Talk to anyone who's already had the pleasure of
seeing Symbol and they will warn you it is best to go in knowing as
little as possible. Which, by the way, might actually explain the
lacking amount of reviews for this film, even on the web. And truth be
told, reviewing Symbol really isn't a very easy task, yet Matsumoto's
film deserves all the attention it can get, so here goes.
Matsumoto is the mastermind behind Dai-Nippinjin
(Big Man Japan), a small film that made a bunch of avid fans
amongst a tiny group of die-hard film lovers. It turned out to be a slap
in the face for many who believed they liked their humor served dry, as
Matsumoto took the concept a couple steps further and out-freaked a big
portion of his target audience. With Symbol he is back to tease his
fans, but does so in a more accessible way, making sure this film is
less certain to alienate its audience.
Symbol is a little difficult to describe. As for name dropping, think
Gen Sekiguchi (of Survive Style 5+ fame) redoing Kubrick's 2001: A Space
Odyssey. If your mind can't quite handle that, no worries, Symbol is a
film that simply needs to be experienced. There's a fair amount of dry
humor in the form of a seemingly unrelated tale of Mexican wrestlers,
but the main portion of the film is way more direct and in your face,
even slapstick at times.
Matsumoto plays an unnamed character waking up in a white room.
Completely empty, void of any presence whatsoever, except his own. But
when taking a closer look, Matsumoto finds a little switch sticking from
one of the walls. In no time there are popping up switches everywhere,
each of them opening hatches and dropping seemingly random stuff inside
the room. Completely baffled (can you blame the guy?), he starts to find
his way out of the room.
Visually Symbol is striking. The scenes in Mexico are warm and gritty,
greatly contrasting the extremely clean and controlled sensation coming
from the white room. There's a fair share of CG which is either very
functional or simply neat, always making sure it never intrudes or
detracts. Matsumoto also smuggles in a couple of comic scenes and a
truly explosive ending, all contributing to making this film pure visual
The soundtrack is great too, very supportive of the scenes and often
quite funny in its own right. From the silly Mexican song at the start
of the film to the angelic "Ah"s coming from the switches, there's
always something happening to amuse the audience. Add to that the
awesome track featured during the climax and some great tunes during the
comic scenes, and you won't hear me complain any more about the
relative bore most Japanese soundtracks are nowadays.
As for the performances, the Mexican part is acted nicely enough, but
the main attraction is of course Matsumoto himself. He takes up the lead
role again and does so with style. He has a range of superb expressions
and great comedic timing, making sure that no gags stretch out too long
and no pun is left hanging without a good visual punchline.
Matsumoto could be considered a self-indulgent, even narcissistic man.
He plays the main role in both of his films and considering the nature
of his role in Symbol you might believe he likes himself just a little
too much. Which could just as well be the case, but similarly to Kitano
the man knows to bring it in such a way that audiences just aren't
bothered with it. He's just that good.
Even though there are plenty of solid gags tucked away, it's not so
much the puns and jokes that make Symbol such a funny film, but the
setting cooked up by Matsumoto. When the two story lines finally collide
the pay-off is magnificent, but it's still small fry compared to the
immensely impressive climax. Typically Japanese, think Otomo's Akira,
but not as vague as some people have suggested. A perfect ending
shedding a pleasantly different light on all that came before.
Symbol is a rare film. Ultimately creative, laugh out loud funny and
leaving you in a slightly bedazzled trance. Matsumoto's sophomore film
is even better than Dai-Nipponjin, ranking it safely among my all-time
favorites. And that's all I'm going to say about it. If you're into
strange Japanese comedies, put this on your number 1 spot. If you're not
all that familiar with them, make sure you don't miss the chance to see
this one if it happens to come your way. Absolutely recommended
Do you feel this content is inappropriate or infringes upon your rights? Click here
to report it, or see our DMCA policy