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FNC 2011 via Spectacular Optical
Saya Zamurai (Hitoshi Matsumoto, 2011)
Affirming himself as a truly unique filmmaker with the kaiju mockumentary Dai Nipponjin (2007) and a master of high concept comedy with Symbol, easily one the best films of 2009, comedian/director Hitoshi Matsumoto elevates his peculiar craft to an entirely different level with this jidaigekicomedy that had me crying and gasping of laughter. Like his two previous films, Saya Zamurai (aka Scabbard Samurai) is a high-concept comedy relying on repetition of a very simple and clever idea. When an aging swordless ronin (Takaaki Nori, hilarious) and his young daughter (Sea Kumada) are captured by a feodal lord, they are given 30 days to make his son laugh, who has lost his smile with the passing of his mother. 30 days, one attempt per day – that’s it. And because Matsumoto’s mastery of comedic timing and imagination knows no bounds, hilarity ensues. But in the process, Saya Zamurai manages to become much more than a relentless series of genius gags: a film about the intricacies of creative process behind filmmaking and comedy; a film about the absurdity of bushido, mortality and life itself; a film experience unlike any you’re going to have this year. Matsumoto elevates comedy to such degrees it becomes humanistic. Saya Zamurai will illuminate your day, have you marvel at the sheer ingenuity of its cinematic devices and, most importantly, take you through a spectrum of emotions that will have you wiping tears off your face.
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Hitoshi Matsumoto and Sea Kumada, 64th Locarno Film Festival for Saya Zamurai (2010)
Matsumoto’s latest is one of my favorite films seen this year, an absolute (comedic) masterpiece from the director of Dai Nipponjin and Symbol. Review coming soon, of course. Also, Sea Kumada is the cutest, most talented kid actress I have ever see in a film. Look at her! Precious!!
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Symbol (Hitoshi Matsumoto, 2009)
I can’t remember the last time I’ve laughed this hard with a movie. When comedic mastermind Hitoshi Matsumoto wakes up in a white room whose walls are covered with alabaster cherub penises, things get crazy. When touched, the penises release random items that will ultimately need to be combined in order for our protagonist to escape. While I have some problem with the parallel story - which ties nicely but almost irritatingly uninteresting in comparison with the zaniness of the white room - Simboru remains one of the smartest, most insane comedies I’ve ever seen. The gags will have you rolling on the floor and the punchline ending - although slightly predictable - is actually quite clever and interesting. Hitoshi is wonderfully expressive as an actor and, like in his debut effort Big Man Japan, carries the entire film assuredly. I can’t believe I foolishly missed seeing this on the big screen when it played at Fantasia. If you’re into smart concepts, puzzle videogames or Japanese absurdist humor, this is for you. A work of genius.
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Lazy evening at Adam’s with Lan….
Watched Night of the Hunter (1955), old embarrassing shit we produced in high school, Hitoshi Matsumoto’s fucking masterpiece Symbol (2009) and I think we’re about to watch porn. Or Sex & Fury (1973), as soon as it finishes downloading.
Man, you should see our setup here. Everything about this looks and sounds like a ridiculous stoner evening, yet we’re the straightest kids you know. Or at least I am. We’ve been looking at the ceiling and making the most stupid comments and observations for hours now. It’s ridiculous. Fuck losing an hour to the time change, though. Why the fuck am I live-blogging this, I have part 2 of my zombie seminar tomorrow at 12am at the Miskatonic institute. Damn right. The history of the zombie film.
Also did you know that if you eat ice cream and then drink Coke, it basically explodes in your mouth? I almost choked on that shit early tonight…It came up my nostrils, exactly like Menthos. Or does it spell Mentos?
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Big Man Japan (Hitoshi Matsumoto, 2007)
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Dai Nipponjin aka Big Man Japan (Hitoshi Matsumoto, 2007)
