Based on a psychological horror manga created by Kyoko Okazaki, “Helter Skelter” (2012; “Herutâ sukerutâ” original title) is about Lilico (Erika Sawajiri), a beloved model and actress that underwent multiple cosmetic surgeries. When side effects begin to show on her body, she tries to keep up the personality her fans and her agency expect of her, even if it kills her and everyone around her.
The Beauty Industry, and the Commonality of Plastic Surgery in Japan
Lilico embodies everyone’s self-esteem. She’s a symbol to many young women in Japan. Every person around her states they owned her, created her, and knew her deep down. It’s easy to know and reach her, because she’s always in magazines, TV, films, and commercials. She’s a flower on display, only there for people to admire. Lilico has to treat herself the same as what everyone wants of her. But when the mirror starts to disagree with her reflection—when the people who worked for her tire of hiding her bruises, and when the men who took advantage of her already got what they wanted, she’s just yesterday’s trash, with no personality or loved ones to keep.
Plastic surgery is very common in Japan, and continues to rise, especially after pandemic restrictions have eased. According to ISAPS (International Society of Aesthetic Plastic Surgery), more than 1 million procedures were performed during 2020, with eyelid surgery, facelifts, fat grafting, rhinoplasty, and liposuction as the most common surgical procedures.
A Directorial Masterpiece for Mika Ninagawa
Japan also ranks 4th among the top 10 countries worldwide having the highest number of procedures done, and also the number of plastic surgeons available in the country. While magazines and most female personalities make cosmetic surgery look attractive, “Helter Skelter” shows the dark side of it—rather more of its misuse and the errors of going under the knife. However, the authorities shown in the film seem detached and clueless on the need for these young women to go under the knife. They’re just mere observants; like the rest of the entertainment critics, they wait for the clinic or its client to have a misstep.
Director Mika Ninagawa outdoes herself with this film. She makes Lilico truly alive, and not just someone we see in magazines. Her background as a photographer reflects on how each shot is beautifully-staged, and the set design is fabulous and sensational. The world Lilico lives in is like a photography studio. Her apartment is filled with excessive props perfectly suited for a sensual goddess. Every flash of the speedlights feels like the tick of a clock that constantly reminds her to keep up, and she treats every camera similar to how she admires herself in the mirror.
‘Helter Skelter’ shows the dark side of it…and the errors of going under the knife.”
I would like to applaud the art direction of Enzo and Hiroyasu Koizumi, Costume Designers Tetsuro Nagase and Nami Shinohara, and also Noboru Tomizawa for make-up, all of whom make the world of this film splendid and surreal. I believe the involvement of manga artist Kyoko Okazaki itself makes the film look exactly how it was intended in her manga.
On Beauty, and its Ever-changing Processes
This was Erika Sawajiri’s comeback film after a 5-year hiatus, and it looks like she didn’t lose her touch. We should pity her character; but her portrayal of Lilico is not meant to make us sympathize with her. She builds a character that surpasses God himself, someone to worshiped at. Not only did she earn a nomination for ‘Best Actress’ at the Awards of the Japanese Academy in 2013, she also earned a girl-boss respect.
While we can reshape beauty, the film reminds us we can’t keep it. No amount of money and applause is worth the risk. But what did Lilico leave behind? Her body might not be able to last, but millions of women will always strive to be like her. Not the model, all-cute and smiley version, but the scarred, livid, and influential kind. She just created another definition of beauty.
We could not currently find any streaming options for “Helter Skelter.”
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