MATSUMOTO's SYMBOL: Review
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 bliss.
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
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