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Review by Peter Vidito
August 3-16 at the Screening Room
The
bodies pile up, the gumshoe falls apart, the gap between hunter and hunted
narrows...director Kiyoshi Kurosawa gathers up all these hallmarks of
the contemporary psychological thriller and runs them through a somnambulistic
and elliptical stylistic mill. Playing in the same shadowy corners of
the Id seen recently in hits like Seven and Silence of the Lambs, 1997's
Cure presents a bleak passion play between a Nietzchean badass and an
agent dispatched by the society that seeks to contain him. As with those
two blockbusters, Kurosawa (no relation to cinematic master Akira Kurosawa)
has created a disturbing meditation on banal evil, a psychodrama hinged
on a superman who wraps up his unfettered will in ribbons of florid aesthetics
and ontology and bestows them onto an unsuspecting world. Cure is singular,
however, in that it subverts the psycho-thriller genre itself by removing
its key element, the monster, and replacing it instead with a mirror.
Kurosawa, either an impassioned humanist or a raging misanthrope, holds
us regular Joes accountable for the unspeakable mayhem unfolding before
our eyes. But more on that in a second.
Corpses are popping up throughout Tokyo -- each victim mutilated the same
ghastly way -- but perps are found and confessions extracted in each case.
Detective Takabe, played by the stellar Gary Cooper-ish Koji Yakusho (The
Eel, Eureka), is baffled by the parallels: Why would a nondescript salaryman
decide to slash an enormous "X" in a prostitute from jugular
to sternum? And how is that incident connected to the gentle schoolteacher
who independently repeated the act on his own wife a few days later? Not
a serial killer...perhaps...copycatting? The mystery is on! Acting on
a hunch with the help of his clinical psychologist colleague, Takabe eventually
uncovers a link: Mamiya, a wandering amnesiac who can be placed near each
murder site. With some old fashioned deduction (and, perhaps, just a smidgen
of deus ex machina), Takabe stumbles upon a terrible realization; driven
insane from an obsession with 19th-century mystic Anton Mesmer's theories
of autosuggestion, Mamiya has embarked on a personal crusade to unleash
mankind's darkest desires onto itself, apparently for no other reason
than to "turn what is inside, outside."
Mamiya is a wraithlike, self-abnegated shell of a man who, like Leonard
in the similarly disorienting neo-noir Memento, not only fails to recall
his past and identity ("The inside of me is empty") but even
the slightest piece of temporal linearity. He is a vagrant-magus who roams
Tokyo's lonely recesses in a stupor, gently querying each he encounters
with a simple request for self-definition ("Who are you?") which
invariably reveals nothing more than a muddled individual unable to provide
him (and themselves) with a satisfactory answer. With disarming charisma
and preternatural understanding, Mamiya ingratiates himself to his prey,
mesmerizes them and then proceeds to leach out gallons of their deepest
emotional muck. Since the identity of the film's "murderer"
is quickly revealed to Takabe, the film becomes more of a howdunit than
whodunit: Instead of offering the audience the intellectual thrill of
solving the puzzle, Kurosawa uses the classic Hitchcock ruse of revealing
the source of mayhem early on in the game. We know who is responsible
and (ostensibly) why, so the experience of watching Cure is more an engrossing
piece of clinical study rather than thrills-a-minute rollercoaster ride.
Film theory types will tell you that serial killer/horror flicks usually
work by setting us up with some kind of monstrous other -- a Freddy Krueger,
for instance -- which is in turn defeated by an audience-identified hero;
removal of the threat provides satisfaction and release by confirming
the innate humanity of the hero and, thus, ourselves. Cure decimates this
generic approach, however, because Mamiya isn't a murderer at all but
rather a neutral figure who uses a warped psychoanalysis to bring out
the hidden evil in others; he innocuously enters into a conversation with
a patsy and, with a few suggestive prods, lets their own subconscious
do all the heavy lifting. While his clean, Lecter-esque insanity is undeniable,
Mamiya himself does no killing, nor does he compel his prey with any direct
(or even indirect) order to do so. Instead of giving us a strawman ogre,
ready to be knocked down by reason and rule of law, Cure has at its center
a cipher, a wandering shaman who simply uses Freud's own "talking
cure" to unlock the occult desires and phobias of regular folks,
people just like you and me. Starting from that premise, the film becomes
increasingly complex and engaging as Takabe, distracted by his own wife
slowly succumbing to mental illness, meshes with Mamiya and becomes a
self-aware reflection of the sickness that surrounds everything.
But this is a thriller, dammit; whom are we to root against? If Mamiya
is merely an enigma who serves to initiate change, where is the bad guy
who gets to receive all of our delicious animosity? Even the murderers
themselves are each shown to be empathetic, foibled characters who have
acted in a fit of madness, not evil sadism; the elementary school teacher,
completely devastated after realizing his crime, remarks under questioning
that gutting his wife seemed like the most natural thing in the world
to do. Cure's terrifying theme is that we have nothing but our own collective
subconscious -- the long-repressed fantasy world buried deep beneath cultural
roles, relationships and institutions -- to blame for the horrors of this
world. There is no external bogeyman to serve as scapegoat, because the
monster is us: a loving husband, an educated physician, a well-meaning
civil servant.
As in Terry Gilliam's similarly claustrophobic Brazil, Cure creates a
vision of a ground-down society built exclusively out of decaying institutions
(squalid hospitals and police stations), dark recesses (flickering bulbs
and dim holding cells) and broken industry (rattling washing machines
and chthonic foundries). The blur of fantasy and reality becomes increasingly
smeared as the movie progresses, culminating with one of the most ambiguous
(and unsettling) closers in recent memory, an image that lingers on as
the question mark to punctuate an already cryptic story. Emphasizing atmosphere,
suggestion and mood without sacrificing concrete plot development, Cure
positively exudes eerieness by means of its nonexistent score, minimal
audio (save the occasional burst of Lynchian industrial background noise),
realistic lighting and long static shots which allow stark horror -- and
there's plenty of it -- to unfold slowly. Disturbing and disorienting
images pop up regularly, and the occasional use of quick disassociative
edits impart an overwhelming feeling throughout the film of reality and
fantasy melting into one another, the vanishing point of the liminal mind
ebbing far away from shore.
Echoing the brutal Weekend by acknowledged influence Jean-Luc Godard,
Kiyoshi Kurosawa has created a pre-millennial dystopia that remains deliberately
detached and hallucinatory. An allegory of traditional cultural repression,
a comment on the loss of identity in a postmodern world or a warning against
a rising tide of violence in Japanese society (or perhaps all three),
Cure is a chilling and unforgettable vision of psychic apocalypse.
Cure will be shown August 3-16 at The Screening Room
Free Williamsburg© | 93 Berry
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mail@freewilliamsburg.com
| August 2001 | Issue 17
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