This
dark exploration of human cruelty was made possible by the worst bottom-feeding
instincts of the book-publishing industry (I’m so proud). When a notorious
serial killer comes forward to explain how he committed his murders, safely after
the statute of limitations has expired for his crimes, there are no shortage of
houses willing to promote it. However, some will question whether his tell-all
tells all in Yu Irie’s Memoirs of Murder (trailer here), which screens
during the 2017 Japan Cuts Festival of New Japanese Film in New York.
Back
when it all started, Wataru Makimura was one of the lead detectives on the Tokyo
Strangler case. He still literally carries the scars from his encounter with
the killer on his face and his soul. Tragically, he was not just an
investigator on the case. He was also a victim. Not only was his partner killed
in a booby trap meant for him, his missing sister Rika was presumably the final
victim.
Thanks
to the Strangler’s elusiveness, the statuette of limitations was eliminated for
capital crimes. However, all of his known murders were committed before the
change in law took effect. Therefore, when Masato Sonezaki comes claiming to be
the killer in a graphically detailed memoir, the police are powerless to arrest
him. The smooth talking Sonezaki becomes a media darling, but his transparently
phony remorse adds insult to the surviving families’ pain. Several will
consider taking the law into their own hands, but the guilt-ridden Makimura
will do his best to protect them from their own impulses.
By
the way, a twist will come, which viewers will know if they have seen the
original Korean film, Jung Byoung-gil’s Confession of Murder, which Irie has remade. However, he added an additional sinister revelation
that takes the Japanese remake into even darker places. Reflecting Jung’s
action roots, Confession was structured
around several white-knuckle thrill-ride chase sequences, whereas Memoirs is a darkly twisted exercise in psychological
suspense. Both films accomplish their goals with lethal effectiveness.
Hideaki
Ito’s Makimura is a perfect hard-nosed, square-jawed Japanese analog for Jung
Jae-young, which is high praise indeed. As Sonezaki, Tatsuya Fujiwara does some
of his creepiest, clammiest, and most surprising work since appearing as Light
Yagami in the original Death Note movies.
Plus, Toru Nakamura ratchets up the intensity as Toshio Sendo, the respected
journalist who hosts their television showdown.
