SYMBOL Review
The action cuts back and forth between these two completely different stories, but to say any more about the plot would ruin the enjoyment of the film - and it is very enjoyable. Matsumoto has set up a fantastically creative stage for him to show off his comedic skills and is quite brilliant - using mime, slapstick and an endless selection of seemingly random household objects to vent the confusion and frustrations of his character and his bizarre situation. The audience must share in his increasing exasperation, given no more information than he and invited to solve the riddle with him. But the payoff is hugely rewarding and surprisingly profound, especially for a film with a healthy predilection for fart gags.
As with Matsumoto's previous film DAI NIPPONJIN (BIG MAN JAPAN), SYMBOL blends the mundane with the surreal to winning effect. Visually, the contrasting colour schemes of the two stories - the earthy tones of the Mexican wilderness juxtaposed against the unnatural, blemish-free, CG-enhanced environment of the man's cell - perfectly underscore the tonal differences between the two worlds. Matsumoto also knows exactly when enough is enough, judging just how long to let each joke run before nipping it in the bud and moving on to the next sequence, ensuring that even when the audience is not entirely sure what is going on, we never lose interest. There is plenty more to discuss regarding SYMBOL and when all is revealed it provokes a fascinating debate that will easily continue past the lobby and on into the pub afterwards, but the less you know going in, the better, suffice to say it is totally unique, unexpectedly smart and very very funny.
