Un Film De Takashi MIIKE

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Un Film De Takashi MIIKE Festival de Cannes 2003 Quinzaine des Réalisateurs GOZU Un film de Takashi MIIKE Japon – 2003 - 127 mn – couleur Sortie Nationale 14 juillet 2004 Distribué par Pretty Pictures 42 rue Edouard Vaillant – 93100 Montreuil Tel : 01 48 51 16 12 / Fax : 01 48 51 16 10 [email protected] www.prettypictures.fr Presse: Bossa Nova Michel Burstein 32 Bd Saint Germain 75005 Paris Tél: 01 43 26 26 / fax: 01 43 26 26 36 [email protected] www.bossa-nova.info GOZU Synopsis Minami et Ozaki sont deux yakuza inséparables depuis que le second a sauvé la vie du premier. Ozaki ne supporte plus le stress de son existence de criminel et présente des signes de paranoïa aggravée. Alors qu’il soupçonne un chien d’être anti-yakuza, son boss décide qu’il est temps de l’envoyer ad-patres et demande à Minami de l’emmener à Nagoya et de s’en débarasser. En route, Ozaki disparaît mystérieusement. S’ensuit un road-movie décalé dans la province de Nagoya, ville étrange peuplée de gens sortis tout droit de Twin Peaks. Oserez-vous venir à Nagoya ? LE RÉALISATEUR: Takashi MIIKE Takashi MIIKE est le réalisateur phare des années 90 au Japon. A la différence d'un Takeshi KITANO qui a dû attendre d'être reconnu à l'étranger avant d'obtenir un succès local, MIIKE a littéralement explosé en 1995 avec son second film cinéma Shinjuku Kuroshakai (Les Affranchis de Shinjuku). Proclamé " grande découverte de l'année " par la très respectueuse Association Japonaise des Producteurs de Films, MIIKE n'a depuis lors pas arrêté de créer l'événement à chaque nouvelle sortie d'un de ses films. Car MIIKE est un réalisateur très prolifique. Plus que prolifique même, c'est un véritable Stakhanoviste de la pellicule qui a tourné en une décennie une vingtaine de longs métrages cinéma, une trentaine de films destinés au marché vidéo et une bonne vingtaine d'épisodes de séries télé ! Le plus incroyable reste que tous ses films cinéma ont été acclamés, aussi bien par la critique que par le public. Un succès, une productivité et un talent qui a de quoi faire rêver nombre de réalisateurs… Travaillant dans les genres les plus variés et passant allégrement du gros au petit budget, MIIKE est un touche à tout qui n'a peur de rien… à part de se retrouver un jour sans caméra. Il s'est illustré tout aussi bien dans le film de yakuzas (Dead or Alive, Rainy Dog), la science fiction (Andromedia, Full Metal Gokudo), le polar (The Guys From Paradise), que la satire sociale (Salaryman Kintaro), le film contemplatif (Bird People From China) ou encore la comédie musicale (The Happiness of the Katakuris)… Sans parler de films inclassables tels Audition, Fudoh ou encore Visitor Q. Même si son œuvre est des plus variées, certaines caractéristiques marquent cependant tous ses films : la volonté de surprendre constamment le public, la violence, la poésie et un désir farouche d'aller au bout de la notion même de cinéma. Comme MIIKE le dit lui même, le cinéma ne peut pas refléter la réalité. Constatation évidente s'il en est, mais qui n'empêche cependant nullement nombre de réalisateurs d’essayer de le faire (ROHMER en tête). MIIKE au contraire, tord, distord, et corrompt toutes notions de réel, d'irréel, de réalité et de fictions dans ses films. Tout est possible dans son univers comme de voir des ailes poussées à deux tueurs à gage qui décident que le meurtre leur servira dorénavant à collecter de l'argent qu'ils enverront aux enfants du tiers-monde (Dead or Alive 2), ou encore voir une mère de famille qui inonde sa cuisine en faisant sortir du lait de ses seins (Visitor Q). MIIKE casse souvent la continuité logique ou du moins linéaire de ses films pour partir dans des "digressions" purement surréalistes. C’est probablement nulle part mieux que dans Gozu et son univers décalé