Big Bang Love, Juvenile A
Jun. 13th, 2009 01:35 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
sechan19My god, what a brilliant film.
In a sparse, damp prison block one young man stands accused of murdering a fellow inmate. But if he did commit the crime, why? And how did he come to the prison in the first place? How did his victim? What bonds of madness, pain, and self-doubt held them together, and what tore them apart?
Thus lies the foundation of Miike Takashi's mend-bendingly, soul-wrenchingly, super-saturatingly epic psychological drama, Big Bang Love, Juvenile A. At the heart of the film are the performances of Ando Masunobu (the victim) and Matsuda Ryûhei (the assailant) who portray the fragility of warped human minds with elegance, humility, and empathy. More than just a clever murder mystery, this film is a shocking rendering of lives destroyed before they've even begun and of the ways in which destruction is contagious, insidious, and - sometimes - seemingly unstoppable.
Miike brings all his powers of stunning visual prowess to this production, creating a rich tapestry of pulsating visuals that work upon the viewer almost as much as the taut performances themselves. The story itself shuttles back and forth between past and present, delusion and reality, wound and weapon, and ultimately there is no cure for the sickness that permeates. But somehow, the film holds onto a delicate beauty in spite of its tragic poise.
Utterly essential.
In a sparse, damp prison block one young man stands accused of murdering a fellow inmate. But if he did commit the crime, why? And how did he come to the prison in the first place? How did his victim? What bonds of madness, pain, and self-doubt held them together, and what tore them apart?
Thus lies the foundation of Miike Takashi's mend-bendingly, soul-wrenchingly, super-saturatingly epic psychological drama, Big Bang Love, Juvenile A. At the heart of the film are the performances of Ando Masunobu (the victim) and Matsuda Ryûhei (the assailant) who portray the fragility of warped human minds with elegance, humility, and empathy. More than just a clever murder mystery, this film is a shocking rendering of lives destroyed before they've even begun and of the ways in which destruction is contagious, insidious, and - sometimes - seemingly unstoppable.
Miike brings all his powers of stunning visual prowess to this production, creating a rich tapestry of pulsating visuals that work upon the viewer almost as much as the taut performances themselves. The story itself shuttles back and forth between past and present, delusion and reality, wound and weapon, and ultimately there is no cure for the sickness that permeates. But somehow, the film holds onto a delicate beauty in spite of its tragic poise.
Utterly essential.
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no subject
Date: 2009-06-15 04:32 pm (UTC)Though Miike insists he's not a horror filmmaker, i.e. that that's not his focus or speciality, and that he actually does a lot more varied stuff, I somehow have a hard time believing him, even after seeing Yattaman and Sukiyaki Western Django.
Where does this film fit into that? Overtly violent and/or sexual in a disturbing or excessive way? Or dramatic and artsy, or...?
no subject
Date: 2009-06-15 05:33 pm (UTC)This is a psychological drama, very intense, and in ways quite disturbing, but not because of excessive violence or sexuality. In fact, there's very little overt sexuality in it - although ambiguous sexuality, perceptions of sexuality, and how those perceptions are shaped are all an important part of this film.
I really recommend this film. I rewatched it again last night, and I was blown away once more. It's incredibly profound, although not for the faint of heart... dramatic, artsy, poignant, tragic. Miike has called this film his masterpiece, and I think he's right.