Audition 1999 Film full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

Shigeharu Aoyama (Ryo Ishibashi), a middle-aged widower, is urged by his 17-year-old son, Shigehiko (Tetsu Sawaki), to begin dating again. Aoyama's friend Yasuhisa Yoshikawa (Jun Kunimura), a film producer, devises a mock casting audition at which young women audition for the "part" of Aoyama's new wife. Aoyama agrees to the plan and is immediately enchanted by Asami Yamazaki (Eihi Shiina), attracted to her apparent emotional depth.

Yoshikawa develops misgivings about Asami after he is unable to reach any of the references on her résumé, such as a music producer she claimed to work for, who is missing. However, Aoyama is so enthralled by her that he pursues her anyway. She lives in an empty apartment, containing a sack and a phone. For four days after the audition, she sits perfectly still next to the phone waiting for it to ring. When it finally does, she answers pretending that she never expected Aoyama to call. After several dates, she agrees to accompany him to a seaside hotel, where a smitten Aoyama intends to propose marriage. At the hotel, Asami reveals burn scars on her body. Before making love, Asami demands that Aoyama pledge his love to her and no one else. A deeply moved Aoyama agrees. In the morning, Asami is nowhere to be found.

Aoyama tries to track her down using her résumé, but as Yoshikawa warned, all of the contacts are dead ends. At the dance studio where she claimed to have trained, he finds a man with prosthetic feet. The bar where she claimed to work has been abandoned for a year following the murder and dismemberment of the owner. A passerby tells Aoyama that the police found three extra fingers, an extra ear, and an extra tongue when they recovered the body; Aoyama has hallucinations of the body pieces. Meanwhile, Asami goes to Aoyama's house and finds a photo of his late wife. Enraged, she drugs his liquor. Aoyama comes home, pours a drink, and begins feeling the effects of the drug. A flashback shows that the sack in Asami's apartment contains a man missing both feet, his tongue, one ear and three fingers on one hand. He crawls out and begs for food. Asami vomits into a dog dish and places it on the floor for the man. The man sticks his face into the vomit and hungrily consumes it.

Aoyama collapses from the drug. Asami injects him with a paralytic agent that leaves his nerves alert, and tortures him with needles. She tells him that just like everyone else in her life, he has failed to love only her. She cannot tolerate his feelings for anyone else, even his own son. She inserts needles into his eyes, saying "deeper" continously as she does so. She then cuts off his left foot with a wire saw. Shigehiko returns home as Asami begins to cut off Aoyama's other foot, and she sneaks up on him with a spray. As she attacks the boy, Aoyama appears to suddenly wake up back in the hotel after he and Asami had sex, and his current ordeal seems to be only a nightmare; Aoyama proposes marriage and Asami accepts. As he falls back asleep in the hotel, he returns to find his son fighting Asami, who is brandishing mace. Shigehiko kicks her downstairs, breaking her neck. Aoyama tells his son to call the police and stares at the dying Asami, who repeats what she said on one of their dates about her excitement on seeing him again.

• Eihi Shiina as Asami Yamazaki (?? ??, Yamazaki Asami)
• Ryo Ishibashi as Shigeharu Aoyama (?? ??, Aoyama Shigeharu)
• Jun Kunimura as Yasuhisa Yoshikawa (????, Yoshikawa Yasuhisa)
• Tetsu Sawaki as Shigehiko Aoyama (?? ??, Aoyama Shigehiko)
• Miyuki Matsuda as Ryoko Aoyama (????, Aoyama Ryoko)
• Toshie Negishi as Rie (??)
• Shigeru Saiki as Toastmaster (???????, Sakaba no masut?)
• Ken Mitsuishi as Director (??????, Direkut?)
• Ren Ohsugi as Shimada (??)
• Renji Ishibashi as Old man in wheelchair (??????, Kurumaisu no r?jin)

Audition has been read as both feminist and misogynist. Miike has stated that when he met journalists in the United Kingdom and France, he found they commented on the film's feminist themes when Asami gets revenge on the men in her life. The film sets up Aoyama with traits and behaviours which could be considered sexist: a list of criteria for his bride to meet, and the phoney audition format he uses to search for future wife. Tom Mes, author of Agitator: The Cinema of Takashi Miike stated that the torture sequence, with the mutilation of Aoyama, can be seen as revenge from Asami. Dennis Lim of the Los Angeles Times examined similar themes, noting that the film as "ultimately about the male fear of women and female sexuality", noting that women are blatantly objectified in the first half of the film and in the second half Asami "goes on to redress this imbalance" when she becomes an "avenging angel". Chris Pizzello, writing in the American Cinematographer, stated that one plausible approach to interpreting the film is to see the final act as a representation of Aoyama's guilt at his mistreatment of women and his desire to dominate them. Aoyama develops a paranoid fantasy of an attacking object: because he harbours sadistic thoughts towards women, he develops a fear that the object will retaliate. Contrary to this, Miike has stated that the final torture scenes in the film are not a paranoid nightmare dreamed up by Aoyama. Mes has argued against the feminist portrayal of the film, noting that Asami is not motivated by an ideological agenda, and that acknowledging that she takes revenge on a man who has lied to her would be ignoring that she has also lied to Aoyama. Asami states "I want to tell you everything" during the torture scene, implying she had not been truthful before. Mes also notes that avenging angel theme contradicts the interpretation of a feminist-themed revenge as one of people that Asami's attacks was female.

In Audition, the character of Asami is a victim of child abuse. Colette Balmain, in her book Introduction to Japanese Horror Film, described Asami as "just one more face of the wronged women in Japanese culture ... They are victims of repression and oppression, and only death and loneliness remain for them". The film critic Robin Wood wrote that through her child abuse, Asami is taught that love and pain must be inseparable. The audience is led to identify with Asami through this victimization and also what Stephen LeDrew described as a "patriarchal Japanese society". Elvis Mitchell (The New York Times) stated that the theme of the film was: "the objectification of women in Japanese society and the mirror-image horror of retribution it could create". Tom Mes suggested that these themes can be witnessed in the scene where Asami feeds her mutilated prisoner and then turns into the childhood version of herself and pets him like a dog. Mes concludes that this is done to suggest that what had happened in Asami's life had made her the violent adult seen in the film.

Development

The main production company behind Audition was the Japanese company Omega Project. Omega were originally behind the production of Hideo Nakata's film Ring; this was a great success in Japan and, subsequently, the rest of Asia. Omega had problems setting up the release of Ring in Korea and had the company AFDF Korea work on a Korean re-adaptation of the Ring. The following year, in 1998, Omega partnered again with AFDF Korea and other production companies including Creators Company Connection, Film Face, and Bodysonic to make the adaptation of Ry? Murakami's 1997 novel Audition. Omega wanted to create a film different than supernatural-themed Ring, and chose to adapt Murakami's novel, which lacked this trait. To attempt something different, they hired a screenwriter (Daisuke Tengan) and a director (Takashi Miike) who were not known for working on horror films. Prior to Audition, Tengan was best known as a screenwriter for working with his father (Shohei Imamura) on The Eel, which won the Palme d'Or in 1997.

Pre-production

To create Audition, Miike worked with many of his previous collaborators, such as cinematographer Hideo Yamamoto. Miike spoke of his cinematographer by saying that Yamamoto was: "very sensitive towards death. Both of his parents died very young, and it's not something he talks about much". Miike also noted that he felt that Yamamoto was: "living in fear, and that sensibility comes through in his work. It's something I want to make the most of".

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