peuplé de personnages étranges que MIIKE le démontre de façon magistrale. C’est d’ailleurs via ce film que MIIKE connaîtra une reconnaissance internationale, Gozu ayant été sélectionné lors de la Quinzaine des Réalisateurs du Festival de Cannes 2003. FILMOGRAPHIE CINEMA 1995 Daisan no Gokudo Shinjuku Kuroshakai – China Mafia Senso (Les Affranchis de Shinjuku) 1996 Gokudo Sengokusi : Fudoh (Fudoh / Graines de Yakuza) 1997 Kishiwada Shonen Gurentai - Chikemuri Junjo Hen Gokudo Kuroshakai - Rainy Dog (Rainy Dog) 1998 Chugoku no Chojin (The Bird People From China) Andromedia Blues Harp Kishiwada Shonen Gurentai - Bokyo 1999 Hihon Kuroshakai – Ley Lines (Ley Lines) Salaryman Kintaro Dead or Alive - Hanzaisha (Dead or Alive) 2000 Audition (Audition) Hyouryugai (The City of Lost Souls) Dead or Alive 2 - Tobosha (Dead or Alive 2) 2001 Visitor Q (Visitor Q) Family Tengoku Kara Kita Otokotachi (The Guys From Paradise) Koroshiya Ichi (Ichi The Killer) 2002 Dead or Alive – Final (Dead or Alive- Final) Katakurike no Kofuku (The Happiness of the Katakuris) Araburu Tamashii Tachi (Agitator) Shin Jingi no Hakaba (Graveyard of Honour) Kumamoto Monogatari Jitsuroku Ando Kyodo Den – Rekka (Deadly Outlaw : Rekka) Man in White 2003 Gozu Chakushin ari (You've Got a Call ou One Missed Call) 2004 Zebraman Izô: Kaosu mataha fujôri no kijin Liste Technique et Artistique GOZU – Japon – 2003 - 127 mn – couleur Réalisateur : Takashi MIIKE Producteur : Sone Harumi, Kaïna Koino Scénario : Sâto Sakichi Directeur Photographie : Tanaka Kazunari Montage : Bernat Vilaplana Musique : Endo Kôji Interprétation : Hideki Sone, Sho Aikawa, Kimika Yoshino, Shohei Hino Tetsuro TANBA, Kanpei HAZAMA, Hitoshi OZAWA, Masaya KATO, Kenichi ENDO et Tokitoshi SHIOT CASTING Hideki SONE (Minami) Né le 4 septembre 1969 Hideki SONE a suivi les pas de son père Harumi SONE, acteur et producteur de "Gozu" (qui interprète quant à lui le rôle de Kazu). Hideki fait ses débuts d’acteur dans un film de Miike tourné pour le marché de la vidéo "Jingi-naki Yabo" (1996). Après plusieurs apparitions dans des séries télé, il revient au cinéma avec un petit rôle dans "A Perfect Education" (Ben WADA, 1999). Il a par ailleurs retrouvé deux autres fois Miike, dans"Agitator" (2002) et “Graveyard of Honor" (2002) Sho AIKAWA (Ozaki) Née le 13 Mai 1964 Depuis 1988 AIKAWA est une figure incontournable des films de Yakuza et du V-Cinéma (les films tournés en pellicule et exploités directement en vidéo au Japon), à qui nombre de fans vouent un véritable culte. On le connaît surtout en Europe pour ses rôles dans l’incontournable trilogie de Miike "Dead or Alive" (1999, 2000, 2002) et pour celui du professeur d’école de Battle Royale 2 (Kinji et Kenta FUKASAKU, 2003). On a aussi pu le voir dans des films aussi divers que "L’Anguille" (Shoei IMAMURA, 1997) , "King of Sha-kin" ( Seiji IZUMI et Hideyuki KAZUKI, 1997~2000), "License to Live" et “Kaïro” (Kiyoshi KUROSAWA, 1999 et 2001). Kimika YOSHINO (La femme mystérieuse) Née le 5 September 1975 Yoshino fait des apparitions dans plusieurs séries télévisées et spots de publicité. En 1995, elle confirme son statut de star avec un film d’horreur très remarqué "Wizard of Darkness" (Shimako SATO,1995) et sa séquelle "Wizard of Darkness 2" (Shimako SATO, 1996). On l’a depuis revu dans le film d’aventure "ACRI" ( Tatsuya ISHI, 1996), ainsi que, plus briévement, dans le film de SABU "Unlucky Monkey" (1998). Elle tournera cette année dans "Eiko", sous la direction de Ikuo KAMON. Le Scénariste: Sakichi SATO Né le 13 mai 1964 Sakichi SATO fait ses debut avec "Across the Golden Prairie" (Isshin INUDO, 1999). Mais c’est "Ichi the Killer" et la série télévisée "Vermilion Pleasure Night" qui le feront connaître du public. En 2000 il écrit le script de la série d’animation (utilisant des mannequins) "The Fuccon Family" (réalisée par Yoshimasa