Cure - Kyua

This movie has a simple premise and a simple story that is nevertheless explored in an incredibly delicate and talented way. Kiyoshi Kurosawa is an extremely talented individual and perhaps the only writer/director who is able to simultaneously scare and mentally challenge me at the same time (note that very few are capable of doing one or the other). Although the writing is very good (story and dialogue), Kurosawa's real strength is his ability to represent visually the progressive denouement of his story. He rather subtly show you and let your imagination and intellect figure it out for you than to spell out bluntly what the straightforward storyline should be. It does not, however, get to the point of chaotic untidiness or pointlessness, for he is able to guide you slowly along the way (I would then say that he is slightly easier to follow than David Lynch is, but then again who is not). He uses here a strikingly effective technique where he shows you a room from one angle and later lets you discover that room more and more as the movie advances. His camera shots are always well planned and he is thus able to draw you in the movie bit by bit-quite an eerie sensation.

The acting is generally good and believable. The camera-work is a stand out.

There are many scenes where you will be able to appreciate this superior artistic and technical quality. The music is good and tenseful, but it is sparse and what is used instead is a contrast of minimalist and grossly amplified everyday sounds that vibrate through the movie. When there is no sound, you often find yourself holding your breath. This is not used strictly as a ploy, but rather creates a mood and further pulls you in the general atmosphere of the movie. Most of all, again, the directing is top notch. The pace which is slow enough for you to have the time to both think and be afraid is not slow enough that it gets boring, although you should not expect a North American expeditious run through the film. Everything is there, but it comes to you in slow, meticulously chosen dosage. Only, at the end can you truly see the masterpiece that has been drawn stroke by stroke in front of you.

One of the reason this movie actually works is that it is designed to play with your mind and trigger fear and reaction based not only on emotion, but on reason. People are dying, but everything is calm, rational. The tone and story are pretty much realistic and, at the end of the experience, you may feel beyond your volitional control that you are actually convinced of the "strange" things in the movie. Hopefully this feeling will subside...

WOW!!!! Now THAT was an EXCELLENT ending to a GREAT movie. It stuck with me for several hours after first watching it and the second time was no different. It had slow methodical pacing, but it was never boring. I, for one, appreciated the elliptical editing as it's just a filmmaker doing something different and being creative. Actually, it added to the hypnotic arc of the story. It didn't bother me whatsoever, although it wasn't nearly as effective in Kiyoshi's other great movie, "Kairo." Koji Yakusho was brilliant as troubled Detective Takabe and the mysterious drifter with hypnotic powers was very convincing as well. The use of hypnotism to get others to kill and rendering themselves soulless, was a refreshing take on the serial-killer subgenre, of which I love. Someone commented here that only people who "buy the mumbo jumbo" hypnotism storyline would like this film, and comments like those always bother me. Narrative films are not REAL LIFE, even the ones based on true stories. They are works of art, and try to tell us entertaining, comedic, frightning, and dramatic stories to keep the audience interested. I don't have to believe in the subjects their stories are telling me, nor do I believe they need to solve the world's problems. All I care is that they give me an interesting idea, an interesting story, with well-written dialogue, and if it ends with a bang. These, blended with great acting (now that's an area that needs convincing in film), great camera work, and an engaging score. Those are what make films interesting and "Kyua" aka "Cure" has all those qualities. Highly recommended.

The serial killer movie has by now been done to death (so to speak), so it's especially rewarding to see this assured film that takes a truly ingenious approach. Kurosawa's protagonist is a seemingly dazed young man who, in spite of his aimless demeanor, is a master hypnotist. To reveal any more of what happens would be to give a bit too much away.

The subtlety and fluidity of this film is remarkable. The main character can be charming and simultaneously irritating when he speaks. He turns his speaking partner's question back on the speaker; he answers with vague phrases that nevertheless, over the course of the film, gradually bring out the complexity of his psyche. Pitting him against a cop whose wife seems to suffer from something like the hypnotist's 'brand' of mental wanderings underlines the thematic context of the film: what we know is almost certainly only what we think we know. And what we think we know is almost certainly based on someone else's 'knowledge', derived the same as ours.

