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Tomie: Forbidden Fruit (2002)
"Tomie: Saishuu-shô - kindan no kajitsu" (original title)

 |  Horror  |  29 June 2002 (Japan)
6.3
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Ratings: 6.3/10 from 334 users  
Reviews: 13 user | 8 critic

Tomie terrorizes an artistically inclined young girl and her widowed father, slowly integrating herself into the family.

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(screenplay), (comic) (as Junji Itô)
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Cast

Cast overview:
Nozomi Andô ...
Aoi Miyazaki ...
Tomie Hashimoto
Jun Kunimura ...
Kazuhiko Hashimoto
Yuka Fujimoto ...
Kyoko
Ayaka Ninomiya ...
Megumi
Chiaki Ohta ...
Tomoko
Tetsu Watanabe ...
Suzuki
Ryota Saito ...
Kazuhiko Hashimoto (flashbacks)
Sora Tôma ...
Masao Tajima (flashbacks)
Taijirô Tamura ...
Manager (flashbacks)
Edit

Storyline

Tomie terrorizes an artistically inclined young girl and her widowed father, slowly integrating herself into the family.

Plot Summary | Add Synopsis

Plot Keywords:

based on comic | See All (1) »

Genres:

Horror

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Release Date:

29 June 2002 (Japan)  »

Also Known As:

Tomie: The Final Chapter - Forbidden Fruit  »

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Sound Mix:

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Aspect Ratio:

1.85 : 1
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User Reviews

 
Demon Schoolchild Tomie is Found by a Fruit Vendor in a Crate of Oranges....,,
4 September 2014 | by (Gerst) – See all my reviews

In TOMIE: "Forbidden Melons" (lit, trans.) experimental manga scribe turned actor/Director Ito has created a cyber-industrial collage of disturbing and stylish visions. The film has a restless, choppy structure and overall is cloaked in an impressive mid-00s steampunk/industrial feel, which manifests itself mainly in the costumes (the walrus android in particular), the soundtrack and also the massive use the Director makes of the embryonic video F/X of the time which often helps to flatten the image on screen. This flattening of the perspective is, I assume, purely intentional and gives the whole film an often bizarre, hallucinatory feel. "Forbidden Mellons" is certainly symbolic storytelling at its most extreme.

One thing that does stick in your mind is just how Yoshinobu Fujioka has indulged himself with pretty much every video effect and trick in the F/X box circa 2002. A few years back this excessive use would have probably made the film borderline unwatchable but now things have come full circle and it benefits from a coolly contemporary perspective. One example of the overblown but often inventive use of video magic has the young girl Tomie in the film kicking another character. The latter, reeling from the blow, proceeds to spiral out of the current frame in a box out effect! Few film-makers used techniques like that in those days and nowadays you'd never get away with it - but nine out of ten for sheer abstraction.

For the vast majority of its running time Tomie: 'Saishu-shô - kinjan no kakitsu' plays out like a bad trip in slow motion. The film opens on a shot of a severed walrus head standing upright on a stone floor. It is on fire and the flames have already turned it into a mis-shapen black lump. Around this grisly scene, in what appears to be some kind of subterranean lair, various streams of boiling water and molten liquids flow in rivers across the stone.

There is a narrative of sorts, centering around the - creation? kidnap?

  • of a new Type 90 android (the Walrusator) built by someone called


Kazuhiko and of the fortune/misfortune of the group that has come into contact with her/it. However, the bulk of the film is targeted to work on a more symbolic and subconscious level with copious use of close ups of boiling liquids, transforming flesh and even a 15 minute still image slideshow showcasing scenes of cars stuck in traffic jams. The latter will bring a smile to your face - to go from harsh, violent imagery to what seems like an interval slideshow consisting solely of shots of traffic gives you some idea of the black, enigmatic heart that beats throughout this one.

But Ito shows his true colours in the way that the film is structured and it is this that chiefly consigns the film to be filed under the label 'Experimental'. This loose collection of powerful imagery is played without any real consideration for plot or any form of narrative structure at all. It is possible to read an anarchist theme in the film centred around the tellingly named Walrusator but this is not stressed or explored with any dedication. Ito also plays with tempo and employs still images, slow motion techniques and then shaky hand-held camera to inject pace and slow the speed of the film when necessary. Ultimately, Ito's palette full of exaggerations is born and bred from a purely underground outlook.

You're probably starting to pick up the notion that this may not be essential viewing and (arguably) you might be on to something. However, if your taste is for the blatantly strange and the downright bewildering - with a gentle tinge of dark humour added to the mix - then you really should see this. Unsettling and compelling at the same time; if the idea of a postcard from the border where steampunk and industrial atmospheres collide head on excites you, then you know what to do. One thing is for sure, Tomie's deformities are horrid and not so easily forgotten...


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