Year of Release: 1997 Directed by Satoshi Kon. Voices of Junko Iwao, Rika Matsumoto, Shinpachi Tsuji, and Emi Shinohara.
“Excuse me…who are you?” Mima Kirigoe (Junko Iwao) nervously repeats her only line as she prepares to shoot her first scene as a television actress. After a successful career as a Japanese pop idol, the young celebrity wants to expand her work to include more serious forms of entertainment. However, change is difficult, and due to obsessive fans and crippling self doubts Mima begins to question her profession and her identity as hallucinations that blur her television series with her personal life cause her perception of reality to start slipping away.
On the other hand, Mima’s hallucinations might not be projections of her uneasy subconscious. It is clear that a devoted fan is stalking her, the threats she has received are very real, as are the murders of those who exploit her vulnerability.
Then again, the police can find little connection between the murders, and by the time they happen, Mima is already so upset and self-conscious that she is sure everything is somehow connected to her. Regarding the obsessive fan, after the opening scene where he threatens a rioter trash talking Mima, no one notices him again. Mima is the only one who sees him loitering in the shadows everywhere she goes.
To compound Mima’s confusion and anxiety, a devoted fan has set up a webpage called “Mima’s Room,” which functions as an online diary of Mima’s daily activities. When she first discovers it, Mima is amused at how well one person knows her idiosyncrasies. However, as the online account deviates more and more from her daily activities as an actress, instead detailing her daily activities when she was a pop star, Mima begins to wonder which version of her life is real. To make things worse, Mima is discovering tangible proof in her apartment of the online account of her supposed activities, activities of which she has no memory.
The driving force behind Mima’s fear is a projection of her subconscious which criticizes every choice she makes, calling her a traitor to her real self. Mima is susceptible to these criticisms, because she does feel uneasy. She misses her friends with whom she used to perform, but more notably, the television executives are writing scenarios that are freakishly similar to her personal life, and they are exploiting her and trying to force her into racy situations that will boost ratings. The first appearance of Mima’s critical subconscious is synchronized with the arrival of a script that demands she film a rape scene. When Mima is tricked into a nude photo shoot, the subconscious informs her that she is no longer the real Mima and that the real Mima (the subconscious) will return to performing as a pop star while the actress fades into obscurity.
Until the very end, it remain unclear whether Mima is being driven insane by a dangerously obsessed fan, whether her own guilt is making her uneasy, or something else entirely. The depiction of this uncertainty and the possible surreal obfuscation of multiple mentalities is what Perfect Blue captures brilliantly. The editing effortlessly fluctuates between different realities, and towards the end, the film begins to show repetitions of the same event. One time it is depicted as it takes place in Mima’s television series, the other time it is within the nightmare of Mima’s subconscious. Each version concludes with Mima waking up in her apartment, distressed and confused, heightening the mystery of what is real and what is not.
Perfect Blue was released in 1997, and director Satoshi Kon makes excellent use of the novelty of the internet. The world wide web was a new phenomenon and obsession, and in the film it is used to manipulate Mima’s perception of reality as well as mirror her uncertainty as she begins a new career. Even five years later, that sensation would have been lost.
The film is also very culturally aware of other horror films, and there are references to two of the greatest psychological thrillers concerning split personalities and character transformations: The Silence of the Lambs and Psycho. The television series Mima is filmingconcerns a serial killer who skins his female victims so he can become a woman, like Buffalo Bill in The Silence of the Lambs. Another scene refers to a role that Jodie Foster played before The Silence of the Lambs. And the ending takes a page directly from Alfred Hitchcock’s 1960 horror masterpiece.
Before his tragic death in 2010 at age 46 from pancreatic cancer, Satohsi Kon directed four feature length anime films and created one anime television show. Perfect Blue was the first of those, and it is an incredible achievement for a debut film, capturing a terrific sense of mystery and showcasing the danger of obsession that twists reality until it is almost unrecognizable.
Content Advisory: Graphic depiction of rape, full frontal nudity, several very gruesome murders, and an atmosphere of horror throughout. Not rated, would be NC-17 if it were live action.
Suggested Audience: Adults with discernment
Personal Recommendation: A