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Leave it to the Japanese to make a film like Late Bloomer-a deeply disturbing glimpse into the abyss that makes us examine our preconceptions about the handicapped and humanity while goading us into sympathizing with a serial killer. The Japanese have a gift for making uncomfortable (yet compellingly watchable) films, and Go Shibata’s latest might be the best of the bunch.

Billed rather erroneously as a horror/exploitation flick about a handicapped serial killer, Late Bloomer is really something more. It tends to defy classification, so audiences are quick to lump it in to the categories of least resistance. There’s no denying that the film is horrific-but like the best horror, it also manages to say something about the human condition between the geysers of blood and rampant stabbings. It’s an unpleasant viewing experience because it subverts our expectations at nearly every turn while making us question things about ourselves in the process. It’s not the traditional “uplifting handicapped person story” nor is it as shallow and ultimately disposable as most gore and slasher cinema. Viewers won’t turn off the DVD thinking “good for that guy for overcoming his physical challenges”, but neither will they find a character whose reprehensible actions make him despicable. That’s the beauty of Late Bloomer-Shibata confronts his audience constantly, seemingly more concerned with the message of his film than whether or not people will enjoy it.

In many ways, Late Bloomer reminds me not only of Shinya Tsukamoto’s cyberpunk flick Tetsuo: Iron Man, but also of lesser known filmmaker Shozin Fukui’s Pinocchio 964 and Rubber’s Lover. Shibata’s film isn’t a cyberpunk story, but aesthetically it’s very similar to all three of those movies-from the decision to shoot the film in black and white (with odd lighting choices) instead of color, the jarring use of music, and the narrative with a point that is only reached by those adventurous (and strong enough) to persevere through the lengthy assault on the senses each flick provides. Late Bloomer is the most accessible of the three-but as proof of its dichotomous nature, it may also be the most challenging. Unlike Tetsuo and the Fukui films, Late Bloomer fools viewers into thinking they’re watching something normal before pulling the rug out from under them.

Severely disabled actor Masakiyo Sumida plays the role of Sumida. The character is handicapped with what appears to be Muscular Dystrophy, but he hasn’t let the disease ruin his life. He loves to drink, go out to punk rock shows (with his friend and part time caretaker Take) and watch pornography. If not for the disease, Sumida would be almost indistinguishable from countless other men. Things start to change when Nobuko enters the picture. She’s a college student who signs on to assist Sumida as part of her coursework. He falls in love with her; she not only rejects his boorish advances but treats him as less than a man because of his disability. This rejection sends Sumida spiraling out of control. The only way he can regain his equilibrium is through the act of murder.

There’s no shortage of impressive things to dissect when talking about Late Bloomer, but there are a couple of standout components that make the film such a captivating experience.

The first is the performance from Masakiyo Sumida. Sumida is amazing in the main role of the film, capturing the internal torment of his character and then presenting it to the viewer through his actions and movements. Rather than portray the clichéd “handicapped guy with a heart of gold”, Sumida’s performance resonates on a much deeper level. The character is a real person-with real emotions, feelings, wants, desires, and problems. Instead of the usual Hollywood-styled pandering we get when it comes to dealing with the disabled in film, Sumida has done something much more interesting-he’s made the handicapped come across not only as “real” people, but also a people who’re not above having character flaws simply because they’re disabled. Even more interesting is the way he lulls you in to identifying with him as the film progresses. I never felt that I was condoning the violence Sumida visits upon others, but I certainly understood how he got to the point where murdering people felt like his only outlet. It’s certainly an extreme (used to drive home a point with all the subtlety of a well placed shotgun blast to the groin), but the point is well taken.

One could potentially make the argument that this portrayal of a handicapped individual is no better than the ones we’ve endured for years-and the point is probably valid. That being said, while Late Bloomer certainly takes things to an extreme it never portrays Sumida as a disabled serial killer as opposed to a serial killer who happens to be disabled. I find the idea of portraying the man’s frustrations (even in such an extreme, almost exploitational, fashion) refreshing. In the hands of a lesser filmmaker and actor, Late Bloomer could have very well turned into a gimmicky slasher flick. Instead, it works on a much deeper and troubling level.

While Sumida’s performance is nothing short of brilliant, it works in concert with Shibata’s direction. There’s a DIY aesthetic at work in Late Bloomer that makes the finished product feel like a documentary. This is generally to the film’s benefit, but there are points where the wonky handheld camerawork, slo-mo, and overexposed lighting become more of a distraction than a benefit. It becomes clear early on that Shibata has chosen this black-and-white handheld style to put the viewer in Sumida’s world. It works well-everything in Late Bloomer‘s visual aesthetic feels just left of center. I’d imagine this is how all of life feels to Sumida. It’s not particularly subtle, but again, not much about Late Bloomer is.

Adventurous film fans who take the time to find Late Bloomer (currently available on DVD in a fantastic package from Tidepoint Pictures’ Bone House Asia line) will be treated to a difficult viewing experience that rewards them with a story and worldview that lives well off the beaten path. Go Shibata’s movie isn’t without problems, but even flawed art can still captivate and shock us.

Horror Geek Rating: 4 out of 5

Tags: Film Reviews, Go Shibata, Japanese cinema, Late Bloomer, Masakiyo Sumida, serial killer movies

This entry was posted on Monday, March 2nd, 2009 at 8:07 am and is filed under Reviews. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.