For my final review of October, Takashi Miike’s Audition (1999) is going “under the knife” to receive a proper dissection — this dissection being necessary to finalize our horror timeline, and to bring the intent to fruition. Audition is another psychological horror (akin to my previous review for Jacob’s Ladder), but with elements of a thriller and “sadistic horror.” The “sadistic horror” elements being the film’s most influential and most “revered” moments, although, they only occur in the latter half of the film.
In comparison to the other film’s I’ve written about this month, Audition‘s filmic elements are more subdued. The film emphasizes climactic horror, with a build-up in narrative that is far from anything else in the horror genre. In addition, this build-up is slow-paced with an atmosphere heavily dependent on the sets and the somber score, showing a difference of extremity between the first and second halves (romantic half/horror half). These two halves have versatility, having the ability to stand alone as separate entities and, I would argue, as separate films.
I believe this type of horror film is an embodiment of a Venn diagram, in my mind, with the “halves” being one of most obvious contrasts within the film. Even so, I believe the Japanese film poster is indicating such, with the wire being in the shape of one and having Shigeharu Aoyama placed on one side of it.