That knowledge is a collective phenomenon, a shared and critical feature of the 'hive' is not a novel concept in film. But its presentation here is bold and original. To link that idea with a person who destroys life is a master stroke; it says that what we know vanishes in a suddenly extinguished flame, or a tiny stream of water that appears, runs, and then is seen no more.

This is a film that should definitely be added to the great films of the 90s. Since it was not released in the U.S. until 2001, I vote for it being one of the great films of that year here.

I think it is important to distinguish Cure from the avalanche of white-face-ghost-girl Japanese horror flicks that followed in Ringu's wake. Purely because it's a different beast and lumping it in a convenient J-horror niche is doing it a disservice. I won't go into plot specifics because it's only a skeleton for Kurosawa to hang his atmospherics. That said, I can understand the complaint many viewers seem to share ("man, it doesn't make sense") but without having any claims on solving Cure's riddle, I'm satisfied with letting wash over me, one watch at a time.

Kurosawa wisely doesn't attempt to explain his plot. He's content to lift the veil just enough for us to sneak a glimpse in before he disorients again. The plot slowly builds through little tokens that are never followed by an orchestral crescento to signal their arrival. They just happen. A small photo in a book, muffled words on a phonogram, an old video, the ramblings of an amnesiac, theories on 18th century Austrian doctors. In the course of the film, everything seems to be coming together only to remain elusive in the end. In that aspect I find Cure to be closer to Last Year at Marienbad than your average Ringu clone. It's not about making sense, it's about pushing limits within which you can. It's about soaking in the impression it makes. When muffled words come through a phonogram, they're more incoherent ramblings than a telegraphed plot solution; but they contribute just as well to the overarching feel. This elliptic mentality is abetted by Kurosawa's choice of a slow, deliberate pace and many long shots, entire scenes covered without any cuts. The gritty and rundown aspect of Tokyo is photographed like a more naturalistic version of David Fincher's work and does the job well.

It's my impression that a surrealist air hovers above and at the heart of Cure, at times reminiscent of a more languid version of Lynch. It is undoubtedly a horror movie so don't be put off by my Resnais comparison, but it's as much bleak as it is subtle and leaves enough to the mind's eye to make you carry it out with you.

I saw CURE at the San Francisco Film Festival in around 1998, and like many, I found the concept and craftsmanship arresting. A number of audience members stayed around afterwards to discuss it - it's a psychologically complex tale of hypnotism and the seductions of altered consciousness. Koji Yakusho (DORA HEITA, 13 ASSSASSINS, etc.) is at his acting peak as a detective who tries to solve a series of murders that don't seem to relate to common logic.

Recently, I saw the DVD version of the film - and it's clear that the film had been cut severely. Most viewers have only seen the US DVD version, so they're not even aware of the problem. A few of the more graphic sequences were cut, important portions of the narrative set in an old sanatorium were excised, and the violent finish was excised entirely. (The US DVD concludes with the suggestion of a further killing; the theatrical Japanese version is more powerful and unambiguous.) In some cases, a later, recut version may be better than the original; however, that's not the case here.

There's scant online text relating to the differences between the two versions.

It speaks well for director Kiyoshi Kurosawa that he took a low-budget police procedural and made an innovative thriller out of it. Most of the scenes are under-edited and shot at a distance, to extract the most from the hypnotic storyline; the longer, hypnotic sequences are several minutes long, with no edits. Because the film uses medium-distance shots to give a sense of hypnotic disassociation, viewers with larger screens will gain an advantage.

I strongly recommend seeing it - but would suggest you seek out the original, uncut theatrical print if you can. The differences are striking. I'd rate the original print as 10/10; the cut/domestic DVD is maybe 7/10. This film would profit from a Criterion reissue, but that doesn't seem to be in the works.