Mandei

Wakarimasen deshita....

Any Japanese movie involving alcohol, beautiful Yakuza brides and guns will be a funny ride into the Asian subconscious, and this movie is no exception.

It amalgamates plot elements such as drinking Whisky, hands-free peeing, Yakuza bashing, pacemaker bomb defusing, drinking Whisky, lynching street muggers, Devils, Sprites, an obnoxious but finally sympathetic girlfriend, drinking Whisky, Japanese twist dancing, smoke grenades, drinking Whisky, palm reading, fake laughter and moronic TV talk shows into an adventure of the absurd. A ride into the cesspools of one man's private hell. A blatant appeal against alcohol and weapon abuse, or a devilishly clever satire about modern day Japan and its underworld. Oh...and did I mention drinking Whisky?

If you're a fan of Takeshi Kitano's movie, you will like "Monday".

If you are a fan of Bruce Willis and expect a Japanese "Die Hard", you won't find it funny! But if you're open minded, can appreciate satire for what it really is, then you will enjoy this movie thoroughly!

Monday is an existentialist movie. For those who are comparing it to Tarantino, please stop reviewing movies. This is more like an anti-Tarantino movie, if it is anything. It questions the use of law. It questions the use of weapons. It questions alcohol. It questions justice versus moral. It questions things that went over my head as well. Does that sound like a Tarantino movie? No, not at all. Please give Sabu the right to call this his own movie, and let this compare-everything-with-Tarantino-nonsense slip away.

Its about a person waking up in a hotel room, not remembering who he is or how he got there. Gradually he remembers more and more, and it kind of goes way over-the-top, but in a way that is both funny and thought provoking. It also has quite a surreal laugh-at-life quality in some scenes that should be mentioned.

Its kind of an intelligent action movie. Let there be more of these!

Takagi is just an average salaryman toiling away in a dead-end job. One fateful Monday, he awakens in a strange hotel room. He has no memory of how he got there. Slowly, he begins to piece together the journey that brought him to the hotel. Takagi discovers he spent the preceding weekend on a violent, absurdist outing as bizarre as it is entertaining. The craziest part: it's not even close to being over yet.

Sabu's 'Monday' is a delightful, off-beat comedy-thriller that plays like Kafka meets Kitano. The relatively simple story- Takagi gets drunk and forgets his weekend- is one of unexpected existentialist depth. The film proceeds as if part of a waking nightmare, where one can't be sure what is really happening and what is imagined, escalating to a fever-pitch of violence and insanity. Sabu's adoption of a non-linear narrative full of flashbacks and alcohol-fuelled hallucinogenic sequences adds to this feeling of heightened unreality. Takagi's is a trip that makes William Lee's in 'Naked Lunch' look positively mundane (particularly near its' conclusion).

The cinematography from Kazuto Sato (going under the name Kazuhiko Sato at the time) is striking work that has a punk-like feel to it. His composition and framing under Sabu's direction is irregular and interesting, making for some memorable shots that are very Lynchian in style. In the latter half of the film, things get very frenetic, and Kumio Onaga's tight editing keeps 'Monday' from getting too out of hand. That said, the sudden tonal shift from dark, existentialist comedy to over-the-top, violent horror in the hindmost part of the film could have been handled in more subtle a manner.

Kenichiro Shibuya's score is unsettlingly funky, juxtaposed effectively with 'Monday's eccentric, occasionally incongruous visuals. His usage of tracks by Tatsuya Oe (better known as Captain Funk) is particularly memorable. Takagi's dance scene in a Yakuza's club is one of the most disconcerting and unforgettable of recent years, utilizing Oe's 'Twist & Shout' to great effect.

Tomoyuki Maruo's production design must also be mentioned, as it is economic, stylish work that makes a lot out of very little. The sets are decorated in an understated manner, just as the costumes are designed in a minimalist fashion. It is impressive work that makes for another significant entry in Maruo's filmography.

