died and been forgotten but now she’ll be a star – everyone will remember her name as a victim in the crime of the century and the world will mourn her death.
At another juncture, the killer also remarks that absolute faith in the family unit is the reason a relative of a suspect or victim of crime is routinely targeted by the press and a source of recrimination even though they themselves had nothing to do with it. Family issues are also a factor as rejection and abandonment by parental figures is offered as a reason for why a person may eventually become deranged. Thus, the killer’s intention to harness mass media for worldwide fame through committing heinous, terrible crimes is painted as a quest for the attention and recognition he never received from his parents. The family is both nothing and everything, but as we reach the conclusion it’s family that engenders hope as we’re presented with a potential new family committing to proving that nurture can trump nature with happy childhoods building mentally balanced adults.
The grief stricken grandfather tells the killer that his selfish actions are cowardly and pointless. That if he really wanted to cause a sensation in this cruel world, he should have become a hero and taught people how to love instead of hate – that would be the true radical action. Morita’s essential world view is once again resolutely bleak but offered with a wry and cynical sense of humour. The final messages are of acceptance and moving on no matter how hard it may be, and of trying to create something good out of even the very worst occurrences. The film’s extremely strange, oddly explosive expressionist finale takes things a step too far and the youthful, contemporary electronic score with its link to the stereotypical hacking iconography occasionally calls attention to itself but Copycat Killer still proves an entertaining, multilayered crime thriller filmed with Morita’s characteristically experimental approach and necessary dose of oddness.