Screwed-Up Movies: Irréversible

Irréversible (2002)
Director: Gaspar Noé
Writer(s): Gaspar Noé
Starring: Vincent Cassel, Monica Bellucci, Albert Dupontel
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First and foremost - and despite its subject matter - Irréversible is a beautiful, beautiful film. It has to be, of course, in order for its disturbing premise to actually work. In ultimately disguising one of the most wretched of human actions in a beautiful film, French director Gaspar Noé tricks us, again and again, in order to get his point across. The fact that he infuses his film with a certain sensuality and beauty makes it all the more disturbing.

Before anyone gets the wrong idea, let's make it clear: the centerpiece of Irréversible is a rape scene. And one unlike any other rape scene ever depicted in motion picture history. The camera does not move. The rape lasts for several minutes and never cuts away. The audience is forced to watch it as if a fly glued to a wall. It is harrowing, depressing, and disturbing. There is even a moment when a passerby walks in, sees the rape, and walks away in attempt to "not get involved." Humanity at its worst. And presented in full-color 16mm. That the scene is not so unbelievable can make one want to jump off a bridge.

But Noé tricks us. Again and again.

Irréversible begins with the rape victim's (Alex) husband and good friend exacting revenge on the man whom they believe conducted the rape. It is a chaotically shot scene, refusing to let the audience focus on anything save for snippets of sodomy and hedonism. The tone is set. And there is no question the audience is in for a bumpy ride. The audience will not learn that Alex's husband (Marcus) and friend (Pierre) killed the wrong man until the rape scene. It is a revelation that no one wants to acknowledge. Humanity at its worst, yet again.

Roger Ebert famously stated that Irréversible is "a movie so violent and cruel that most people will find it unwatchable." And this is true. But Noé tricks us. Repeatedly. For the film ends beautifully, with an examination of two lovers believing that a child is on the way. As a capsule, it is a touching ending... as the ending to Irréversible, it only makes what we've seen seem worse. But we can't help but admire the beauty. In this manner, Noé reveals a bit of glee in pointing out how disgusting we can be.

There is a scene in which we see Monica Bellucci, sensually dressed, moving through a party. Her nipples are evident, and her body's curves overwhelm any possibility of subtlety in her dress. In any other film, the men in the audience would be aroused beyond belief. But, Irréversible is presented in reverse chronological order, and we experience this otherwise delicious scene after we've seen Alex raped... and the effect is horrifying.

Bellucci is known for accepting roles that push the boundaries of acceptability. The role of Alex is no different. The irony is that, because it's so brutal and honest a film, it's unacceptable. And, perhaps, unwatchable.

But it is beautiful. Because Noé tricked us. And we all hate to admit it.

Don't say you weren't warned.

Screwed-Up Movies: Sympathy for Mr. Vengeance

And away we go...

Sympathy for Mr. Vengeance (2002)
Director: Chan-wook Park
Writer(s): Jae-sun Lee, Jong-yong Lee, Mu-yeong Lee, Chan-wook Park
Starring: Kang-ho Song, Ha-kyun Shin, Doona Bae
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South Korean films have, for whatever reason, a noticeable sensibility of being apologetic. What, exactly, South Koreans are apologizing for I've never been able to determine, even after having lived on the peninsula for a year. This sense of apology is prevalent in every genre: horror, drama, fantasy, action. The guilty are guilty (whether objectively or subjectively so) and are always punished. It is not, however, a punishment befitting of "justice prevails." Rather, it is quite simply... punishment. It is a sad aspect of their art, but also the aspect that reveals their art to be decidedly South Korean. I wish I could explain it better, but my experience in sociology and cultural anthropology is far from qualified to do so.

Sympathy for Mr. Vengeance is not the most disturbing film I've ever seen, but it is far and away the most depressing film I've ever seen. Following the misadventures of a young man struggling to take care of his invalid sister (suffering from a debilitating kidney ailment), this is - at its core - a tale of morality gone wrong. The young man, Ryu, will do anything it takes to save his sister. Unfortunately for him, life does not reveal itself to be Machiavellian, and when Ryu delves into the morally ambiguous (and, indeed, morally wrong) everything backfires. And I do mean everything.

