Gozu. El camino a la locura

i did not know anything about Miike when i saw Gozu. i read about Gozu in a magazine randomly and it sounded like something i had to see. then i waited a few weeks until it was in the theatres here. i told my fellow David Lynch fan officemate "hey, here is this movie which sounds cool, i think we both need to see this".

so we went. afterwards we left the theatre in a state of amazement. we had seen and enjoyed "weird" movies all our lives, Lynch, Cronenberg, whatever. we both enjoyed surrealism in general. even so, Gozu was really a peak experience.

but you can't just be weird for the sake of weird... is Gozu good? definitely. it is well-made, beautiful,... and it speaks to a deep visceral part at times. and then turn ridiculous and made you laugh... but even in the weirdest movies you have seen, there is probably more linearity and perhaps some symbolism you can conjure up. i think with Gozu, the way to see it is, just watch and let it take you. open your mind a little more than usual. otherwise i don't know what effect this movie can have on someone. for me, it was very significant. i immediately went and saw it again the next night (which was the last night it was playing) and my appreciation grew.

Miike is amazing. very talented director. good use of sound as well as the great visuals everyone talks about. i am looking forward to more of his work.

Basically a Japanese Yakuza Twin Peaks Lynch-like movie. Starts off slow because you have no idea where the movie is going but you slowly realise that you can appreciate it for the weird, surreal atmosphere.

Not sure what the movie is trying to say, but if someone told me it's a more fucked up, twisted version of Eyes Wide Shut in terms of undergoing some sexual odyssey, then I'll gladly believe them.

Also...that...ending...

e seen more than half a dozen Miike flicks and GOZU is definitely he's most deviantly outrageous so far. What it all means is never clear. And yet that's exactly why the movie remains so strangely compelling. There are points where absolutely nothing makes sense and there are moments were everything magically clicks together, revealing a world of possibilities, a horrible, absurd, funny, nightmarish fabric that should be woven of crotchless panties, breastmilk and cow head masks.

GOZU's tagline should be "Beware all who enter". Even seasoned Miike fans might be put off. The first scene involving a mad yakuza beating six shades of sh#t out of a "yakuza-sniffing" dog only hints at what is to follow. Is it gonna be an outrageous crime flick in the mold of FUDOH and DOA or is there more to it? Basically the plot involves a yakuza underling driving the aforementioned mad brother in a remote town called Nagoya in order to "dispose" of him according to the boss's orders who fears his madness is getting out of hand. After doing so, he stops to grab a bite leaving the corpse in his convertible car which upon his return finds missing. The corpse, not the car.

From then on GOZU plunges headlong in a bewildering world populated by a motley crowd of the most insane characters where surrealism, mystery and dark comedy seamlessly intertwine. To what purpose? In a way, this is Miike's most Lynch-ian movie to date and not just because it's so perplexing; psychosexual abuse, perversion, identity are all key themes here. Is the main character fighting and coming to terms with his homosexuality? If ERASERHEAD is Lynch's feverish nightmare on parenthood, is GOZU its companion piece on motherhood? Right down to a finale that reminded me of Cronenberg's brand of 'body horror', GOZU is in turns exhilarating, hilarious, puzzling but above all a creative, original work. Which is more than can be said for directors with twice Miike's name and reputation.

The reason black comedy really isn't funny anymore is because all modern black comedies just repeat the same jokes. Though Gozu isn't going to have you laughing on your first viewing, it definitely will have you laughing in shock when you look back post-viewing, after everything comes together. Gozu isn't really hard to understand, it isn't complex, but it certainly isn't forgettable. If anything, it's set up a lot like a sick version of The Wizard of Oz: a straight path, with the lead character meeting eccentric secondary characters that help him along until he reaches the final solution to his problem. While this seems simplistic, it's impossible to not notice Takashi Miike's stunning originality throughout. While most Asian horror is riddled with cliché ghosts and evil mothers, Takashi Miike proves here that he is not only the most original Asian director out there, but one of the most original directors working in the industry today. And I think Gozu may be his masterwork.

I'm personally sick of movies that claim to be a mind trip, filled with "weird" ideas that turn out to be nothing but cliché mentions of time travel and every other genetic idea. I could list names of these films—Donnie Darko, 12 Monkeys, etc.—but the point is, weird isn't weird anymore in modern cinema. If you were been born and raised on The Twilight Zone like I was, all these movies are as generic as average spy thrillers. Gozu, however, may be one few films to come out post-2000 that I can honestly call weird. And, believe me, that is a good thing. Instead of rehashing tired clichés, Gozu brings the viewer to placed they've never even thought of before. The opening instructs the viewer not to "take anything seriously—it's all a joke", and the punch line has to be one of the most bazaar endings in cinema history. It's terrifying and genuinely grotesque, as well as hilarious. Everything in this movie is stuff writers/directors would sit around and joke about, but never, EVER, have the balls to actually film. That's what makes the story behind Gozu so refreshing and truly original. I can't believe I'm actually writing that final line in a review.

Miike's directing is stylish, as always. He knows how to set up a scene and inflict a terrifying mood. The entire film takes itself so deadpan seriously, and though that would usually be a fatal blow to most movies, Miike makes it work here. Somehow. Whenever a major plot point happens, it's done so flawlessly it's impossible not to be immersed in the moment.

So why didn't I give Gozu a perfect score? Because as much as I loved it, the movie needed to be shortened. Do not get me wrong: I love Miike's slow dialogue as much as I love his balls-to-the-wall action, but here it gets a little overbearing. Characters sit and stare at things without any purpose, and while it works, it's just not entertaining at all. The movie could have been shortened by at least 20 minutes, and if it had been, it would have been near perfection. Also, a few scenes became very repetitious and even mildly annoying. What I mean to say is, although the story is amazing, Gozu lacks a lot of entertainment value.

Overall, though, despite its flaws, Gozu is not forgettable. It's hard for me to remember a time when I would pop in a DVD and actually remember what I watched by the next morning. In a world of cheap carbon copies plots and cheesy horror elements, Gozu seems almost like perfection, even though it really isn't. But I have no room to complain. I'd take this over another black-haired-ghost-girl-evil-mother-terrorist-time-travel movie ANY DAY.

7/10

Another unique outing by Takeshi Miike. Way off the wall. A yakuza soldier finds himself searching for his brother (possibly dead) in a town full of lunatics and cow-headed demons. Weird Buddhist and Freudian symbols abound. One can't help but draw comparisons to David Lynch's work -- in particular Lost Highway and Mulholland Drive. I think Miike has admitted as much himself. Highly imaginative filmmmaking. My only complaint is the pacing. It's way slow for like the first hour. I had the same problem with Audition. I can appreciate the patient construction of a creepy mood, but I think Miike could step on the gas every now and then. Still, I recommend this one. It's quite a trip. There's also a fair dose of tongue-and-cheek humor in this film. (I guess it depends on one's sense of humor.)

Dog-lovers will delight in the opening scene.