Koroshiya 1 (Ichi the Killer)
May 27th 2008 02:48
With two new Taskashi Miike movies screening as part of the 55th Sydney Film Festival (a complete horrorspective overview post in a few days), and the festival only eight days out it was high time to review the notorious Miike cult favourite Koroshiya 1 (2001) … better known to Western audiences as Ichi the Killer.
Takashi Miike’s Ichi the Killer is an unapologetically sadistic and deeply visceral tour-de-force; a hybrid (like many of Miike’s movies) of Japanese gangster flick and horror movie, whilst playing out with the audio-visual assault of a depraved and demented adult cartoon strip. It is ultra-violent and frequently borders on reprehensible, if it wasn’t for Miike’s fierce intelligence at work working the movie’s socio-political sub-text and graphic sex-death symbolism.
The premise and plotting are typically Miike ie no concessions for the convolution-challenged. It’s the ending where any last threads of logic and reason are thrown to the wind and the audience are left with a series of fractured, resonant images, and an inkling as to why we’ve been left so battered and bruised. Ichi the Killer is a study of violence, plain and simple. Humankinds inhumanity to each other and the deep emotional and psychological scars it leaves on its society, which endlessly fuel what we know as “vicious circles”. Ichi the Killer is one stunningly vicious kinghit of a movie!
When a Yakuza boss named Anjo disappears with 300 million yen, his chief henchman, a sadomasochistic punk gangster named Kakihara (Tadanobu Asano), and the rest of his mob, goes looking for him. After capturing and torturing a rival Yakuza member Suzuki (Susumu Terijima), they soon realize they have the wrong man and begin looking for Jijii (Tetsuo director Shinya Tsukamoto), the man who tipped them off in the first place.
Soon enough Kakihara and his men encounter Ichi (Nao Omori), a psychotic, sexually-repressed young man who Jijii has under hypnosis in order to execute his own vengeful dirty work. Ichi, dressed in his Koroshiya 1 “superhero” suit, complete with razorblade boots, is sent out to eliminate the members of the Yakuza, extreme violence besets extreme violence.
Meanwhile Kikihara plows ahead, dead set on avenging his boss’s vanishing, and knowing his own perverse pleasures will be met when he confronts the intensity that is Ichi the Killer. So as Jijii’s dark agenda approaches its conclusion, and Ichi the Killer’s haunting, abusive past catches up with him, Kikihara’s carnage continues to paint the town deep red. There won’t just be blood, there’ll be buckets of it!
Ichi the Killer's hyper-kinetic style and no-holds-barred brutality is not to everyone’s vile taste. But there is a perverse sense of humour that pervades Miike’s work, and is no less evident than in this tale of wrenching retribution. It’s live action Manga personified (based on the comic by Hideo Yamamoto); with all the deplorable, viscous sexuality (the semen the title credit emerges from is apparently real!), the finger-snapping, fist-tearing, tongue-and-nipple slicing, jugular-spurting, ankle-severing, and full body-splitting! Yup, Ichi the Killer delivers in spades.
But there are a few driving elements which elevate the movie higher than its base foundations of social disease. Tadanobu Asano, complete with his novel facial piercing and scars (he’s the face used on all the movie poster art), is brilliant as the cool, calculated lunatic Kakihara. Also excellent is Paulyn Sun (Miss Singapore 94) as Karen Tachibana, who works alongside Kakihara, and mouths off in her own Asian-Western tongue.
The special effects are a major feature of the movie; a low-brow/high-brow combination of clever CGI and elaborate prosthetics. Whilst not all of the blood and gore looks convincing, some of battering and torture looks repulsively realistic. Many faint-hearted or squeamish viewers will have a tough time (the sexual violence leaves a particularly bitter aftertaste, but it does have its context).
Ichi the Killer continues to confound and delight (hardened) audiences, especially those jaded by Hollywood double standards and conventional storytelling. I can’t see Hollywood ever managing to produce a successful version of this, it’s too subversive; strutting sadomasochism in a pink velvet jacket.
Ichi the Killer … Ai wa, kanari itai. Now open wide and scream for mercy!
Here's the Japanese trailer:
And for those who can stomach it, here's Kakihara's notorious tongue-slicing scene (you have been warned!):
Takashi Miike’s Ichi the Killer is an unapologetically sadistic and deeply visceral tour-de-force; a hybrid (like many of Miike’s movies) of Japanese gangster flick and horror movie, whilst playing out with the audio-visual assault of a depraved and demented adult cartoon strip. It is ultra-violent and frequently borders on reprehensible, if it wasn’t for Miike’s fierce intelligence at work working the movie’s socio-political sub-text and graphic sex-death symbolism.
