Audition

A class act horror film - not for anyone with a queasy stomach. Japanese subtitles don't deter from the fact that it can easily rank as a landmark in cinema horror, pushing back taboos. Like Sixth Sense, you could watch half the movie and not know it was going to be a shocker. When the shocks come they make you want to jump out of your seat right into the aisle and then crawl back under it with your face over your hands. More Hitchcock than Cronenberg, there is little in the way of special effects, but lots in the way of a very precisely crafted plot, great acting and editing, atmosphere and moments of evocative beauty as well as terror. The story concerns a Japanese businessman whose friend thinks of a novel way for him to look for a second wife. That's all I'll tell you!

There are about 15 minutes of "Audition" that everyone remembers and talks about, and about 95 minutes of movie that you'd think didn't even exist if you listened to others' comments. But this is the director's fault; when you set out to shock your audience as much as Takashi Miike does in this film, you can't blame the audience if all they remember about your film is the shocking part.

Which is a shame, because "Audition" is quite a bit more than a mere horror movie. It's really more of a feverish psychological drama along the lines of a David Lynch film. In fact, in structure and tone, this film reminded me of Lynch's "Mulholland Drive," and if Lynch didn't have his own unique style and brand of film-making, I might wonder if he was inspired in part by this film when he made his own.

What other comments here have done nicely is summarize what "Audition" is "about." A man (Shigeharu Aoyama) mourning the loss of his wife looks to find the perfect woman to replace her, and he holds bogus auditions for an ostensible film role in order to find her. But the girl who catches his interest (Asami Yamazaki) turns out to be a much better actress than he bargained for. What other comments DON'T necessarily convey, however, is how much of this film takes place in the world of dreams, and how blurred the line between reality and fantasy is. This dilutes the violence of the film's final moments, because there is a strong suggestion that this violence is taking place in the protagonist's nightmares.

Is "Audition" a critique of the confined roles women are forced to inhabit in Japanese society? Is it about Aoyama's guilt in feeling the need for a woman to replace his dead wife? Is it about his fear of finding a girl that actually can replace her, thereby diminishing what he had with her? Is the film about the extent to which all relationships are "auditions," where each person involved makes him/herself vulnerable and exposes him/herself to acceptance or rejection at the whims of another? A case can be made for its being about all of these things.

When the violence comes at the end, it's not as graphic as the hype would lead you to believe. Even so, I wish Miike hadn't pushed the envelope quite so far. One has to wonder if the emotional impact of the film would have been any less just because the violence was less graphic, and I suspect the answer to that is no. The violence feels gratuitous and cheapens slightly everything that comes before it. It mars the film, but fortunately it doesn't ruin it.

This is far more of a thinking man's film that its reputation would lead you to believe. Those who come to it for the titillating shock of its gore are bound to be disappointed.

Grade: B+

Art-house horror flicks are not a very common genre (few come to mind except 'Don't Look Now') but Takashi Miike's film 'Audition' is a welcome addition to the canon. Beautifully shot and orchestrated, it is both a subtle personal drama and one of the most genuinely horrifying things I have seen. The early stages of this film resemble a work by Claude Sautet, only seen through a Japanese sensibility, about the relationship between an older man and a beautiful young woman, but there's something slightly discomforting both in the man's definition of the perfect partner, and in the person he finds who fulfills it. The story slides into first a mystery, and then a full blown horror story, the power of which comes from following a very simple golden rule: namely, make the audience care about the characters first: one small needle can be very very scary if you think that it's for real. And by keeping the meaning ambiguous (unlike, say, 'The Shining', with its self-defeating collapse into hyperbolic mania), the film also retains its impact after the initial shock.

This sense of ambiguity is also crucial to the film's claims to be something more than simply an unorthodox gore-fest. 'Audition' constructs, and then deconstructs, a certain vision of the world and the "horror" scenes are only part of this. The result is utterly beguiling, and one can even see similarities with Conrad's 'Heart of Darkness' in 'Audition's' portrayal of a man's complicit relationship with hell.

