THE HORROR OF THE MALFORMED MEN

Very few films are capable of combining sensationalism and philosophical integrity. Peeling back the socially conservative skin of cultural taboo, Horrors of the Malformed Men proved that exploitation and intellectual insight could make terrifyingly complimentary bedfellows, combining graphic titillation with stylish exercises of experimental perception. Similar to Freaks and Island of Lost Souls before it, both of which incurred the wrath of censors and a reactionary public, this visceral shock to conservative religion and politics still manages to provoke and disturb. Instead of being rewarded for this artistic achievement, it was banned. Now this under-sang, little seen, yet legendary horror film can be seen as never before, featured uncut and in a visual style that hammers home its troubling message of amorality. This is one of those features that one can proudly point to when loath fully ignorant critics or members of the self-satisfied academic establishment claim there is no social relevance in the genre, for this culturally relevant examination of societal tragedy and unchecked science is as full of cultural resonance as it is strangeness. If the true nature of the horror film is subversive, undermining the system from within, than Horrors of the Malformed Men takes this task seriously, using its surrealistic blending of feeling and non-sense (its essential lack of logic) and terrifying imagery to not only criticize but vivisect the false morality of an entire age.

Asian cinema has long been infamous for daring to descend where others fear to tread. Based on The Strange Tale of Panorama Island, a novel by Edogawa Rampo, the 'Japanese Edgar Poe,' Malformed Men is an unpleasant sucker-punch to the ribs. Celebrating perverse sexuality, pain, and the art of viscera in an undeniably excessive manner the complex, expressionistic plot follows the horrific quest of Hirosuke Hitomi (Yoshida), a young man who was nurtured in the strange confines of a carnival. After a knife-throwing tragedy, he tracks down a doppleganger of himself whose mysterious death leads him to a secluded island where a webbed-handed scientist busies himself making deformed humans into hybrid monsters. Hitomi soon embarks upon a horrific journey inward, discovering more than he ever wanted to truly know about his family's past and the secrets of this doom-laden island.

A revelation to viewers used to the banality and soulessness of remakes and sequels, this story manages to suggest conflicts and themes without staying true to any one plot movement at all. It succeeds almost despite itself, and without the traditional structure or repetition of traditional storytelling. The country's post-nuclear trauma is essential to the horror, and its political implications were responsible for its being banned since its earlier screenings. Terrifying, absurd images and themes culled from the director's other films are wrapped around the basic theme of an amnesiac young doctor who searches for his father in a world of chaotic agony. The father is a classically mad scientist creating on a private island a personal preserve of scientific 'hybrids' -- these creatures are similar to the creations of H. G. Wells mad doctor's 'family,' but whereas that insane genius sought biological mastery for intellectual reasons this man is moved by the more sympathetic desire to cure his disfigured wife (a theme also found in Eyes without a Face and The Horrible Dr. Orloff, two other important films in this vein). In the meantime, such sundry elements as flesh-eating crabs, inner family sex, freaks and rape dish out all the sleazy spectacle one could want.

This special edition of Malformed Men is evidence that some of the most effective horrors are those that adhere to no genre/style, throwing the aesthetic forms of traditional storytelling to the wind. Ishi's story is as ruled by feeling and symbolic impulse as it is a decisive lack of conservative logic. Daring in skewered construction, brazen in its attack against moral laziness, the feature achieves a devastating, haunting effect by marrying the insanity of its subject matter with an experimental method of 'telling' what is, essentially, a plot-less tale. Moods and emotions, heart and spirit, are the true story here, with characters incidental to the nightmarish events. Burrowing from the obvious literary grotesqueries of Franz Kafka, the director also follows in the footsteps of theatrical Expressionism, building a story, of sorts, that traces the chaos of the soul and instinctual mind, ignoring much of the expected relevance of popular cinema. While this becomes both infuriating and pleasing, depending on your mood and tolerance for experimentation, the intellectual and imagistic daring has to be admired.

Terou Ishii , auteur of over 80 movies, is mainly celebrated by cult film fans for his sleazy, brutally poetic dreams of sleazy bondage and torture, specializing in representing the atrocities of Edo-era torture policy in such underground legends of The Joys of Torture. This said, it is no great surprise that the director should find himself examining the physical nightmares or another, more relevant age -- particularly for the audience of his time. More impressive in this attack against the senses is the film's determination to challenge emotions and provoke outrage. Directed with energy and enthusiasm, this film evokes physical shocks and emotional jolts with equal fervour, the emotional terror and sense of unease lasting long after the ambiguous conclusion. Residing in its own individualistic nightmarish territory, the emotional tone flip-flops successfully between humor and horror, shock and sadistic eroticism. These emotional aspects are only surpassed by the mystery and oddly attractive terror of characters who themselves don't quite know what they are, why, or where in terms of both physical reality and in the dark confines of their tortured hearts.

This is a work of love from Synapse. Assembled with attention to detail and craft, the disc itself is every bit as much a work of technological art as the film is a masterwork of skewered storytelling. Featuring a new, fully restored anamorphic transfer from Toei's vault elements, the 2.35:1 print is simply gorgeous, capturing details in sharp line contour and with spectacular depth. Colors are bold and haunting, bleeding emotion and wonder in practically every scene. Audio features a Japanese language track with optional English subs. This track is clean and without outside interference.

Extras create a definite sense of historical and aesthetic context, which will aid both knowledgeable fans and newcomers in better enjoying the film and the time/conditions in which it was made. Of chief importance is the full-length audio commentary by Mark Schilling. This track examines the career and aesthetics of Ishii, several of the lead actors, and, most interestingly, the career and influence of novelist Rampo. Another solid treat is the featurette "Malformed Memories," wherein Tetsuo director Shinya Tsukamoto and Minoru Kawasaki discuss their take on Ishii's projects. Spirited and heartfelt, this segment is followed by "Ishi in Italia," featuring 2003 interview while the director was at the Far East Film Festival. Here the now deceased artist discusses genre and erotica, his views on horror/sex cinema and his interest in Rampo. A theatrical trailer is also included, followed by fascinating liner notes from Jasper Sharp, Patrick Macias, and Tomohiro Machiyama. On a final note, the disc itself is housed in a reversible cover with original poster art.

Review by William Simmons