Helter Skelter

Lilico is a bad seed, a sadistic supermodel and the darling of all Japan who has turned herself into, as another character from the movie puts it, "a machine for the processing of desire…" Problem is that all her plastic surgery is slowly necrotizing her flesh, and as she slides down the bat pole into oblivion she drags everyone with her, including her female assistant (whom she sexually assaults) and the foot soldiers she dispatches to throw acid in the faces of other models.

In the hands of Sion Sono or David Cronenberg, this material would have been rich and nuanced. What begs to be explored is that central notion of the desire machine. Lilico's primary dilemma is everybody's – how do we constitute ourselves as subjects in this period of late-stage, global capitalism, where we exist in a state of constant flux between two poles: self-commodification and compulsive consumerism? The problem is hinted at, but never fleshed out: the human body is no longer a space in which people realize themselves politically, creatively, erotically, or spiritually; rather, the body has become ancillary to the functioning of a global market economy, a thing that is used by and subservient to ideology.

In the end, Helter Skelter is a pretty-looking mess, which isn't surprising because that's often the result when fashion photographers, in this case Mika Ninagawa, take a stab at directing feature films. Ambitious, but a mess.

Helter Skelter offers a scathing commentary on the state of the culture of celebrity in modern Japan and the commodification of beauty, particularly of youth.

Helter Skelter's commentary is extremely clear from its outset. The main character, Lilico, has peaked in her popularity and is now facing replacement by models who are younger than her. The film follows her journey, particularly her decline, as she becomes more acutely aware of her disposability in the industry that had created her.

Helter Skelter's commentary, while potent, has the issue of being a bit on the explicit side. There are some points where dialogue seems to exist solely to explain what happened or what already happened, particularly at the end with the two police investigators. Rather than relying on implication and visuals along, which are, themselves, fine, the film has the tendency to fall back on dialogue explanations which kill the pacing and make the experience feel like the viewer is being spoon fed information that we were just previously shown.

I felt that this film went on for too long. The problem stems mostly from scenes of expository dialogue that reiterate what we can already see. The police investigators are the biggest source for this. Their scenes, along with a few others, feel like the point of the film is being painfully reiterated over and over and in the final part of the film, every potential end scene is followed by another, almost as if the film doesn't want to end. In a way, it starts to dilute its own meaning with its lack of brevity.

The performances and cinematography in this film are great. The psychotic, sadistic nature of the main character is played in the same manic way a lot of Japanese films like this are played and it translates here well. The special effects are sparse, but when used, help add to the increasing surreal experiences of the main characters.

Overall Helter Skelter is a film that feels like it is on the verge of being much more than it ends up being. I feel like the film would have greatly improved from some tightening up in the editing phase and, were it cut down to under 2 hours, I think would be more impactful than it is in its current state. As a piece of modern Japanese cinema, it isn't bad and I'd recommend it to anyone who might find this film's premise interesting.

It serves as a poignant critique of the fashion and modeling industry, as well as the beauty brands that impose unrealistic standards and misleads countless women; specifically the younger bunch into valuing their external appearance above all else.

While I appreciate the underlying intention, it is regrettably the extent the narrative seems willing to explore. There were significant voids that demanded attention, characters required further development; without that, the story remains superficial, presenting a facade of beauty that lacks substance underneath.

Much like the 'beauty industry'; It became the very thing it sworn to expose.

Its posters and other promotional materials may sell it based on skin and sex, but there is really so much more to former fashion photographer turned director Mika Ninagawa's sophomore film 'Helter Skelter'. At the risk of sounding clichéd, what you think you know about the movie is really only skin-deep, as this adaptation of Kyoko Okazaki's award- winning manga proves to be one of the most riveting Japanese films we've seen in a long while - thanks to its bold take on an absolutely timely subject.

Essentially a cautionary tale on the pursuit of beauty and fame, it weaves a compelling psychosexual horror drama around a fictional celebrity named Lilico. Rather than start at the beginning, Ninagawa introduces her audience to Lilico at the height of her popularity, the latter's flawless doll-like features and to-die-for figure making her the object of desire for young girls around the country. Every teenage girl wants to be like her, and that in turn has made her the subject of intense media interest, which explains her appearance on almost every fashion magazine and her crossover into the world of movies.

Unbeknownst to her adoring fans, everything about her is manufactured – well, except her "eyeballs, ears, fingernails and pussy". The extent of her radical makeover is never shown, but hinted at especially with the sudden appearance one day of her sister, a plump and dorky girl whom you would never in your wildest imaginations ever think was related to Lilico. Her individuality stripped completely in order for her to be the vessel of others' desires, Lilico thrives on the affirmation of her adulating fans, most of whom are no less shallow than her.

A more conventional narrative might have opted to paint Lilico as someone we are supposed to sympathise with, but Kaneko Arisa's script eschews such contrivances in favour of a fully formed character study. Much as we might be inclined to empathise with her for being manipulated by her talent agency boss, a domineering mother figure whom Lilico calls Mama (Kaori Momoi), we also learn that she is no angel on the inside, especially in the way that she psychologically manipulates her assistant Michiko (Shinobu Terajima) and the latter's boyfriend Shin (Go Ayano).

Like a tightly coiled spring, Ninagawa carefully builds the tension as Lilico's precarious life unravels bit by bit. Turns out that Lilico's plastic surgery clinic uses illegal – and worse, unsafe – methods on their clients, and is being investigated by a public prosecutor named Makoto (Omori Nao). Not only does Lilico find her seemingly perfect façade crumbling with black patches, the drug she injects into her body to maintain her decaying complexion gives her hallucinations, her brittle state of mind further battered by her declining popularity following the rise of a new fresh-faced model Kiko (Yoshikawa Kozue).

