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Movie Reviews: Cure


Cure conjures up the kind of primal dread that I thought the movies had forgotten about. Its shocks and scares are like sleight-of-hand: the real effects of the movie are only felt long after it is over. I have spoken to other people who have seen it and come to the same conclusions, and the first things they all said after it was over were not “Wow!” but “Wait, I think I need to see that again…” I have watched the movie four times since I first ran across it almost ten years ago and I’m still puzzling it out, but that’s not a bad thing.

The abstract for Cure reads like the plotline of any number of overheated serial-killer movies that have come and gone in the wake of SE7EN and Silence of the Lambs. Takabe, a detective (Kōji Yakusho), has been assigned to a case involving a series of murders, each committed by completely disparate people but each with the exact same methodology: the victims have a large X-like mark cut into their necks. Even stranger, the killers seem to have had no rage or particular incentive for the crime: it simply happened, like “the work of the devil”, in the words of the detective’s partner. A young schoolteacher kills his wife, a policeman shoots his partner in the back of the head—all without motive, or even much in the way of caring.


Detective Takabe is drawn into the mystery of a slew of murders commited
apparently at random by people who have no connection to each other.

Takabe has problems of his own as well, as his wife suffers from some kind of odd mental disability that disrupts their household routines. She turns out to be a weird echo of the person who they ultimately find responsible for all this. His name is Mamiya, a strange, blank-faced young man with no memory. He wanders into people’s lives, unable to concentrate on anything for more than a few seconds at a time. Then he begins to ask them questions about themselves, and the next thing they know they have been sucked dry and compelled to do something they would never have done unless their personalities were unshackled from their impulses

When Mamiya locks horns with the detective he finds not merely a victim but someone who might even be worthy of his admiration. It brings to the fore all of Takabe’s existing conflicts about his job and life—which he spits out in a monologue that is best described as hypnotic, too—but without those conflicts to guide him in the first place, the movie argues, he’s not much of a human being to begin with. “Who are you? There is no real you,” Mamiya tells his victims; their personalities are just roles adopted for the moment. Once Takabe swallows that particular pill, all the way, he realizes he’s a liberated man—free, that is, to operate completely outside of the moral strictures of his job of his life as he has lived it.


The victims remember no motive, and the man who seems responsible for instigating
everything is just as blank as they are — possibly a result of him tampering with his own mind.

The director, Kiyoshi Kurosawa (no relation to the other Kurosawa) has made a whole slew of movies that are no less maddening and fascinating, although not always wholly successful. Time and again he comes back to the subject of the individual being shaped (shilling for shattered) by social forces: the dysfunctional brothers of Bright Future, the alienated detective of Charisma, the doppelgangers of Doppelganger, the inexplicable suicides of Kairo. His movies tend to have very simple but extremely controlled surfaces, where the littlest things take on monumental significance. He uses simple images—like dripping water, a J-horror movie staple, or the flame of a cigarette lighter—to cast a foreboding gloom over everything. There’s an unforgettable scene late in the film where Mamiya bludgeons the radiator in his cell with a chair, causing the pipes in the whole building to reverberate: even though he’s locked up, his influence reaches out to all those around him.

Yakusho has appeared in almost every other movie Kurosawa has made, along with a whole slew of other successful films (such as the endearing Shall We Dance?). He has a straightforward Everyman aura about him that somehow seems to fit at the center of Kurosawa’s movies and draw us in—he’s our lifeline to saner things, and when he begins to crack we feel it. I mentioned his monologue to Takabe, but there is another scene—one where he thinks he discovers the body of a suicide victim—which stands in such stark contrast to his character’s demeanor as a whole that it alone serves as a major clue as to what is really lurking inside his all-too-ordinary skin.


The grand and gruesome sense of unease conjured up by this movie
leaves many of its own peers — whether Asian or Western — far behind .

There is no easy formula to why a movie like this works where others don’t. Every film is ultimately of a piece, and it is the way the elements hang together that are of the utmost importance. I didn’t find Kairo (a/k/a Pulse) to be all that interesting—it was the sort of movie that sounded better in the abstract than it actually played—but there is a menace to Cure that is real and that lives outside of the details of its story. Go and watch the film, and decide for yourself. Pay particular attention to the last ten or so seconds right before the credits roll, and decide for yourself if you are seeing something that is truly sinister, or only made sinister by context.


Tags: Kiyoshi Kurosawa  Kōji Yakusho  review 


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This page contains a single entry by Serdar Yegulalp in the categories Movie Reviews, Movies, published on 2009/06/21 10:53.

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