Gozu. El camino a la locura

Takashi Miike is a very strange man - I think there's sufficient evidence of that fact that I need not justify it further. So if I tell you that GOZU is probably Miike's weirdest film to date, you will know that we are talking some world-class oddity. Billed as a "Yakuza Horror" film, which is a label that just about fits if you consider that Japanese horror films have always shown a very different sensibility than Hollywood films (Japanese horror is generally of a quite intangible nature, about the horror of the unknown and the incomprehensible - not so much about the big scary monsters). GOZU is interesting in that the "horror" of it comes almost entirely from the way it is filmed - the camera work, the editing and the sound effects all come together to create a sense of foreboding and fear that for the most part is not at all born out by the actual events in the film. Miike is probably making the point that most horror films are just exercises in film-making technique these days, rather than presenting truly frightening content. Or perhaps he just fancied a way to make his latest Yakuza film a little bit different :)

Miike is definitely one of the most creative film-makers working in the world today - quite possibly *the* most, given his insanely prolific output and the fact that almost every film he makes manages to be unique and memorable. Doing that with one film a year would be an impressive feat, and Miike gives us at least 3-4 such films every year. GOZU shows him on fine creative form once more, turning a story that probably isn't all that interesting into a surreal, dreamlike experience. The plot itself is very minimal, and largely irrelevant for most of the 125 minute running time. Basically, a Yakuza is told to take his yakuza-brother (Sho Aikawa) to an out of the way part of Japan and get rid of him, as he been showing signs of going a bit loopy. However, before he can carry out his orders, Aikawa disappears - and most of the rest of the film is concerned with Minami's efforts to find him. But that description really sells short the content of the film, which is really about the strange characters he encounters and the even stranger experiences that he has.

Going into more detail about what happens wouldn't add a lot to this review, so I won't. Just be prepared to "go with the flow" and see what the film has to offer, rather than expecting anything specific from it. Don't expect a nice neat resolution at the end, either, 'cause you'll definitely be disappointed. Miike's films are often films that need to be seen in just the right mood to be enjoyed, and I'm glad I made the decision that my mood wasn't right when I started watching GOZU 6 months ago. The film sat there waiting for me until this weekend, when I figured the time was as good as it was going to get, and it paid off in spades :)

Miike's films often suffer on repeat viewings, and I am pretty sure this will be true of GOZU - at over 2 hours it is definitely too long, and there are sure to be scenes that are a bit of a chore to sit through when you know what's coming. I couldn't say which scenes they are from a first viewing though, so there's nothing that's truly redundant in there, and I hope that the US distributors that recently acquired the film will remember that their viewers would rather make the decision themselves about any scenes that weren't needed. i.e. uncut, please!

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.

If this is your first dive into the realm of Takashi Miike, STOP. GO BACK. REMOVE THIS MOVIE FROM YOU DVD PLAYER. You have to start somewhere less obscure than this movie. You can start out with Audition (or one of the Dead or Alive movies), follow that up with Happiness of the Katakuris and then either Ichi the Killer or Visitor Q. Once you have seen that, then you are ready to savor the flavor of this movie. To try to describe this movie would do the movie and you, the reader, an injustice. This movie just has to be watched and experienced. What can you expect from Gozu ?? Yakuzas. Killer Yakuza attack dogs. Lots of driving. Transvestites. Breast milk. Seance. Horse cropping. Sex. Birth. Ladles. The plot is based on the adventures of a yakuza made-man (Ozaki) and his underling (Minami). Ozaki is going crazy and the Boss has ordered Minami to take care of him. From there on you'll just have to watch to get the point (if there is one). As compared to his other movies, this one doesn't really have much of a story. The sheer obscureness or strangeness (and/or dark comedy) holds the various events together, linking them into a movie. At the same time, you are sitting there waiting to see how much more bizarre things can get. The movie passed by pretty quickly, with little slowdown. Fans of Miike should definitely see this movie. For everyone else, see the movie at your risk.

-Celluloid Rehab

From the twisted minds of Takashi Miike and Sakichi Sato comes this atmospheric and absurd crime comedy about a Yakuza underlings' quest to find his missing colleague. To discuss the plot any further would be an exercise in cruelty to uninitiated viewers, as to watch this film without knowing what'll happen next- or without knowing anything about it at all, for that matter- is an experience like no other. It's a terrifyingly hilarious tour through the subconscious to the darkest recesses of the mind, featuring the Lynchian-Cronenbergian mix of horror and comedy that is the hallmark of Takashi Miike's best work.

Hideki Sone- now known as Yuta Sone- plays the central character, Minami. A low-level Yakuza, Sone's Minami is a perfect conduit for the audience as the film burrows into the dark and strange. He is as disturbed by the spectacle of madness that confronts him as many viewers likely will be. At times the character bears a resemblance to Anthony Perkins' K in Orson Welles' version of 'The Trial', in that everyone around him doesn't appear at all disturbed by the confusing, bizarre scenes that are occurring. Minami is the only one perturbed by the happenings in 'Gozu', and Sone's naturalistic, bewildered performance is pitch perfect for the role.

Show Aikawa plays Minami's missing colleague Ozaki, and he is brilliantly unhinged. A frequent collaborator of Miike's, Aikawa is a very versatile actor with the admirable, enviable ability to give believable, grounded performances as outrageous characters (see him in Miike's 'Dead or Alive' series for proof of this notion). Few roles he's played have been as crazy as Ozaki though, a violent, paranoid Yakuza distrustful of dogs and humans alike. Though he has relatively little screen time, Aikawa leaves a lasting impression; and 'Gozu' may be one of the most memorable movies he's made with Miike.

The rest of the cast is made up of talented performers, with Renji Ishibashi- another frequent collaborator of Miike's- and Keiko Tomita standing out, playing two sick, strange characters. Miike usually gives Ishibashi roles as creepy, twisted people; and his character in 'Gozu'- a ladle-loving sadomasochist- may be the creepiest of the lot. Tomita plays an innkeeper Minami encounters along the way who has a very weird secret and she steals her scenes completely.

Kazunari Tanaka's cinematography is unobtrusively refined and he captures the outlandishly bizarre images in the film with real panache. Sakichi Sato and Miike worked together two years before on 'Ichi the Killer,' and his script for 'Gozu' is terrifically weird and wonderfully sinister- not to mention bizarrely funny. The film doesn't take itself too seriously- though its themes are dark and deep- and his strong screenplay reflects this. Many times, while wondering what the peculiar images signify and just what the hell is going on; most will also be laughing while watching 'Gozu.'

Yes, while most will find humour alongside the macabre in 'Gozu', it is almost a certainty that some will be nothing more or less than disgusted and discouraged at the spectacle of psychological, abstract horror in the film. If you are squeamish or easily perturbed, you should probably avoid it at all costs. If you appreciate the complex, the strange and the dark, however; then 'Gozu' is the film for you.

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