{"id":16554,"date":"2024-06-27T20:00:35","date_gmt":"2024-06-28T00:00:35","guid":{"rendered":"https:\/\/deeperintomovies.net\/journal\/?p=16554"},"modified":"2024-06-27T08:54:44","modified_gmt":"2024-06-27T12:54:44","slug":"serpents-path-1997-kiyoshi-kurosawa","status":"publish","type":"post","link":"https:\/\/deeperintomovies.net\/journal\/archives\/16554","title":{"rendered":"Serpent&#8217;s Path (1997, Kiyoshi Kurosawa)"},"content":{"rendered":"<p>I had watched either <em>Serpent&#8217;s Path<\/em> or <em>Eyes of the Spider<\/em> (I forget which one) in the pre-blog era on VCD so after enjoying <em><a href=\"\/journal\/archives\/16513\">Chime<\/a><\/em> (and before this year&#8217;s <em>Serpent&#8217;s Path<\/em> remake) it&#8217;s time to re\/watch these in HD.  They both hinge on a kid&#8217;s abduction\/murder, and each main character&#8217;s plot spirals out of control, in very different ways.<\/p>\n<p><a href=\"\/journal\/archives\/12615\">Creepy<\/a> Teruyuki Kagawa kidnaps gangster Y\u00fbrei Yanagi (<em>Boiling Point<\/em>) with the help of Creepy&#8217;s math professor friend Sho(w) Aikawa.  But the gangster says another guy did the crime, and they have to keep kidnapping gangsters.  The second guy (the husband in <em><a href=\"\/journal\/archives\/16025\">Door<\/a><\/em>) fingers a third guy (a minor player in early Miike films), who takes them to the room where they&#8217;ve made torture videos for profit (these rooms were common in late 90s\/early 00s horror).<\/p>\n<p><em>Sho and Creepy:<\/em><br \/>\n<img decoding=\"async\" src=\"\/journal\/image24\/serpath1.jpg\"><\/p>\n<p>Why is Professor Sho capably handling all the details and abductions here, what&#8217;s his deal?  And why is he privately coaching the abductees on what to say?  I guess he&#8217;s just trying to help kill as many members of this organization as possible &#8211; including Creepy, who it&#8217;s revealed used to work in their organization and therefore thought his own family would be exempt from the business.  Darkest subject matter given a matter-of-fact tone with an absurd edge.<\/p>\n<p><img decoding=\"async\" src=\"\/journal\/image24\/serpath3.jpg\"><\/p>\n<p><a href=\"https:\/\/www.patreon.com\/posts\/serpents-path-106082552\">Michael Sicinski<\/a>:<\/p>\n<blockquote><p>Formally, we can already see Kurosawa&#8217;s primary style taking shape; the clinical viewpoint and tendency toward long shots emphasize both an objective, godlike perspective as well as a sense that the film frame is a container, trapping its characters in culture and history. If the overt narrative of <em>Serpent&#8217;s Path<\/em> is somewhat vague, Kurosawa fills in all the crevices with a pervasive dread. Considering Kurosawa&#8217;s earliest work was purely genre based, here we see him breaking away from those strictures in a fairly dramatic fashion.<\/p><\/blockquote>\n<p><img decoding=\"async\" src=\"\/journal\/image24\/serpath2.jpg\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>I had watched either Serpent&#8217;s Path or Eyes of the Spider (I forget which one) in the pre-blog era on VCD so after enjoying Chime (and before this year&#8217;s Serpent&#8217;s Path remake) it&#8217;s time to re\/watch these in HD. They both hinge on a kid&#8217;s abduction\/murder, and each main character&#8217;s plot spirals out of control, [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[451,1243,36,1195,176,144,469],"class_list":["post-16554","post","type-post","status-publish","format-standard","hentry","category-movie","tag-1990s","tag-gangsters","tag-japan","tag-kidnapping","tag-kiyoshi-kurosawa","tag-revenge","tag-torture"],"_links":{"self":[{"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/posts\/16554","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/comments?post=16554"}],"version-history":[{"count":2,"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/posts\/16554\/revisions"}],"predecessor-version":[{"id":16590,"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/posts\/16554\/revisions\/16590"}],"wp:attachment":[{"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/media?parent=16554"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/categories?post=16554"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/deeperintomovies.net\/journal\/wp-json\/wp\/v2\/tags?post=16554"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}