In some ways, this is not a universal film and I could not imagine it working in English: can you envisage any Western actress speaking the Eihi Shiina's lines with a straight face?. Whether that's because the film is saying something profound about Japanese culture, or whether the fact that it appears to do so can finesse the issue for foreign audiences, I'm not sure. Dramatically, 'Audition' is, despite its climax, not the best film ever made. But atmospherically speaking, it's a masterpiece.

Everybody faces this situation in his/her life sooner or later. You only just started a relationship and you are about to watch your first movie together. Personally you wouldn't mind a fair portion of violence and chills, but you suspect and worry that the other half prefers a slow and story-driven film with the emphasis on character development. But you needn't worry about this any longer, as Takashi Miike's "Audition" can perfectly satisfy both extremes. At least, theoretically speaking it can! This unforgettable and undeniable Japanese cult monument unfolds as a stylish and slow – better make VERY slow – moving romance drama, yet gradually but surely turns into a stomach-churning and nerve-tangling paranoia thriller with one of the most astonishingly engrossing climaxes ever captured on film. After seven years of living as a widower and devoting everything to raising his son, Aoyama wishes to remarry. A befriended movie-director wants to help Aoyama with meeting new women and arranges auditions for a non-existent movie. Aoyama immediately falls for the beautiful ex-ballet dancer Asami and carefully begins dating her. She's a beautiful young girl, but extremely introvert and mysterious. Aoyama's life subsequently turns into a psychological nightmare, yet the film's main strongpoint is how Miiki never fully reveals whether this girl is a lethal psychopath out for vengeance against the entire male race or that all the horror exclusively spawns from the protagonist's guilt and paranoid mindset. "Audition" is a truly strange and unique film. Miiki almost effortlessly seems to combine ambiances and elements that you always considered impossible to combine. At several moments during the first hour of the film, when the relationship between the two lead characters laboriously develops, you really wonder yourself how such a sober and melodramatic love story could possibly transgress into a reputedly shocking horror film, but it does! And how! The final ten-fifteen minutes are guaranteed to make you cringe and crawl in your seat and, I swear, you'll never look at a piano the same way again. I definitely also wouldn't advise this film if you already have a phobia for needles. Right from the opening sequences, Miiki effectively creates an intense atmosphere of depression and disturbance and maintains it throughout the entire film. He could also clearly rely on highly skilled and professional cinematographers, editors and production designers. The music is stupendous and the performances of both lead actor Ryo Ishibashi and Eihi Shiina are damn near perfect. This was Takashi Miiki's big international breakthrough achievement, and the least you could say is that he deserved it!

I was extremely underwhelmed by the much hyped Japanese horror film 'Ringu', so I approached 'Odishon' with some caution. I needn't have worried. 'Odishon' bears no resemblance to the lame supernatural chills of 'Ringu'. It is in fact closer to the more extreme moments of David Cronenberg, and the profoundly disturbing movies of Jorg Buttgereit, Shinya Tsukamoto, and Gaspar Noe.

Directed with great flair by Takashi Miike, and based on a novel by the amazing Ryu Murakami ('Almost Transparent Blue' and 'Coin Locker Babies'), 'Odishon' wipes the floor with Hollywood's recent output of supposedly "confronting" movies ('American Psycho', 'Boy's Don't Cry', 'Requiem For A Dream') and by-the-numbers serial killer thrillers ('Hannibal', 'Kiss The Girls', 'The Cell',etc.). Forget those safe, mediocre bores THIS is the real deal!

Miike lulls you into a false sense of security with his leisurely storytelling and quiet character development, which makes the pay off of the last part of the movie even more shocking and unexpected. Ryo Ishibashi is well cast as the middle aged businessman stuck in a rut, and the beautiful Eihi Shiina is absolutely astonishing as the girl of his dreams who turns out to be not QUITE what he expected.

The less you know about 'Odishon' the better. If you enjoy extreme movie making at its best you'll go ga ga over this first rate slice of shock cinema. Simply unforgettable.