Truly remarkable is the razor-sharp precision by which Ninagawa portrays the dangers and pitfalls of modern-day society's obsession with beauty and fame. On one hand, the movie criticises the celebrities who would go under the knife just to look more and more like what others would love for them to; on the other, it chastises the hypocritical nature of their fans, who would be just as effusive in idolising them as they are swift in switching loyalties. Without one, there would not be the other, and Ninagawa makes an empathetic point that either is equally culpable for constructing and reinforcing a vision of beauty that is ultimately unattainable.

But more than just social commentary, Ninagawa offers an experience in her film that deserves to be felt. Part of that is the visual palette she has chosen, from the playful colours of Lilico's photography sets to the garishly red-saturated interiors of Lilico's apartment to the simple but no less memorable image of a blue butterfly in Lilico's hallucinations. Part of that is also her stylishly executed shot compositions which – combined with some nifty techniques she deploys – make for plenty of visual fodder to keep you fascinated.

All that visual trickery would be for naught without a strong character- driven narrative – and this is where Arisa's script truly shines. Every character is clearly defined in relation to Lilico – whether is it the authoritarian Mama who had helped shape Lilico in the form of her youthful self, or the over-accommodating Michiko whose blind allegiance to Lilico destroys her life, or Lilico's one and only romantic interest Nanbu (Yosuke Kubozuka) who leaves her to marry a politician's daughter – and what is especially interesting is the consistent use of a narrative device that where each of these characters gives his or her perception of Lilico.

Such an approach means that a lot hinges on Erika Sawajiri's performance as Lilico, and thankfully she is absolutely stunning in the role. Returning to showbiz after a five-year absence, Sawajiri inhabits the character completely, her brave and utterly committed portrayal of a starlet's fall from the heights of celebrity heavens spellbinding in its intensity. Veterans Momoi and Terajima provide fine supporting acts, but the show belongs absolutely to Sawajiri, letting her audience feel ever so keenly Lilico's fears, insecurities, anxieties, and motivations.

Both as a richly realised character study as well as a critique on today's celebrity culture and obsession over beauty, 'Helter Skelter' rises tall above its soft-porn impressions to amaze as one of the rare Japanese films that works as biting social commentary. Sure, some might argue that it tends to go over-the-top with an almost surrealistic feel, but that very quality makes it all the more mesmerising to examine what is in itself a seemingly ludicrous preoccupation. It is dark comedy at its very best, fascinating to watch every step of the way and perhaps one of the most unique films you'll see this year.

The latest film "Helter Skelter" from famed fashion photographer turned director Mika Ninagawa is an ambitious piece of work that goes beyond its telling issue of the evils that lies in the plastic surgery craze. The film is filled with sharp bright colours, plenty of imageries and an insightful look at the cost of fame, beauty, looks and sex. "Helter Skelter" is ultimately beautiful to look at and goes on a deeper level than many of its contemporaries but somehow it still manages to come up rather flawed and mistimed. After a 5 years hiatus from the big screen and a failed marriage Erika Sawajiri simply shines through in the leading role.

"Helter Skelter" lacks a cutting edge that is required to captivate the audience. The unevenness is evident throughout, as the film itself feels like an emotional roller coaster. Perhaps indirectly the filmmaker is trying to show how much turmoil, depression and slightly mental that Sawajiri has become. The constant use of bright and bloody red throughout the film shows just how much Sawajiri is playing with fire. When things are going well, the fame that comes with being beautiful brings popularity, acceptance and recognition. However, this strive for fame is like a dangerous drug, an inevitable addiction that makes her inner soul wanting more and more. The film raises a number of questions about the price of fame, the superficial nature of showbiz, the aftereffects of plastic beauty and the equation between beauty and happiness. These are all prominent issues as the good news is that Ninagawa does not shy away from any of these.

The film first reaches an emotional crescendo with the purity of the contrasting cherry blossom scene where Erika meets her innocence looking sister. This moment in particular hits the audience hard and straight through the heart as to how far away she is actually from her sister, both physically and figuratively. However, the film often drags at crucial moments, where in turn hampers the audience's ability to connect with the film on a deeper level as the film seems to be toying around with their moods through some inconsistent filmmaking. The scene where Sawajiri is required to face the media upon being exposed remains one of the most striking moment within the film. It is rather ironic that Sawajiri will end up destroying one of her few pieces of bodies that are still real, perfectly transcends to the audience the feeling of freedom, hope and new life.

Erika Sawajiri plays the leading role of a beauty queen who sinks deeper and deeper into depression, drugs, fame and plastic surgery. This is by far her most complicated character in her career. Sawajiri first caught my eye by displaying some fine acting chop as the older romantic interest in the coming of age tale "Sugar and Spice". Since then, Sawajiri has left the industry, got married and divorce all within 5 years and "Helter Skelter" acts as a shadow of her own career in the show business. There is a level of sadness within her eyes that perfectly portray the situation and at times it feels rather scary as the blurring of boundaries seems to be making her real and cinematic life contravened. Other supporting characters like Kaori Momoi as the motherly figure is constantly dressed in bright green, as her character is never truly defined and remains a sense of mystery to audience as to her true intentions towards Sawajiri.

All in all, "Helter Skelter" is not a film about sex and nor should it be. Although it marks as Sawajiri's first nude role, the scenes are never distasteful, but rather it allows the audience to feel the vulnerabilities behind her character. "Helter Skelter" is an uneven and flawed film, but Ninagawa stylistic and daring direction keeps the film afloat. "Helter Skelter" is the kind of film that has a lot to say and combining with a career redefining performance from Sawajiri, the film is able to give the evils of plastic surgery, a much needed all-out blast. Still, this is a good enough film, even if it is clearly flawed in its own way. (Neo 2012)

I rated it 7.5/10

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