Baka no hakobune (ばか の ハコ 船, No One's Ark), Directed : Yamashita Nobuhiro; screenplay : Yamashita Nobuhiro, Mukai Kosuke; photo : Kondo Ryuta, Mukai Kosuke; mounting : Tadokoro Hajime; music : Akainu; Interpret: Hiroshi Yamamoto, Tomoko Kotera, Yuko Hosoe, Takeshi Yamamoto; production : Kosuke Mukai, Kunihiko Tomioka; length: 111 '; first : April 26, 2003.
No One's Ark is the story of a couple willing to try hard to achieve financial success by selling an unlikely energy drink taste disgusting and the very similar name to that of a most famous product. Having experienced the failure in the capital, two fold, enthusiastically completely out of place, the sad reality of the province of his native country.
Yamashita second feature, takes some cues of the previous Hazy Life and anticipated for other aspects of the next Ramblers, with which it forms a kind of trilogy on the rise. More accurate in shape and more elaborate than in the intertwining debut film, No One's Ark reiterates a clear authorial poetics (though rooted in "tradition" of independent film and certainly indebted to established filmmakers like Kaurismaki, Kitano and Jarmusch) but at the same time suggest a distinct tendency to eclecticism and an ability to challenge the canons of his films, that these features will become more apparent in the years to come. As was the case in Hazy Life, the film focuses on a pair of inept lunatic trapped in a mediocre and shabby reality against which they are, unknowingly, so much the outsider (because, unlike all others, and try to dream desperately to stand out) as part of vice versa (because they are not up to its aspirations). The difference from the pair of friends Hazy Life is that there are players showed resigned to not getting the slightest recognition social reality, while engaged in No One's Ark flaunt an entrepreneurial spirit and enthusiastic confidence in the success which clash comically with the desolate landscape of the Japanese economic recession. Their company is pointless and absurd just like all the meticulous controls of goods that the two, very serious, running daily on their own plan products and outlandish marketing strategies. The ridiculously grandiose dreams of the couple and, above all, their seriousness and determination in pursuing them in the face of continued defeats and humiliations, are meant to fail from the premises, so that the structure of the film there is, from the first scene until the final surreal, like an inexorable decline in steady decline because of ambition, to vent frustrations and compromises with bitter reality.
While No One's Ark is certainly one of the funniest movies of Yamashita, the underlying sadness and sense of the grotesque are too intense to not leave a bitter aftertaste. The look is minimalist Yamashita, property, located in an often cruel and merciless, but not without a self-deprecating sense of empathy and caring towards the players, mainly conveyed by the actor-fetish in which the director relies on all the main roles in this first phase of his career: Yamamoto Hiroshi (not to be confused with Takeshi Yamamoto, protagonist of the most experimental of Yamashita, who here plays the surly misfit and Ozaki). Skilled in painting on their faces and their movements in the sense of embarrassment, inadequacy and existential distress that animate the film Yamashita, Yamamoto with extraordinary natural embodies a model of what a typical Japanese so out of cliché, the other side of the philosophy of " Ganbare ", an anti-hero literally able to deflate like a balloon (in one of the most memorable of all the peaks of surrealism Film Yamashita) while not having to face reality. Excellent also the interpretation of his female counterpart, Tomoko Kotera, and interesting soundtrack. [GC]
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