Miike and cinematographer Toyomichi Kurita pile on the sumptuously gloomy atmosphere in spades: their brothel of caged prostitutes is awash in red hues – an ideal setting for "demons and whores" or a combination thereof – and when we later are shown a blood-painted tapestry depicting the afterlife in hell, we don't need any dialog to make the comparison. Miike's handling of the young girl Komomo's interrogation under the guidance of the brothel's madam is especially unflinching. While many of MoH’s first season entries trafficked in both explicit and implicit torture sequences, none of 'em depicted it as relentlessly or effectively as Imprint. As a movie man, Miike is like Robert Rodriquez in his ability to handle a range of genres (even kidflicks) – and in his willingness to go as far as possible when the material calls for it.
Head and shoulders above most of the Masters of Horror's first season offerings, think I – even if most of the story's effects looked as rubbery as any in the series' other entries. I notice that Showtime hasn't invited Miike back for a second season entry. No surprise there.
Article comments
1 - Pat Evans
This episode was actually screened when the series was aired on British satellite TV -- and I thought we were the repressive censorship capital of the world. Takashi Miike is so prolific that not all of his output is top-rank, but he's turned out enough original and unusual films to prove his mastery. I thought this particular episode was one of the highlights of the series which, as expected, were very variable in quality.
2 - Bill Sherman
Funny, I remember how " during the glory days of Hammer Films " the British versions of horror flicks were always the most strictly censored (with Japanese editions reportedly being the most uncut). Not anymore, apparently . . .
3 - Dave Nalle
BTW, when does season 2 of MoH actually start?
Dave
4 - Bill Sherman
Per Showtime's site, the first story of the new season debuts Friday, October 27th.