The problem with manga adaptations is they result in cinema that is manga-esque. There is some gentle comedy here, and some touching scenes, and the seamless (for the most part) way the stories are woven together is quite clever. But the characters are mostly one or two note, and we never really get to know anything about their internal lives. Ryuhei Matsuda's character is frustratingly enigmatic. He joins Jun Kunimura's work crew for no real reason, and they turn out to be a bunch of grown men behaving like bickering infants. There are some panty and poop jokes so beloved of local TV comedy, but that went out with Benny Hill overseas. Given the wealth of acting talent here, both on screen and with the three directors, this strikes one as a project that was probably more fun to make than to watch.
2 Reviews
Sex, lies and DVD rental shops
politic19839 May 2022
Warning: Spoilers
One problem with anthology films is drawing any conclusions from the various narratives beyond simple entertainment in easily digestible portions. Takumi Saito, Naoto Takenaka and Takayuki Yamada's "Zokki", based on Hiroyuki Ohashi's manga, while unusual, tries to leave a sense of ennui and how we can be defined by the secrets we keep and the lies we tell.
Starting off with an elderly man wanting to discuss his secrets with his granddaughter, a lost man (Ryuhei Matsuda) sets out on his bike, riding without any real purpose until he finds one. His neighbour works in a video store whose main joy comes from little post-it notes he leaves for himself each morning. A pair of school friends discuss one's imaginary sister, as the other becomes obsessed with her. And a father and son break into a school at night, as the father tries to reclaim his youth.
What makes this a little different from similar comedies is that it is largely played with a straight face in a natural atmosphere. Often, characters and scenarios are made larger-than-life with a confidence in their madness. But "Zokki" is a film all about insecurity and hiding your true nature and feelings. Rather than being bemused and dumbfounded by characters, you can empathise with their plight, finding the everyday in their absurdity.
The standout segment is Saito's tale of two schoolfriends, Makita (Yusaku Mori) and Ban (Joh Kujo), where Makita lies that he has an older sister, when Ban asks if she's pretty. Going to extreme lengths to cover-up the lie and invent a backstory for the imaginary sibling, Makita finds himself in humorously absurd situations to fully convince the increasingly obsessed Ban, but at the expense of his own happiness.
The tragedy in inventing a situation to appear more interesting or gain friends - only to result in further loneliness - is what gives "Zokki" a little more edge. The story could be purely for laughs, but offers some comment on humanity and how we overthink life rather than simply live it. This mood permeates all of the characters and stories, and while the characters cross each other's paths, this is the linking factor. The common image of a porn actress furthers the point: We could be out achieving our goals; instead, we're distracted with pornography - not true to ourselves, hiding our behaviour and haunted by past indiscretions.
There is also an element of horror thrown in for good measure, as Kohta (Pistol Takehara) and his son Masaru (Yunho) break into a school late one night. But while getting up to mischief, they come across and eerie presence. For a moment, this is genuinely unnerving, though Takehara's overzealous acting soon diffuses this, in a rare moment where the film goes full-tilt into comedy mode.
While there are differences in approach by the trio of star-name actor-directors, the mood of the film is consistent throughout, which is necessary in keeping its charm. Apart from the odd divulgence into the more blatant, this has a subtle and gentle approach, and a lazy film to relax into, which is a refreshing change from many anthology films that try and push too much too far in the limited time frame for each. In fact, you feel each could have done a little more to fully explore the ideas and themes, leaving some feeling a little stunted.
Politic1983.home.blog.
Starting off with an elderly man wanting to discuss his secrets with his granddaughter, a lost man (Ryuhei Matsuda) sets out on his bike, riding without any real purpose until he finds one. His neighbour works in a video store whose main joy comes from little post-it notes he leaves for himself each morning. A pair of school friends discuss one's imaginary sister, as the other becomes obsessed with her. And a father and son break into a school at night, as the father tries to reclaim his youth.
What makes this a little different from similar comedies is that it is largely played with a straight face in a natural atmosphere. Often, characters and scenarios are made larger-than-life with a confidence in their madness. But "Zokki" is a film all about insecurity and hiding your true nature and feelings. Rather than being bemused and dumbfounded by characters, you can empathise with their plight, finding the everyday in their absurdity.
The standout segment is Saito's tale of two schoolfriends, Makita (Yusaku Mori) and Ban (Joh Kujo), where Makita lies that he has an older sister, when Ban asks if she's pretty. Going to extreme lengths to cover-up the lie and invent a backstory for the imaginary sibling, Makita finds himself in humorously absurd situations to fully convince the increasingly obsessed Ban, but at the expense of his own happiness.
The tragedy in inventing a situation to appear more interesting or gain friends - only to result in further loneliness - is what gives "Zokki" a little more edge. The story could be purely for laughs, but offers some comment on humanity and how we overthink life rather than simply live it. This mood permeates all of the characters and stories, and while the characters cross each other's paths, this is the linking factor. The common image of a porn actress furthers the point: We could be out achieving our goals; instead, we're distracted with pornography - not true to ourselves, hiding our behaviour and haunted by past indiscretions.
There is also an element of horror thrown in for good measure, as Kohta (Pistol Takehara) and his son Masaru (Yunho) break into a school late one night. But while getting up to mischief, they come across and eerie presence. For a moment, this is genuinely unnerving, though Takehara's overzealous acting soon diffuses this, in a rare moment where the film goes full-tilt into comedy mode.
While there are differences in approach by the trio of star-name actor-directors, the mood of the film is consistent throughout, which is necessary in keeping its charm. Apart from the odd divulgence into the more blatant, this has a subtle and gentle approach, and a lazy film to relax into, which is a refreshing change from many anthology films that try and push too much too far in the limited time frame for each. In fact, you feel each could have done a little more to fully explore the ideas and themes, leaving some feeling a little stunted.
Politic1983.home.blog.
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