Shin'ichi Tsutsumi has starred in at least six of Sabu's films over the years, most recently in 'My Blood & Bones in a Flowing Galaxy' from 2020. 'Monday' may be their finest collaboration, with Tsutsumi delivering a startlingly layered and highly entertaining performance as Takagi. Bordering on delirium borne from alcoholism, Takagi is an intense and wacky character that requires the actor playing him be willing to go to some strange places, performance-wise. Tsutsumi proves to be the right man for the job, bringing to the role levity, bravery and emotional range. It is a powerful piece of acting that will be remembered fondly by any who see 'Monday.'

The supporting cast is filled with talented actors, including the late Ren Ôsugi and the great Susumu Terajima. Though they all have relatively little to do, everyone performs admirably, with a couple being particularly memorable. Akira Yamamoto stars as a dispirited Yakuza boss who befriends Takagi and he has a commanding, introverted screen presence that suits the character most aptly. Yasuko Matsuyuki stars as the Yakuza's moll, and has similar presence that says much without her having to utter a word.

Sabu's 'Monday' is a strange, fun film that is an existential trip through a nightmarish landscape of violence and drunkenness. Unpredictable, often hilarious and occasionally too frantic for its own good, the film is anything but ordinary. Featuring a compelling lead performance from Shin'ichi Tsutsumi and a great score from Kenichiro Shibuya, it's a very memorable and outlandish piece of work. In short- to paraphrase The Bangles- Sabu's film is a lot more than just another manic 'Monday.'

Without these "enlightening" fifteen minutes (at the very end) this movie may seem quite hopeless, though. It may seem too simple, too odd, too surreal... phony even. But make no mistake: MONDAY is plotted out much more clever than it appears.

It is about a guy waking up in a hotel room with bit of a cloudy memory. Things start to come back to him as he bumps into all kinds of leads he find in his pockets. I imagine that the main thought behind it was, what the human mind capable is of doing with the means it has, and how it could be shown in a film. I can say that the creators have come a long way in showing the answer to this.

As said, it will takes time to see there is more to it than it seems. Fortunate enough, the retrospective march of events that made the guy end up where is now, makes it perfectly clear that the unrolling celluloid is to be sure of revealing a well-thought-out plot. Second, the whole story raises enough questions about the sanity of the characters as well as the people who wrote the story, that one will sit it out no matter what, if only excited with hope for a plausible explaination for it all.

It is unlikely that MONDAY (by Hiroyuki Tanaka) will be a boring experience to anyone. To many, especially those unfamiliar with Japanese cinema, it will be something different than usual, perhaps less exciting, a bit clownish, here and there the surrealistic texture will be a bit hard to swallow, but it surely will keep one curious. And that is the only thing this film needs.

This is a movie, and, I think, Japanese directors, Tanaka in particular, have well understood what this means. It isn't real life and it doesn't have to appear this way. Even though some characters and their actions seem to be right from out of a comic book, this movie is as real as (a movie) can be.

I heard someone comparing aspects in this film with Tarantino. I'm not entirely sure about that. Frankly, I believe the approach Tarantino uses in his work isn't that unique to begin with. I think it was to be expected that directors would make films the way he does some day. As for Japanese movies like that of Tanaka, I think it has little to do with Tarantino. I actually think we should speak of it as the 'Japanese approach' than the 'Tarantino approach', anyway. Was "Reservoir Dogs" not a remake of an underrated Japanese gangster film??? I think is was.

Well. Tanaka is nowhere near Kurosawa yet. But surely no less than Miike, Kitano or Nakano. I therefore rate it 7.5!

Watch it and be patient, enjoy it and be astound ;)

The room gets dark, the movie starts and after a short while I thought I knew what kind of movie I was watching. Nothing too fancy. A man awakes in a hotel room, it's Monday and he desperately tries to remember what he as did yesterday. One of those "flashback"-movies you would say, with old fashioned chapters and structure (I think that's why it was compared to a Tarantino movie). But then suddenly something unexpected happens, the movie just changes direction on and on and it's getting interesting. Genre, style and sujet and in the end the movie is an enjoyable mix of various elements, very well combined in my opinion. I'm afraid that for some people the movie might be not straight enough but if you are not completely bored of Japanese cinema I'd recommend to take a closer look on this one.