[This post is written by both of us in support of the Japanese Cinema Blogathon for Japan earthquake and tsunami relief, hosted by Cinema-Fanatic and Japan Cinema. Check them out and please donate if you can.]
This may be a colossal understatement, but here goes: Shinya Tsukamoto’s Tetsuo: The Iron Man is a really fucking weird movie. It’s short, cheap, and to the point, communicating through gory, rapid-fire sequences that blaze past in the blink of an eye. This makes the film as a whole pretty difficult to follow, since it often comes across as a particularly hazy, frenetic nightmare. Add in the fact that none of the characters have names, and that the dialogue is minimal, and you can see why I’m not even sure if I saw a film. Maybe I just imagined it. Could a string of images and sounds as intensely, off-puttingly gruesome as Tetsuo really exist?
Well… yes. I guess. The impression I got of the film’s plot was, roughly, this: a panting madman (played by the director) impales his leg with a metal rod. It gets infected. He runs in front of a car and gets run over. Later, the driver of the car notices a gross chunk of metal sticking out of his cheek. He tries to remove it, and (naturally) it sprays pus all over the place. After that, I’m lost. The man tries to go to work, and gets chased by a fellow commuter who’s turning into a cyborg—or maybe not? He goes home, where he has fatal drill-penis sex with his horny, wild-eyed girlfriend after some surreal foreplay—or, again, maybe not?
The rest of the movie involves yet more sped-up chase scenes, violently phallic imagery, and stop-motion transformations. Just imagine the movie Videodrome on amphetamines, with an even more inscrutable storyline. That’s Tetsuo in a nutshell. Overwhelming and gratuitous as the film may be, there’s still a dizzying, demented genius in how earnestly and resourcefully Tsukamoto executes his vision. At heart, it’s a nonstop, nonverbal battle between metal and flesh, with each one ferociously preying on the other; the audience is left to say “Eww!” or “WTF?” Or both.
AND NOW FOR SOMETHING COMPLETELY DIFFERENT: PONYO!
Let’s take the edge off a bit, shall we? I’ve written about Ponyo before; it’s one of my favorite feel-good movies, right up there with Harvey. It is the ultimate example of what a kid’s movie can be: sweet and pleasant without all the pandering, condescending bullshit. You don’t have to have a “kid’s” movie full of double entendres, coded language, hidden imagery, or obscure parallelism (although I ain’t knocking that kind of animated film; I need more of it in my life) for it to be clever, cute, and appealing to a broad audience. Miyazaki’s effortlessly beautiful hand-drawn underwater worlds and his impish little Ponyo are totally irresistible. Sadly, I’m very short on time so I can’t get too in depth about the film but I will leave you with a number of lovely images.
Thanks to Cinema-Fanatic and Japan Cinema for hosting this great blogathon! Please donate if you can!