In a poor 19th century rural Japanese village, everyone who reaches the age of 70 has to climb a nearby mountain to die. An old woman is getting close to the cut-off age, and we follow her last days with her family.
White-collar worker Yamashita finds out that his wife has a lover visiting her when he's away, suddenly returns home and kills her. After eight years in prison, he returns to live in a ... See full summary »
Ross McElwee sets out to make a documentary about the lingering effects of General Sherman's march of destruction through the South during the Civil War, but is continually sidetracked by ... See full summary »
Ross McElwee Jr.
A private detective is hired to find a missing man by his wife. Contradictory evidence and the lack of clues soon render the case as virtually unsolvable, as the detective grows more and more frustrated.
While many directors work hard to maintain the illusion of the silver screen as a self-contained world unto itself, Imamura not only films what is a essentially a fiction film disguised as a documentary but debunks it several times along the way. A MAN VANISHES pretends to be a documentary about a man named Tadashi Oshima who suddenly vanished two years ago without a trace, a popular habit with disgruntled Japanese office workers (Imamura reports 91,000 Japanese were reported missing that year - again, fact or fiction?), which in reality is a film essay that masquerades as a documentary to make and prove its point, and to make that point (that absolute truth coming from a subjective observer is impossible and that by extension how can we trust our senses to tell us what is real from what is not) it has to debunk its own status as a documentary.
The problem with the film is that the plot becomes entangled in the drudgery of the characters' lives as they try to separate truth from fabrication to discover what really happened to Tadashi. After a pre-ending, which if Jodorowsky didn't rip off wholesale for the ending of his HOLY MOUNTAIN then let's just say it's a stroke of absurd coincidence, it goes on for another 15 minutes in a redundant scene where the argument between two sisters and an eye-witness who allegedly saw Tadashi with one of the sisters two years back continues unabated in the middle of a crowded street, while Imamura is keen to remind us again that it's a dramatized version we're watching. You can almost feel him chuckling gleefully "Doesn't it look so real?" (and it does), "well, it isn't!". Right down to the ending that recalls the film-within-a-film device of the ending of his previous film THE PORNOGRAPHERS, A Man Vanishes remains an interesting film essay, a great pseudo-documentary, but not a very good film.
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