Matsumoto is a long-term popular comedian in Japan (under Yoshimoto Kogyo), who has been in love with actresses such as Tokiwa Takako and Yuka, and often occupies the front position of search engine keywords. "The Great Japanese", which he directed for the first time, was not just funny, but full of satire directed by the master himself. In some places, there is even a sadness of "suffering is known".
Da Sato, played by Matsumoto himself, is the sixth-generation "great Japanese" who inherited his ancestral business. He is no different from ordinary people on weekdays. When he receives a notification that a monster is attacking, he will go to the transformer substation (transformer?) to charge the transformer. Big, and then fight against various monsters among the commercial buildings. The scene is the same as when we look at Japanese cartoons. Recently, Spiebberg used "Transformers" to "carry forward" the tradition of Superman fighting monsters in the downtown area in the United States. Although the big Japanese is powerful, he is not a hero.
The big Japanese used to be very popular, and in the past, it was not only the Osato family, but in the sixth generation, the situation is like an artist who has inherited the traditional skills of Weiwei. The popularity is declining, and the income is greatly reduced. Her daughter ran away and was oppressed by managers and advertising sponsors. She was a typical low-class middle-aged man in an M-shaped society.
Like the first works of many celebrities in the entertainment industry, "The Big Japanese" is inevitably under-heated, with too many strange ideas, but the collage is a bit loose, and the second half feels more like a nonsense ending. In comparison, although the hilarious head is Matsumoto's sales guarantee, the reporter's follow-up of Da Sato's desolate life seems to be something the director wants to express.
Originally published at:
http://blog.age.com.hk/archives/661
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