★★★ / ★★★★
The wife of a television producer had passed away when their son was still very young. Mr. Aoyama (Ryo Ishibashi) raised his son on his own and had grown accustomed to the loneliness of being a single parent. His son, Shigehiko (Tetsu Sawaki), noticed that his father seemed a bit sad for quite a while so he suggested that Mr. Aoyama should find a girl and get married. With the help of his co-worker (Jun Kunimura), the two men held an audition for a movie. Out of all the girls, Mr. Aoyama was most interested in Asami (Eihi Shiina), a girl who was passionate about ballet but had given it up due to a bad hip. He didn’t know she held a very dark secret. Based on a novel by Ryû Murakami and directed with great control by Takashi Miike, the neat thing about “Ôdishon” was if all the scenes involving the psychosexual horror were taken out, it worked as a solid romantic drama. The first half of the film consisted of tender moments between father and son, like fishing and sharing meaningful conversations over dinner, and funny scenes of various women auditioning for a lead role. There was a natural progression away from the light ambiance to a truly horrific finale. There were red herrings thrown at us to give us the impression that there was something seriously wrong about Asami. Despite his friend telling Mr. Aoyama that he felt something not quite right about the girl, the widower was intent in forming a relationship with the woman. He read her essay, which was a part of her resume, and he wanted so badly to believe that he knew her, that she was right for him. He saw that, like himself, she had been damaged by the past and that commonality was, from his perspective, deep enough for the two of them to want to share a life together. It brought a new definition to the saying that love is blind. He took a blind eye to her lies and so he failed to see her true intentions. The gruesome scenes toward the end had real potency. The picture earned showing us the grotesque images because of its steady rising action. In some ways, I wanted to see the gore and the mutilation. But the funny thing was, when I saw it, I almost immediately wanted to look away. However, I must mention some details that didn’t quite fit into the big picture. How did Mr. Aoyama, through a hallucination or dream sequence, learn the content of the bag in Asami’s apartment (or how her place looked like for that matter) when not once did he visit her place? It made me wonder that perhaps there was a missing scene prior to the third act. However, such details could be easily overlooked because the images that “Audition” offered were creepy and some were downright terrifying.