I'm still waiting on the translation of chapter 7 of
Orochi, so I figured in the meantime, I'd get back to this blog's original purpose - sharing my opinion of all things horror. This time, the dish is
Midori, a rather odd movie. It's based on a manga by Suehiro Maruo and was created by just one guy, Hiroshi Harada. It is also very hard to find, though like (almost) everything else, it can be found on the web.
I haven't read much of Maruo's work, only two things making up three volumes: Ultra-Gash Inferno, which I hated because it seemed to be nonsensical and gross simply for the sake of being gross; and The Laughing Vampire, which I enjoyed quite a bit, for reasons I am unsure of. I didn't know how to feel about Maruo's manga after reading those, but watching this movie made up my mind. I may not like all his stuff, but he does deserve to be respected. His work can carry a lot of meaning, if you're willing to look for it. And can get past the graphic depictions of sex and violence.
Getting back to the movie, Midori tells a simple story. A young girl with nowhere to go has to rely on a stranger's kindness, but she soon learns that he is no friend. Forced into a despicable life, with no signs of happiness, she must live on. I want to say that the overall story doesn't matter, but it does. To really get the points being made, you must look closely at the characters, aside from the story, but at the end, you must also think about everything that has happened, to understand what it means. Part of the reason I like this movie is because it shows you the grotesque images Maruo is known for, while moving along quickly, letting you know that the images are there, but they aren't all. There's more. I personally have made the mistake of assuming that Maruo's work is disgusting for no other reason than to have a disturbing picture, but this movie helped me to realize that while his work does give the people who want such images what they desire, it also says something. He draws the depravity of the human race, details how horrible we can be, establishes that these terrors can be anywhere and everywhere, but acknowledges that it is human nature. These are monsters, but they aren't mythical. They don't hide in caves or come out only once every seven years. They are people.
This movie is not for everyone, just as Suehiro Maruo's work is not for everyone. If you have a weak stomach, don't watch it. If you aren't going to think about symbolism and possible meanings, don't watch it. But if you want something that will get you thinking (and I'm talking, really fucking hard thinking), and you can stand seeing horrific images, watch this. And hell, if you don't like it, you'll at least be able to say that you watched a really rare and unique movie.
