Director : Hitoshi Matsumoto
[Screenplay & Cast]
Cinematography : Kondo Ryūto
Running Time: 103 min.
Release Date: June 11, 2011
PIA: Comments: 3.5 / 5 At the exit of the rooms: 69/100
Score ★★★☆☆ 3/5
We start from the final jubilant at the tap of Zat Oichi with which disorients and Takeshi Kitano plays one scherzaccio to its audience of loyal and Add to this, the last few minutes of pure delirium of Symbol . You’re forced to start from here if you want to tackle a work like this, latest work by Hitoshi Matsumoto, Japan comedian who enjoys stellar popularity (coupled with Hamasa Masatoshi form for years the duo Downtown) and a little ‘ years now began to learn the art cinema, his passion since childhood. After the incredible Symbol seemed that nothing could attack the serene mind of the viewer, but Matsumoto manages to surprise again, with a work that looks back and revisits the genre jidaigeki and the character of the ronin with son / daughter through the distorting lens of his sensitivity comic, excessive and unsettling.
The story begins with an old ex-samurai, played by amateur Takaaki Nomi, and his daughter who roam Japan, a beautiful rural area, and almost bucolic photographed with great touch from Ryūto Kondo , former director of photography for two films Kumakiri Kazuyoshi, 36 Nonko know (kaji tetsudai) (Nonko 36-sai) and Kaitanshi Jokei (Sketches of Kaitan City). In the early scenes, with virtually no dialogue, we see the samurai always on the run with doing coward come assaulted and injured, and then comic scenes as delusional, by three assassins, comic caricatures that a good introduction to the surreal atmosphere of the film. It will be the little daughter Tae treat him every time with a mixture of mountain herbs. But this will not save it from the henchmen of a local lord, looking for someone who can bring a smile to his daughter, now reduced to silence by the shock of her mother’s death.
The mother’s disappearance is one of the wires opera conductors, a drama that has also affected the samurai and the little girl. Since his wife died, it has been left to go into a sort of apathy that seems to not want to conclude this only with death and is perhaps what secretly seeking. If you will not be able to make people laugh the little princess within thirty days granted, he will be forced to commit seppuku . Thus begins a surreal and comic part to excess where the derelict samurai all the evidence for their lives. Comes out here all the repertoire, even the limits of good taste, the comedian Matsumoto of Osaka and the Names mimicry which is almost keatoniana. Although the character has some similarities with what we had seen in Symbol , here is deeper and more human, the charging expression of sadness and immutable, the exposure of his physical nature which often puts in ridiculous and the near absence of speech, they are physical explicitation of what is his inner drama, namely that of being a loser, especially in the eyes of his daughter that often scolds him. All this succeeds in outlining, between a laugh and the other, a human-too-human hero that only in the beautiful Final able to redeem himself. We are here in the presence of perhaps best work Matsumoto and addition to the aforementioned excellent photography, we find stylized surreal scenes in the highest degree that show us the comic talent and directing of our own and ‘too good at positioning the camera. The only weak part is perhaps the central one, where the succession of amusing comic interludes made for laughs the princess in the long run tends to repeat itself and to lose the rhythm. But you can give it to him because history, the basic idea that drives the film, that is, the relationship between father and child that is expressed and sublimates especially in the final ten minutes, are to be applauded. You laugh, you cry blood and one hundred and twelve minutes of the film have already been completed. Yet we would like still to this sublime and comic madness purifying.