September 26th:
The Inugami Family (1976)
The Inugami Family kickstarts Kon Ichikawa's six-film streak of horror-tinged detective stories, all based on Seishi Yokomizo's long-running book series. It's a classic detective story — but instead of the unassuming charm of Miss Marple or the refined flair of Hercule Poirot, this one stars a guy who's styled like he owns a hentai bookstore.
Kosuke Kindaichi (Kōji Ishizaka), the master detective, mostly stays on the sidelines during the investigation. He's a maladroit gentleman, but ultimately crucial to the solving of the case, and a welcome presence with his silly antics.
The story revolves around a large family dealing with inheritance squabbles, wartime trauma, and countless secrets. Ichikawa's direction is deliciously experimental: from the untamed editing to the insanely stylish flashbacks, The Inugami Family feels as fresh visually as it does narratively. There's almost a slasher-edge to the second half of the film with fleshy kills, beautifully executed prosthetics and makeup, and enough blood to fill the Nile.
Yuji Ohno's evocative score is the cherry on top of a spectacular cake that's easily the best whodunit I've watched this year. I can't wait to experience more Kindaichi mysteries — I feel like I've stumbled onto something genuinely special.
September 27th:
Phantom of the Paradise (1974)
I'm rather particular about my musicals. I love The Rocky Horror Picture Show, I tolerate Little Shop of Horrors, and Phantom of the Paradise falls somewhere in the middle. I picked those three for comparison not just because they share a certain aesthetic, but because I don't really care about the music in any of them. Sometimes I can overlook that if the staging overcomes my displeasure. (Hell, I think Cats is wretched, but I had a good time seeing it on stage with a great cast and magical staging.)
Phantom of the Paradise doesn't quite get there, but I adore Brian De Palma's singular vision coming to life so boldly. I wish it was longer, honestly. It's a scathing critique of entertainment executives and even fan culture, but I just wanted more of that — and less singing, which is a hilarious thing to say about a musical.
Poor Beef, too. The audacity of the Phantom to cook him well-done. Unforgivable.