Though the plot is complicated, convoluted, and often nonsensical, director Chan-wook Park is clearly not a filmmaker satisfied with hanging plot threads. Quite literally adept at the concept of Chekhov's gun, everything introduced in the film - be it via main or sub-plot - enjoys a resolution by the end of the film. That every single resolution is painfully depressing is both the point and beside the point. Even the protagonist is a fitting example of Chekhov's gun (Ryu is both deaf and dumb). In a harrowing arc that involves Ryu kidnapping the daughter of his former boss in order to collect a ransom intended to pay for his sister's kidney transplant, the following occurs:

• Ryu is unaware that he was laid off, not out of corporate greed to increase the bottom line, but because the company has entered bankruptcy (taking his former boss' assets with it).
• Ryu's sister - who is introduced to the kidnapped girl - discovers what her brother has done and commits suicide from the shame incurred.
• When burying his sister at their favorite place (a river they played at when children), the little girl drowns. Ryu's deafness does not allow him to hear the girl's cries for help.

Now, by this point in the story, Ryu has already been conned by black-market organ thieves and is missing a kidney himself. I refuse to go into more detail concerning the story because, well, it's very hard to explain and already bad situations get much, much worse. Quite bluntly, this film has to be seen to be believed.

Sympathy for Mr. Vengeance is a brilliant film, though I do not recommend it for everyone (few, in fact). That it is so well-made is its curse. The South Korean "apology" in this film is overwhelming, stretching far beyond the fringes of the society that created it and into the realm of the world-at-large. Its presentation is both vulnerable and matter-of-fact and, in this aspect, it makes no apology.

A cautionary tale of revenge, it will make you feel horrible to be human. But it will also remind you that things could be much, much worse. Though its effectiveness lies in the fact that you will never forget how bad it made you feel, its efficiency in storytelling can make you appreciate where you are. Even if that place is the top of a bridge, staring down into inviting waters.

Make of that (and the film) what you will.

An Exploration of Screwed-Up Movies

You ever seen a film that just left you feeling... depressed to be alive? Yes, of course you have, but I'm not talking about movies that are simply crap, but well-crafted movies designed to make you feel bad about being alive. Movies so disturbing in their subject matter that you can't help but want to take a shower immediately after the end credits start to roll.

Keep in mind that I'm somewhat of a film masochist and I'll watch practically anything once, so I am, by no means, recommending that you see the films presented in "Screwed Up Movies." But, if you're game, go ahead and consider me a film sadist, as well (take that, Lars von Trier!).

*Note: I wrote that previous line prior to having seen von Trier's Antichrist... which is THE most disturbing movie ever made.

Though some might claim Quentin Tarantino is a progenitor of "Screwed-Up Movies" (and they would be right), he cautiously straddles the line of what is acceptable cinema while hiding much of his potential commentary as homage to long-forgotten exploitation genres (this is not a criticism, merely an observation... I love Tarantino films). The films that will appear in "Screwed-Up Movies" are truly that... screwed-up. Honest and blunt depictions of everything society likes to pretend doesn't exist. They are films that I (and most critics) consider outstanding motion pictures, but they are not for everybody.

In the near-future I will attempt to break down Sympathy for Mr. Vengeance, Irreversible, and Antichrist. These break downs are most certainly not recommendations, but I would encourage the brave and the bold to give them a viewing. Consider this your warning.

I believe it to be no accident that the movies are not English-language films (well, Antichrist is, but is a Danish production). American cinema (and, to a large extent, that of the English-speaking Commonwealth) is loathe to present such situations and subject matter so plainly. While the independent segments of those industries have made great strides in promoting and provoking a wider-range of humanity, their general cinemas much prefer the escapist aspect of their art form. There are opposing philosophies and theories behind this - maturity versus immaturity, morality versus immorality, etc. - and I believe them all to be wrong.

Art does not imitate life, and life does not imitate art. They are one and the same, and have been since we developed the ability of sentient thought. It's time we accept that.

*Come back next Monday for Screwed-Up Movies: Sympathy for Mr. Vengeance