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Writer's pictureRobin Syversen

SYMBOL (2009) | FILM REVIEW

Updated: Jul 31

Matsumoto’s Comedy Cult Classic is an Overlooked Masterpiece!



Director: Hitoshi Matsumoto

Cast: Hitoshi Matsumoto, David Quintero, Luis Accinelli, Carlos C. Torres, Adriana Fricke

Related films: Survive Style 5+, Kamikaze Girls, Taste of Tea

Year: 2009

Verdict: 6/6



Contents:



Introducing Symbol


Japanese quirky cinema was at its height in the early 2000s. Wacky films were churned out like conveyor belt sushi, and the market could not be satisfied. The eccentricity bubble peaked around mid-2000 with highlights such as Survive Style 5+ (2004), The Taste of Tea (2004) and Memories of Matsuko (2006).


As the fad started to fade—in the aftermath of quirk, so to speak—director Matsumoto entered the stage with his spectacular one-man show. Singlehandedly, he orchestrated the perfect swan song for the golden age of quirk. Not only did he prove himself to be a master of the genre, but Symbol became a pinnacle of peculiarity.


Somehow, it failed to capitalize on the popularity of quirk, which is a travesty if you ask JCA. Rarely did a quirky comedy stand the test of time better, but sadly, Symbol appears destined to stay in the cauldron of cult cinema forever after. If there is any justice in the world, it will be rediscovered and get its time in the sun someday.



Symbolic Facts


Symbol is a Japanese comedy film released in 2009. It was directed by Hitoshi Matsumoto, who had a minor international breakthrough with the movie Big Man Japan in 2007. Symbol never got much attention in Japan, but gathered a cult following overseas.


Despite garnering some international attention, Symbol never got an official international release. Its best acclaim came from the 4th Asian Film Awards in Hong Kong, where it was nominated for Best Actor and Best Visual Effects.



Nutshell Synopsis (Spoiler-Free)


The opening scene is set in a desolate desert landscape. From afar, a car approaches on a dusty road. The scene brings to mind the first episode of Breaking Bad or basically any film set in dry, southern American landscapes.


Before long, we realize that the scenery is the backdrop for a Mexican household. The father of the family is a pro wrestler who never takes off his Mexican wrestler’s mask. This particular morning, he is preparing for the fight of his life.


Meanwhile, on the other side of the world, a Japanese man wakes up in a solitary room. Every surface in his cell is white, windowless, and filled with countless tiny penises sticking out. Whenever the man touches a penis, an item is dropped into the room. Bizarre as this might sound, it is only the beginning.



Cinematic Parallels


The connection between the Japanese man and the Mexican wrestler is for you to discover. Suffice it to say that the former is the epicenter of the story. The events in the tiny penis room soon take epic proportions. The happenings are both hilarious and thought-provoking.


Some incidents play with the concepts of time and space, which brings to mind certain sci-fi scenarios. The solitary man in a single room trying to make sense of his captivity creates an atmosphere not unlike that of The Cube series, particularly Cube 2: Hypercube (2002).


The cutting between two narratives—interlaced with short anime-like sequences aimed directly at the viewers—underlines Symbol’s playful approach to narrative build-up. At times, the 1960s Japanese New Wave or the New New Wave that followed 20 years later is brought to mind. However, Matsumoto’s antics can never be mistaken for anything other than his own.


The playful tone and free-flowing creativity do indeed parallel films like Tokyo Drifter (1966) and Tampopo (1985). Taking cues from both the past and modern tendencies of quirk, Matsumoto placed himself shoulder to shoulder with innovative directors such as Tetsuya Nakashima, Katsuhito Ishii, Gen Sekiguchi, and Takashi Miike.



A Hitoshi Matsumoto One-Man Production


Symbol is a unique film, not only in the context of Japanese cinema but worldwide. Like The Cube films, also this story has a «dawning realization-factor» which is very compelling. The term «meta» is perhaps as cryptic as the film's narrative. Still, Symbol is definitely constructed by building blocks of a cinematic meta-language.


It takes a true film nerd to approach filmmaking in such a playful and daring manner. Not to mention the fact that Matsumoto took full control of most aspects of the production. In addition to writing the script and directing, he also stars as the pajama-clad protagonist. A director trapped in his own twisted fantasy is about as meta as you can get.


Compared to his debut Big Man Japan (2007) Matsumoto made clever use of his increased budget. Symbol is arguably minimalist in its set pieces, but the effects are well made, the costumes are hilarious, and the overall atmosphere complements the story perfectly.


The camera and sound do not interfere with the narrative, which is to say they are very well done, considering that the entire film is based on concepts of narrative innovation. The use of angles and sound is interesting yet always in tune with the natural flow of the storytelling. The cinematography isn’t anything out of the ordinary per se, but it aids the narrative flow nicely and is on par with the best work from the 2000s wave of quirk.



Reading Between the White Walls


In all fairness, Symbol is a so-called «crazy comedy.» It is not meant to be taken too seriously. At the same time, there is something profound about the whole film that is not easily forgotten. Not many such comedies can claim to be thought-provoking, but repeated views of Symbol do indeed evoke a certain cathartic effect.


It says something about a film's inventive nature when its lighthearted story inevitably leads to philosophical pondering. Is Symbol a vision of purgatory? Are angels in need of educational institutions? And last but not least, how random is the cause and reaction for every little incident that happens in the entire universe? Are these hints confusing? Then, take a deep breath, lean back, and prepare for more.



Final Verdict for Symbol


There is something special about minimal films that still stir up big emotions, like The Cube, 12 Angry Men, The Man From Earth, 2LDK, or Aragami. These films might be an acquired taste for a selected few. However, for those of us who appreciate the challenge, it is an incredibly rewarding experience. If you are new to the concept, Symbol is as good a starting point as any.


In fact, Symbol is much more than an indie film for the selected few. It is an absolute gem for fans of Japanese quirk and science fiction alike. It is an intelligent comedy for the open-minded and an eye-opening revelation for the close-minded. All aspects of the filmmaking are well crafted, and the story takes you on a ride so unique, so out of this world, and so wildly entertaining that you’ll never forget it.




References


The Japan Times: Symbol



Symbol used to be available on Amazon Prime Video. Unfortunately, it is currently suspended due to licensing issues. Finding it elsewhere can be somewhat of a challenge. There are some second-hand and somewhat obscure DVD releases to be found online. There is also a Japanese Blu-ray available at CDJapan and YesAsia. It comes without subtitles, though, so fingers crossed that Santa will bring an international Blu-ray release of Symbol for our stockings this year.

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