Colour, or the lack thereof, is an important part of the films of Shinya Tsukamoto, with the grainy monochrome of "Tetsuo" or "Bullet Ballet", to the film noir blue of "A Snake of June", you will certainly remember how the film looked - as well as the experience it took you through. "Gemini" is certainly a film that leaves you recalling the colours on the screen, but here Tsukamoto gives you a full palette to play with and it comes as no surprise that production designer Takashi Sasaki went on to work on "Ichi the Killer".
In the early Twentieth Century, a former military doctor, Yukio (Masahiro Motoki), lives with his wife Rin (Ryo) and his parents, in his large compound which includes his surgery. Despite his parents not being completely enamoured with Rin, he lives a fairly idyllic life. But events start to turn against him. With a mysterious odour lingering in the air, his father and then his mother are found dead in their home.
Then, one night, a young mother from the slums comes to his door screaming for help. Likewise, the mayor is also in need of immediate care. He chooses to help the mayor who recovers, but his decision lingers over Rin. Something else that lingers over Yukio is the sense that someone is watching him. Finally, he is confronted.
Suddenly, Yukio's life is turned upside down, with revelations about his wife, his parents and long-lost brother revealed. Now trapped in a well, he has to sit and wait as he is replaced in his own life.
As with any Tsukamoto film, you are treated to moments of calm and then jolted and thrown across the room. Tsukamoto keeps his camera moving, and shaking, at various intense moments. You may not be fully aware as to exactly what is going on, but you certainly know what he is wanting you to feel.
The late Chu Ishikawa adds to this visceral experience with a soundtrack that creates the right amount of horror. The make-up and costume design departments were also allowed a free-reign to be as creative as they like, in what is a coloufully visual feast, suitable for a Edogawa Rampo adaptation.
Starting off with a dusky red, the film never feels natural, as if in an artificial world. The film also switches between blues and greens in the nightmare world which Yukio finds himself inhabiting.
As with other Tsukamoto films, the narrative is not clear or linear. With flashbacks telling the backstory of Yukio, Rin and Yukio's brother, we gradually piece together the story, though characters are quickly introduced only to be removed almost instantly.
But this is all part of the experience. It's fast and frantic and we're not fully sure as to what is going on. Visually memorable with a good soundtrack, you are again left to feel what the characters feel. Which can be both good and bad, but you certainly went through it.
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In the early Twentieth Century, a former military doctor, Yukio (Masahiro Motoki), lives with his wife Rin (Ryo) and his parents, in his large compound which includes his surgery. Despite his parents not being completely enamoured with Rin, he lives a fairly idyllic life. But events start to turn against him. With a mysterious odour lingering in the air, his father and then his mother are found dead in their home.
Then, one night, a young mother from the slums comes to his door screaming for help. Likewise, the mayor is also in need of immediate care. He chooses to help the mayor who recovers, but his decision lingers over Rin. Something else that lingers over Yukio is the sense that someone is watching him. Finally, he is confronted.
Suddenly, Yukio's life is turned upside down, with revelations about his wife, his parents and long-lost brother revealed. Now trapped in a well, he has to sit and wait as he is replaced in his own life.
As with any Tsukamoto film, you are treated to moments of calm and then jolted and thrown across the room. Tsukamoto keeps his camera moving, and shaking, at various intense moments. You may not be fully aware as to exactly what is going on, but you certainly know what he is wanting you to feel.
The late Chu Ishikawa adds to this visceral experience with a soundtrack that creates the right amount of horror. The make-up and costume design departments were also allowed a free-reign to be as creative as they like, in what is a coloufully visual feast, suitable for a Edogawa Rampo adaptation.
Starting off with a dusky red, the film never feels natural, as if in an artificial world. The film also switches between blues and greens in the nightmare world which Yukio finds himself inhabiting.
As with other Tsukamoto films, the narrative is not clear or linear. With flashbacks telling the backstory of Yukio, Rin and Yukio's brother, we gradually piece together the story, though characters are quickly introduced only to be removed almost instantly.
But this is all part of the experience. It's fast and frantic and we're not fully sure as to what is going on. Visually memorable with a good soundtrack, you are again left to feel what the characters feel. Which can be both good and bad, but you certainly went through it.
politic1983.home.blog