Imprint (2006)

Imprint, the 63-minute film directed by Takashi Miike (Audition, Ichi the Killer) for Showtime’s Masters of Horror television series, has an interesting story surrounding it. The purpose of the cable anthology show was to bring viewers a weekly tale of terror directed by a notable name from the genre. When Miike was signed to the project, he decided to base his entry, Imprint, on the traditional Japanese story of “Bokkee Kyotee” by Shimako Iwai. During filming, the director also claimed to be very careful in regards to what might not be acceptable on American television (remember, Showtime is a premium cable channel).

It would appear, however, that Miike had absolutely no idea of what executives were expecting, as Showtime requested further editing upon screening his film. Changes were made, but execs still felt that Imprint was too graphic and disturbing to air. So instead of being broadcast on the planned date of January 27th, 2006, the movie was released on DVD later that year. It still remains the only episode of Masters of Horror to never air in the United States.

The story begins with American journalist Christopher (Billy Drago) traveling through Japan during the 1800s. He’s searching for Komomo (Michie Ito), a young prostitute he fell in love with and promised to take back home. His quest leads him to a bizarre island filled with “ladies of the evening,” but there’s no sign of Komomo. Forced to stay overnight, he chooses for his companion a young woman who lurks in the shadows (Youki Kudoh). Her face horribly disfigured, she confesses to Christopher that his true love was on the island, but she came to an unpleasant end. From there, the twisted prostitute begins to weave multiple stories about her life and the final fate of Komomo. The stories become increasingly unpleasant, until a final shocking truth is revealed.

So does Imprint live up to all the hype? Well, yes and no. It’s certainly graphic in the extreme and filled with imagery which might traumatize more sensitive viewers, but its also lacking in areas such as acting and plot. But if you like seeing slender Asian girls having their underarms burned and fingernails pierced with needles, then you might still find Imprint to be a satisfactory way to kill an hour.

Billy Drago starts off strong, his creepy features having served him well during a lengthy career. He looks weathered, beat down, and completely numb to much of the suffering around him (such as the pregnant prostitutes drowned in a nearby river). But when he’s called on to demonstrate emotions beyond “sinister” or “emotionally detached,” this is where the actor runs into trouble. His fits of rage over Komomo’s supposed fate seem artificial and a bit amateurish, frankly. That’s a shame, as I’ve enjoyed Drago ever since seeing him as the lizard-eyed Frank Nitti in Brian DePalma’s The Untouchables.

Once you get past the lead performance, all that’s left of Imprint is the shocking violence. Miike certainly knows what he’s doing in this area, as he’s directed some truly horrific moments in films like Audition. But much like his earlier film, Ichi the Killer, the sadism in Imprint seems to exist strictly for shock value. While it’s novel at first, it quickly becomes tiresome, especially when an Asian prostitute who looks about as waifish as Kate Moss is tied up and severely tortured – her piercing screams threatening to blow out your speakers over and over.

Devoted horror fans should at least be able to stand Imprint, while most others will probably shut if off once the anguished wailing begins and fetuses are shown floating down an otherwise peaceful stream. Those who stick with the film will be rewarded with some genuinely nightmarish scenes of torture and depravity, but that’s about the only reason to watch it. It’s still better than Syriana, however.