964 Pinocchio

Firstly, we must address that this film is an art film. It thrives on visuals to tell the story. The explicitness of the visual effects are well executed for the sake of uncomfortableness and serves as a catalyst to keep the viewer interested, although it does not necessarily rely completely on visuals. The story itself holds a certain theme which comments on humans being just commodities. Sexual slavery does exist, however, in this particular film, the idea of sexual slavery has been taken to the extreme. Secondly, some underlying philosophy that this film holds, is that in order to experience peace with oneself, one must go through unbearable physical change. In a way, Kafka had his hand in this, think Metamorphosis, except incredibly painful and agonizing. Being a Japanese, underground, cult film, it is not appreciated everywhere, and is not expected to be. Director Shojin Fukui should proud of himself to have done such a controversial yet appealing film.

Wow this was one weird movie. I have never in my life seen anything like this. This is not the Disney Pinocchio we all grew up watching. This movie is so messed up you won't believe it. Pinocchio is a lobotomized cyborg sex slave, and is thrown out onto the street by his owners. Pinocchio meets up with this homeless girl named Himiko. Then Pinocchio's creator sends out his men to get rid of Pinocchio. This is one really strange movie though. It's pretty low budget, but in a good way. I liked all the weird camera angles too. I think the best part was when Pinocchio ran down the streets screaming. That was just weird and freaky! I bet all those people were freaked out when they saw this thing running. Did I mention the ending is also weird as heck. If you're looking for a weird movie to watch, then you'll enjoy Pinocchio 964. There's nothing out there quite like this. 9/10 from me.

This is one of my favorite films. It seems to deal with a society in which people have been made into commodities, and it focuses on principal characters who have become discarded.

Rather than take a heavy handed or moralistic stance, Shozin Fukui brings a strangely restrained humor and an extreme, hysterical weirdness to the story. Along with Shinya Tsukamoto's 'Tetsuo' it is one of the classics of Japanese mutation film. (It is said that Fukui actually worked on 'Tetsuo.')

The cinematography is amazing, ranging from ponderous and Tarkovsky-like to accelerated stop-motion.

The performers are wonderful and likeable. Hage Suzuki is like a spastic butoh performer having a constant seizure. Onn-Chan's amazing face seems to have been genetically grown for the specific purpose of being viewed by wide-angle lenses. (Where did these people come from and why is it hard to find any information on them?!)

As an added bonus, this film has what has been touted as the most prolonged vomiting sequence in cinema history.

Having loved Rubber's Lover, I felt psyched to see this. It starts off strong with some stunning graphics and the same over-the-top performances I loved from Rubber's Lover. The respect I have for the actors' dedication and focus goes well beyond enormous. I loved the slow, lyrical pace of the first third where Himako finds Pinocchio. The chemistry and trust between the two actors brought it unexpected depth.

And then the vomiting started.

And went on pointlessly for at least five minutes.

I accept this in Hershel Gordon Lewis films since he needed to pad them out to a certain length and contained endless tracking shots of a woman walking or someone's band playing a cheesy song. But with a running time of 1:37 extended scenes of vomiting or running or just general strobe-lit screaming makes me cranky. All the camera work and editing in the world can't make me say "WOW! That's the best 10 minute running sequence I've ever seen!".

Given the gravitas it began with, I felt cheated at the end. I suffered thought the last 30min hoping for a redemption that never came. Given the choice between Places in the Heart or a Marvel franchise film, I'd choose this every time. But I wouldn't be happy about it.

It's not exactly an adaptation of Carlo Collodi's short story, but rather a dark movie that uses the character of Pinocchio as a model in terms of creating an artificial being that tries to be as similar as possible to a human being. The budget is clearly very limited, so this is a Z movie, but the concept leaves everything up to the viewer's imagination. Shozin Fukui's intention was to tell a terrifying Cyberpunk story about a world with androids so highly developed that they resemble human beings, but with a disturbing side. The film is full of very crazy and grotesque scenes that seek to disturb the viewer. Long planes and assembly that may be boring. Very exaggerated performances that make the actors look like cartoon characters, also adding crazy sequences. The editing, direction and editing are responsible for increasing the power of the images, making watching this film a bizarre hallucinogenic trip. Many moments in this movie are so crazy they can be pointless, especially when Himiko descends into madness. This is a hellish journey that comes to dislike those who see it and that makes it both a peculiar and disturbing piece of Japanese cinema. My final rating for this movie is 6/10.