ISHIBASHI). Depuis, il a travaillé avec des réalisateurs de renom tel que Edward YANG pour "Yi Yi" (2000) ou Kiyoshi KUROSAWA pour "Jellyfish"( 2003). Pour l’anecdote, il incarne un patron de café excentrique dans "Gozu". GOZU Complément d’information Quinzaine des Réalisateurs Cannes 2003 Festival International du Film Fantastique de Neuchâtel 2003 - Prix du Public et du Jury Festival International du Film Fantastique de Sitges 2003 Festival Fantastic’Arts Gérardmer 2004 Festival d’Aventures et d’Action de Valenciennes 2004 - Prix Spécial du Jury Festival International du Film Fantastique de Bruxelles 2004 – Prix Spécial du Jury Festival Cinénygma de Luxembourg 2004 – Prix Spécial du Jury Rencontres du Cinéma Asiatique de Paris La presse “Du Bunuel dernière période passé à la moulinette trash. La fin, traumatisante, le confirme: ce mec est félé” Libération du 19 mai 2003 “What follows defies logic but is quintessantially Miike”. Screen International mai 2003 “Une œuvre folle, estampillée Miike à 100%, mais que n’auraient pas renié Kafka ou Lynch.” Mad Movies Janvier 2004 .... ENTRETIEN TAKASHI MIIKE Quant vous avez présenté Gozu à Cannes, vous avez dit que vous l’aviez fait pour arrêter toutes les formes de violence sur la planète. C’est une blague ?! (sourire) Oui, c’était d’une certaine façon une blague. Mais c’est vrai que j’aimerais éliminer toutes les formes de violence qui existent dans notre vie quotidienne. Nous pouvons apprécier la violence qu’il y a dans des films qui est donc fictive mais il faudrait se débarrasser de la vraie violence qui nous assailli tous les jours. Quelle est la signification du titre, Gozu ? Gozu a plusieurs significations. L’une d’elle est reliée au Shinto, dans le Shinto il y a un objet ou un animal légendaire qui se nomme Gozu, qui contrôle toutes les personnes qui se comportent mal. Une autre raison c’est que le scénariste du film a un ami qui s’appelle Gozu, un nom très peu répandu.
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    Bibliography Abe Kōbō. 2003. The Face of Another. Trans. E. Dale Saunders. New York: Vintage. Abel, Richard. 1984. French Cinema: The First Wave, 1915–1929. Princeton: Princeton University Press. Adamowicz, Elza. 1998. Surrealist Collage in Text and Image: Dissecting the Exquisite Corpse. Cambridge/New York: Cambridge University Press. Ades, Dawn. 1982. Dalí. London: Thames and Hudson. Adorno, Theodor. 2009. In Search of Wagner. Trans. Rodney Livingstone. London: Verso. Adorno, Theodor, and Hanns Eisler. 2010. Composing for the Films. New York: Continuum. Altman, Rick, ed. 1992. Sound Theory/Sound Practice. New York: Routledge. Antonioni, Michelangelo. 1964. Il deserto rosso (Red Desert). Rome: Film Duemila. Anzieu, Didier. 1976. “L’enveloppe sonore du Soi.” Nouvelle Revue de Psychanalyse 13: 161–179. Artaud, Antonin. 1958. The Theater and Its Double. Trans. Mary Caroline Richards. New York: Grove Press. ———. 1970. Œuvres complètes. Paris: Gallimard. Aspley, Keith. 2010. Historical Dictionary of Surrealism. Lanham: Scarecrow Press. © The Author(s) 2018 297 S. T. Brown, Japanese Horror and the Transnational Cinema of Sensations, East Asian Popular Culture, https://doi.org/10.1007/978-3-319-70629-0 298 Bibliography Augoyard, Jean-François, and Henry Torgue. 2005. Sonic Experience: A Guide to Everyday Sounds. Trans. Andra McCartney and David Paquette. Montreal: McGill-Queen’s University Press. Bachnik, Jane M. 1998. “Time, Space and Person in Japanese Relationships.” In Interpreting Japanese Society: Anthropological Approaches, ed. Joy Hendry, 91–116. London/New York: Routledge. Baird, Robert. 2000. “The Startle Effect: Implications for Spectator Cognition and Media Theory.” Film Quarterly 53 (3): 12–24. Balmain, Colette. 2008. Introduction to Japanese Horror Film.
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