Joshuu Sasori: Difference between revisions

=== The films provide examples of: ===

 

* [[Beware the Quiet Ones]]: A central facet of Matsu's character. She'll silently endure whatever hellish mistreatment gets thrown her way, but if she gets an opportunity to exact revenge, she will take it, and those who mistreated her will have hell to pay.

* [[The Corrupter]]: A central part of ''Grudge Song'' involves Matsu doing this as part of her scheme to escape.

* [[Shower Scene]]: Subverted. What might start out appearing to be a fanservice-type scene of communal showering turns into something much, much nastier - and more surreal. Notably, there's no nudity here on the parts of either Matsu or her unnamed ally.

* [[The Stoic]]: Matsu speaks only when she must and seems to find it hard to relate to others or express positive feelings. This is not exactly incomprehensible, though; while she begins the series rather more prone to emotion, after {{spoiler|she loses Yuki}} she withdraws considerably, becoming more of an [[Emotionless Girl]], with about the only exception being rage and hatred at Sugimi. She spends a great deal of ''Jailhouse 41'' showing very little emotion at all, making the ending all the more powerful. This reticence impacts badly on her relationship with Yuki in ''Beast Stable''.

* [[Teeth Clenched Teamwork]]: After the {{spoiler|escape}} in ''Jailhouse 41'' Matsu works with Oba and the other women, even though Oba clearly hates her and most of the rest are simply following Oba's lead.

* [[The Vamp]]: averted in a similar way to the Femme Fatale trope - Matsu is not primarily a sexual manipulator so much as a psychological one, and although she will use sex to get her way, it's not something she does naturally or apparently happily. And again, she's not immoral or evil so much as amoral.

* [[Villain Protagonist]]: Depending on how you feel about law, justice, retribution and punishment. Few films portray ''all'' police as enemies of the main character, after all.

** The first film's stageplay-like origin story flashback is the first instance of this, with echoes all through the film, created by unexpected coloured spotlighting.

** However, ''Jailhouse 41'' kicks it into overdrive, with a kabuki-like segment and a scene where a bus becomes a courtroom, not to mention the imposition of the surreal onto the real, like the witch, the waterfall or the ending.

** After this, the surrealism quotient drops considerably, but there are still elements of it in ''Beast Stable'''s sewer scenes, sound editing and the music-synched stopmotion effect in the bar scene.

* [[Womanin Black]]: A [[Nice Hat|wide, floppy sunhat]], [[Badass Longcoat|long belted coat]] done up to the neck, flares and gloves tends to be Matsu's preferred garb {{spoiler|having escaped, during her vengeance streaks}}.

** The costume is fairly iconic; it's referenced in ''[[Love Exposure]]''.