The premise and plotting are typically Miike ie no concessions for the convolution-challenged. It’s the ending where any last threads of logic and reason are thrown to the wind and the audience are left with a series of fractured, resonant images, and an inkling as to why we’ve been left so battered and bruised. Ichi the Killer is a study of violence, plain and simple. Humankinds inhumanity to each other and the deep emotional and psychological scars it leaves on its society, which endlessly fuel what we know as “vicious circles”. Ichi the Killer is one stunningly vicious kinghit of a movie!
When a Yakuza boss named Anjo disappears with 300 million yen, his chief henchman, a sadomasochistic punk gangster named Kakihara (Tadanobu Asano), and the rest of his mob, goes looking for him. After capturing and torturing a rival Yakuza member Suzuki (Susumu Terijima), they soon realize they have the wrong man and begin looking for Jijii (Tetsuo director Shinya Tsukamoto), the man who tipped them off in the first place.
Soon enough Kakihara and his men encounter Ichi (Nao Omori), a psychotic, sexually-repressed young man who Jijii has under hypnosis in order to execute his own vengeful dirty work. Ichi, dressed in his Koroshiya 1 “superhero” suit, complete with razorblade boots, is sent out to eliminate the members of the Yakuza, extreme violence besets extreme violence.
Meanwhile Kikihara plows ahead, dead set on avenging his boss’s vanishing, and knowing his own perverse pleasures will be met when he confronts the intensity that is Ichi the Killer. So as Jijii’s dark agenda approaches its conclusion, and Ichi the Killer’s haunting, abusive past catches up with him, Kikihara’s carnage continues to paint the town deep red. There won’t just be blood, there’ll be buckets of it!
Ichi the Killer's hyper-kinetic style and no-holds-barred brutality is not to everyone’s vile taste. But there is a perverse sense of humour that pervades Miike’s work, and is no less evident than in this tale of wrenching retribution. It’s live action Manga personified (based on the comic by Hideo Yamamoto); with all the deplorable, viscous sexuality (the semen the title credit emerges from is apparently real!), the finger-snapping, fist-tearing, tongue-and-nipple slicing, jugular-spurting, ankle-severing, and full body-splitting! Yup, Ichi the Killer delivers in spades.
But there are a few driving elements which elevate the movie higher than its base foundations of social disease. Tadanobu Asano, complete with his novel facial piercing and scars (he’s the face used on all the movie poster art), is brilliant as the cool, calculated lunatic Kakihara. Also excellent is Paulyn Sun (Miss Singapore 94) as Karen Tachibana, who works alongside Kakihara, and mouths off in her own Asian-Western tongue.
The special effects are a major feature of the movie; a low-brow/high-brow combination of clever CGI and elaborate prosthetics. Whilst not all of the blood and gore looks convincing, some of battering and torture looks repulsively realistic. Many faint-hearted or squeamish viewers will have a tough time (the sexual violence leaves a particularly bitter aftertaste, but it does have its context).
Ichi the Killer continues to confound and delight (hardened) audiences, especially those jaded by Hollywood double standards and conventional storytelling. I can’t see Hollywood ever managing to produce a successful version of this, it’s too subversive; strutting sadomasochism in a pink velvet jacket.
Ichi the Killer … Ai wa, kanari itai. Now open wide and scream for mercy!
Here's the Japanese trailer:
And for those who can stomach it, here's Kakihara's notorious tongue-slicing scene (you have been warned!):
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Comment by Michaelie
Flick Wit
Then when you said it was simply a study in violence, I had doubts, but was intrigued once more by the promise of perverse humour. So I still want to see it.
Plus I like the head split in half.
Michaelie
Comment by Ayda
Phantasmelodia
Comment by David O'Connell
Screen Fanatic
I wonder how the hell he finds the time to make so many films. He's like the Morricone of directors!
Comment by Bryn
Horrorphile
Ayda, relish like a rare barbecue steak
David, well, to put it bluntly, not everything Miike touches are the rough diamonds like Ichi, Gozu and Audition ... Many of his productions are indulgent sideshow pieces shot on video on the smell of a bloody rag.
Comment by Damo
For the Sake of Argument
My Apologetics
That image of the man split in half has a few mistakes in it.
Love the smoke from the cheeks.
So Manga-ish.
Comment by Bryn
Horrorphile
Smoke from the cheeks, yeah, very cool. You should see when he takes the rings out from his cheeks and his mouth opens super wide!
Comment by Cibbuano
20/20 Filmsight
Science News
Hunt Famous
Orble Post of the Day
Fat Cult
Techbreak
Great stuff! Did I like it? I don't know. It's a masterwork, though. Sick.
Why does Ichi wear #1?
It WAS funny at times, wasn't it?
Comment by Bryn
Horrorphile
Yes, the movie is twisted, but that's part and parcel with Miike. Watch Imprint or Gozu or Visitor Q ...