The Neighbor No. 13 — movie review

by Chris   ⋅   July 19, 2006   ⋅   Comment now   ⋅    RSS

The revenge genre has seen a noticeable rise in popularity in the past few years, fueled by hits such as Kill Bill and Chan Wook Park’s Vengeance trilogy. While those films have received quite a bit of critical acclaim (with style often being confused for substance, and academics making quite a many misplaced proclamations of genre reinvention), they fail to deal with the true nature of violence, vengeance, and the corruptive quality even the most juvenile transgression has on a victim’s psyche. Cronenberg’s A History of Violence tried something like this, albeit on a rudimentary level which proved easily palatable for the aforementioned circles, but ultimately failed in execution. However, all these big name talents could learn a thing or two first time director Yasuo Inoue. His take on the manga Rinjin 13-gô, adapted by Hajime Kado, is one of the single most disturbing, and fascinating films I’ve seen in the past few years, and the only vengeance film to tackle the subject of violence in an intelligent manner.

Take the film’s treatment of a grudge. The main character Jûzô Murasaki (Shun Oguri) is a young man plagued by recollections of a physical and emotional trauma suffered at the hands of junior high schoolmates. This obsessive focus on the past wrongs has given rise to No. 13 (Shido Nakamura), a Mr. Hyde-like uncontrollable beast that only grows stronger, cancer like, as Jûzo’s self pity and indecision pick at his psychological wounds. When we meet Juzo 13 has already amassed a large amount of control, leading Juzo to live and work, in the same locations as his former antagonist, and re-engaging him in his role of whipping boy. It would seem Juzo’s only options for release would be to submit to 13, allowing violent retribution to be had, or commit to self immolation. This film, however, offers a third possibility. Though to reveal it here would be an act most foul, suffice it to say that the film’s conclusion is brilliantly metaphysical, and for most mainstream audiences sure to prompt quite a bit of head scratching.

Then there’s the film’s treatment of violence. No act is glorified, nor is any attempt made toward justification. They are merely presented as is; sudden, shocking, repulsive. With his unwavering camera, director Inoue makes sure these scenes get under your skin, prompting the type of physical anxiety response one might experience with such contemporary masterpieces as SE7EN and Henry: Portait Of a Serial Killer. We should react to violence this way, and that’s part of the film’s message. Sure, attempts at stylization are made, most notably in and outside of the metaphorical lakeside lair where 13 and Juzo interact, and in the brief animated interlude where Juzo speaks of his past to an increasingly creeped out co-worker. But these are mainly sequences where a first time director it testing his legs. And, if this is what Inoue can do with just his first outing, I am anxious to see more.

Lastly, The Neighbor No. 13 wouldn’t work without its cast. Shun Oguri is excellent as the quiet, tortured Juzo. Likewise Nakamura is both frightening and gripping as the sadistic No. 13. Fans of Puffy (myself included) will love Yumi Yoshimura’s turn as the bully/gangleader’s dutiful wife, and former thug princess. For a pop-idol turned star, Yumi shows a lot of promise. And, fans of Miike (me and Kris again) will love his brief cameo as the hoarding neighbor, Kaneda. Although The Neighbor No. 13 is a lesser known film than its peers, it is an infinitely better one. As unnerving as it is thought provoking, it is truly the intellectual’s revenge film.

About the Author

Chris Nelson is a Java Developer and contract Technical Writer living in the Silicon Valley. He has been a film fan since age six.

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