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Dis­cov­er this retro-styled psy­cho­log­i­cal hor­ror from Shinya Tsukamoto

02 Nov 2020

Words by Anton Bitel

A man with disheveled hair and a brooding expression, bathed in red and orange light.
A man with disheveled hair and a brooding expression, bathed in red and orange light.
The Tet­suo direc­tor is at his hyper-stylised, idio­syn­crat­ic best in this unnerv­ing peri­od tale.

By the time Shinya Tsukamo­to made Gem­i­ni in 1999, he had already estab­lished an idio­syn­crat­ic film­mak­ing lan­guage all of his own. His fea­tures Tet­suo: The Iron Man, its sequel Tet­suo II: Body Ham­mer, Tokyo Fist and Bul­let Bal­let were all shot with queasi­ly mobile, often hand­held cam­eras, fea­tured punk­ish­ly vio­lent edit­ing and were pre­sent­ed either in black-and-white or a stylised near-monochrome.

Tsukamo­to had cre­at­ed, for want of a bet­ter term, a per­son­al brand: putting mas­cu­line iden­ti­ty through the wringer in urban and indus­tri­al envi­ron­ments, he was a mucky poet of the human (espe­cial­ly the male) con­di­tion as it mutates and mobilis­es under an oppres­sive modernity.

Gem­i­ni sounds as though it should be some­thing dif­fer­ent. Freely adapt­ed from Edo­gawa Rampo’s short sto­ry The Twins’ from 1924, and set in the late Mei­ji era, this was to be Tsukamoto’s first peri­od film (it would even­tu­al­ly be fol­lowed by his sim­i­lar­ly non-con­tem­po­rary Fires on the Plain in 2014 and Killing in 2018).

Yet from its open­ing dig­i­tal­ly-manip­u­lat­ed choral score to its first impres­sion­is­tic images of mag­gots and rats swarm­ing over a dog’s putrid car­cass in the mud, the view­er can sit back in the assur­ance that, despite the ear­ly 20th cen­tu­ry set­ting, this is very much a typ­i­cal Tsukamo­to film mere­ly mas­querad­ing as clas­si­cal Japan­ese cin­e­ma. Indeed, both rot and mas­quer­ade are key themes here.

Born onto a well-to-do fam­i­ly, pro­tag­o­nist Yukio Daitoku­ji (Masahi­ro Moto­ki) has fol­lowed in the foot­steps of his father (Yasu­ta­ka Tsut­sui) by becom­ing a doc­tor, but has also seen the hor­rors of the world beyond his priv­i­leged domes­tic life while serv­ing as a front­line mil­i­tary medic, where his con­duct and com­mit­ment earned him medals and a very sold rep­u­ta­tion. Now a vet­er­an, he prac­tis­es med­i­cine from the fam­i­ly home where he has set­tled with his new wife, the mys­te­ri­ous Rin (Ryo, mak­ing an impres­sion in her first big-screen part).

Rin’s sup­posed amne­sia cre­ates a con­flict: for the same root­less­ness in Rin that Yukio regards as a clean slate onto which he can inscribe a new future for Japan is also what leads to the dis­ap­proval and sus­pi­cion of Yukio’s beloved but patri­cian par­ents. Con­se­quent­ly, Yukio becomes trapped between his pro­gres­sive impuls­es and his family’s expec­ta­tions. We learn ear­ly on that on the bat­tle­field Yukio became famous for sav­ing a gen­er­al, but that he also saved a lot of the com­mon soldiery.

Lat­er in the film, Yukio’s alle­giances are test­ed when, on a stormy night, he is vis­it­ed at almost exact­ly the same time by a plague-afflict­ed moth­er and daugh­ter from the slums and a local may­or injured in a drunk­en acci­dent. Yukio must decide who to treat, and it is a triage dilem­ma anchored in con­sid­er­a­tions of class and sta­tus which will divide him both from his own wife, and from himself.

Man in black robe holding lit candle in dimly lit room.

Yukio is a divid­ed man, and that inner con­flict soon finds exter­nal expres­sion as a repressed past resur­faces. Yukio’s sur­round­ings may be ele­gant – all flow­ers and vas­es, for­mal teas and served din­ners – but there is some­thing rot­ten in the Daitoku­ji house­hold. What a hor­ri­ble colour!” Yukio observes to Rin near the start of the film; words that oper­ate in part as a reflex­ive com­ment on the light­ing and fil­ters that Tsukamo­to uses to bathe every­thing in a sick­ly yel­low light.

There is also, although we can­not see it, a foul stench per­vad­ing the house, send­ing Rin and all the staff through the immac­u­late­ly arranged rooms and cor­ri­dors in search of its nox­ious source. Yukio has noticed a pres­ence – a shad­owy fel­low” – around and in the house, although when­ev­er he seeks out this fig­ure, he always ends up con­front­ed with his own reflection.

There is, in fact, a per­son invad­ing this home: the wild thief Sute­kichi (also played by Moto­ki) whose rela­tion­ship to Yukio can be sur­mised from the film’s title. As Sute­kichi cir­cles in to reclaim his birthright, a vicious, vio­lent con­flict emerges which revers­es the roles of these two men – one rich, respect­ed and inte­grat­ed, the oth­er impov­er­ished, despised and exiled. Rin is left between them, cer­tain of who she is but unsure of what she real­ly wants.

If Yukio spends much of the film’s sec­ond half trapped in a deep, dark hell­hole, that also proves to be both the cru­cible where he learns humil­i­ty and the womb where he can be reborn a less super­cil­ious, more out­ward-look­ing ver­sion of him­self. It is almost as though the best qual­i­ties of Sute­kichi and Yukio have merged into the one char­ac­ter – or even as though they rep­re­sent two sides of the same per­son, the one being con­stant­ly sup­pressed by the other.

As per­son­al his­to­ries are grad­u­al­ly revealed via flash­backs to a hyper-stylised shan­ty town whose denizens – colour­ful where the Daitoku­jis are grey – could come straight out of a Mad Max movie, Gem­i­ni morphs into a strange, man­nered melo­dra­ma of the haves and the have-nots, of nature and nurture.

All this is occa­sion­al­ly punc­tu­at­ed by a dri­ving indus­tri­al score, by some reel­ing cam­er­a­work and by sur­re­al con­duct – all sure sig­ni­fiers that this is still Tsukamoto’s world and we are mere­ly guests in it. Like Sute­kichi, once you have moved in, you will want to stay.

Gem­i­ni is avail­able on Blu-ray and dig­i­tal in a new HD trans­fer from Third Win­dow Films from 2 November.

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