If you have seen some of Sabu's previous films, this one may be a bit startling. Though there are still many coincidences and it basically remains a road movie, the trademark laconic humor is missing. What we have is a very oddball social drama, and the first film by Sabu he has adapted from a novel.
And this may be its biggest problem, as - even judging solely on the thematic range of the film - the novel must be quite a big and complex effort in telling one persons life story. To compress such a book into a 2 hour film is a difficult task which Sabu doesn't always manage successfully. Between extended contemplative periods, there are disproportionately fast episodes with numerous twists and turns. Either he should have used at least 4 hours to tell his epic story, or shortened the overall occurrences into a coherent whole. As it is, the film often appears a mess, with moods changing swiftly, and introducing shocking scenes into the overall melancholia that seem out of context. At times Sabu seems to be copying some of his contemporaries like Takashi Miike, Shunji Iwai and Sion Sono, rather than creating anything personal. But after a bumpy ride I was nevertheless released from the film with a "completed" frame of mind, and the feeling that this may be a transitional (and important) phase for Sabu to brake free of his image.
In the end he succeeded in creating a highly fascinating film, that will surely trigger further rewards with repeated viewings. And the eclectic mix of originality and banality regarding his stylistics seemed oddly satisfying. Somehow he managed to walk the line between trash and art, and emerge with something truthful. In this regard the film could be a good companion piece with Sono Sion's "Strange Circus" which stumbled while performing the same task. Also fine acting by the fascinating Hanae Kan, whom I still have a fond memory of from her difficult role in Koreeda's "Nobody Knows".
And this may be its biggest problem, as - even judging solely on the thematic range of the film - the novel must be quite a big and complex effort in telling one persons life story. To compress such a book into a 2 hour film is a difficult task which Sabu doesn't always manage successfully. Between extended contemplative periods, there are disproportionately fast episodes with numerous twists and turns. Either he should have used at least 4 hours to tell his epic story, or shortened the overall occurrences into a coherent whole. As it is, the film often appears a mess, with moods changing swiftly, and introducing shocking scenes into the overall melancholia that seem out of context. At times Sabu seems to be copying some of his contemporaries like Takashi Miike, Shunji Iwai and Sion Sono, rather than creating anything personal. But after a bumpy ride I was nevertheless released from the film with a "completed" frame of mind, and the feeling that this may be a transitional (and important) phase for Sabu to brake free of his image.
In the end he succeeded in creating a highly fascinating film, that will surely trigger further rewards with repeated viewings. And the eclectic mix of originality and banality regarding his stylistics seemed oddly satisfying. Somehow he managed to walk the line between trash and art, and emerge with something truthful. In this regard the film could be a good companion piece with Sono Sion's "Strange Circus" which stumbled while performing the same task. Also fine acting by the fascinating Hanae Kan, whom I still have a fond memory of from her difficult role in Koreeda's "Nobody Knows".