I want to start this off by saying, RIP to David Lynch. A Master of Horror, who's influence is seen at so many levels of media. Without people like him, we don't get many of the movies, shows, or games that we do. But the reason I am here, is for Perfect Blue.
An incredible and uncomfortable film that was made by Satoshi Kon and the talented team at Madhouse. Prior to my first watch, I really didn't know much about the movie. And I think that is important. Because my only frame of reference was that the main character, Mima, was an idol and being stalked. But what I experienced was much more harrowing.
Perfect Blue goes on the shelf as one of those movies that makes even the most steeled individuals uncomfortable. I say this because I am one of those individuals. I can watch and play most Horror media without being phased. I grew up on stuff like Friday the 13th. Gore is not going to deter me from anything. But there comes a time when even I get tripped up. While there are not many instances, I can name a few for reference.
But the one scene I want to talk about was during my watch of The Texas Chainsaw Massacre Part 2. The scene in question is when L.G. Peters (played by Lou Perry) goes to get food for him and our radio jockey main character, Vanita "Stretch" Brock (played by Caroline Williams). So, Stretch is left alone at night at the Radio Station. After a bit, Stretch comes out to the front and is greeted by Chop Top (played by Bill Moseley). For what feels like an hour, is actually just Chop Top harassing Stretch for a mere five minutes.
I remember seeing this scene and just gripping the couch. It felt so real. It's one of the worst feelings when a stranger invades your space like this, and just won't leave you alone. This scene is one of my gold standards for Horror. You can have an Oscar level film, but if you can't match this energy, then did you really captivate the audience to the best of your abilities.
That's the kind of energy I got when I was watching Perfect Blue. The tension is so high for a majority of the film, that everything is like the Chop Top at the Radio Station scene. Mima's life parallels in a lot of ways to characters in the Horror genre. Young women who are just doing their jobs and existing. But the difference for Mima is that she has a tiny bit of fame. Not much, but enough to garner a following.
Sometimes, that's all someone needs to become attached. We see it quite frequently nowadays with the expansion of the internet into our daily lives. Para-social relationships are rampantly increasing. Now, thousands, millions of people can create these fantastical relationships and expectations with people they don't even know personally.
So, the terror of something like Mima's Room would be expanded many times over in a modern setting. But in the context of Perfect Blue, it feels so different because the scale is so refined. It's personal, not because of Mima's reach, but because of the infancy of the internet. The Real Mima didn't even know how to use the internet. So you have to understand that with such a low amount of users and internet literacy, figuring out who was telling the truth would've been a monumental task.
Satoshi Kon and the team at Madhouse understood these things. They showcase how Mima loses herself in the Virtual Insanity. "Did I get eggs today" becomes a different question when you have to think about losing your handle on reality. When Mima starts to fall into the trap of Mima's Room, she is displaced mentally. Now, it becomes easier to accept what the fake is saying.
And this is only a portion of the movie itself. But I think that Mima's Room is the most important aspect. It is where the Virtual Mima resides. This Mima is making sure that the image is pristine. So that people like the Stalker (Me-Mania) can have their frame of reference for how Mima is supposed to be.
Not the Mima in the living world, but the Mima that lives in their head. Mima is an idol, not some actress who just accepts any job. Mima is perfect, no flaws. This is not to say that Mima is some sellout or at fault in anyway. No, it's the industry, and those that prey on gentle people. Mima doesn't want to shake the boat, so this allows the grossness of humanity to seep in and sully her good faith.
And I think that this encapsulates a lot of industries, especially in the 1990s. The monsters in Perfect Blue are all real people. People that don't take Mima's needs into consideration. This is for their pleasure. And people like Mima will just have to deal with it. When punishment does come to those in the film, it feels justifiable. Their sleaziness and disregard for people should land them far away from others.
These are my feelings on Perfect Blue. While this is a work of fiction, it's easy to see these events play out in the real world. A young performer gets taken advantage of because she doesn't want to be a burden. But in reality, did she even have a choice?
Aside from the story, Perfect Blue excels so well in sound and art direction. There are so many moments when the real and virtual worlds meld, but then get broken up in ways that blow you away. Like, maybe Mima really did return to being an idol. Or she's in another car. Like, I love the disconnect and reconnect approach. And that kind of editing trick only works when you have all of your elements working in tandem.
Do I think that you can make Perfect Blue again? Yes, but not in the same way. There are fundamental differences between how something like Perfect Blue is, and how a modern rendition would function. The big one would be the budget. So much older media that gets transitioned into a more modern age loses charm. It's the look, the feel. You're not going to get people being innovative on shoestring budgets. You're gonna get something that functions so phenomenally well without those blemishes and imperfections.
Is that an actual issue? I think so in some regards. Being allowed to do whatever you want is different from doing whatever you want with what you got. Unfortunately, that is how you end up with a worse sequel, remake, or whatever. You have to refine the scale and scope of things at times, instead of going all out with your ambitions.
Ultimately, I wish that Satoshi Kon had gotten to reap the success of his films. Perfect Blue embodies so many elements of what makes Animation and Horror so good. It has soul. It's crushing. It makes me want to watch it all over again. I will always be amazed at crews that can carry tension through a full run time. So, go watch it. This is one of the best movies in the genre, and you owe it to yourself to give it a watch.
And remember to Free Palestine, Free Congo, Free Sudan, Free Venezuela and to Free Lebanon from the onslaught of their oppressors. Never stop talking about them. They think that we don't care, but we see everything. Never forget that. They are trying to suppress our voices because they matter, remember that. There may have been a ceasefire in Gaza, but Palestine still needs to be completely free.
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