Getting Any? (Japan, 1995)
Takeshi Kitano the director and Beat Takeshi the performer meet together in a manic film about a young man’s increasingly desperate attempt to get laid which becomes a series of prurient slapstick sketches that push the boundaries of good taste.
The story follows middle-aged layabout Asao (Dankan). His one and only goal in life is to have sex. To do this, he embarks upon a series of misadventures ranging from buying a car to impress a woman enough for car sex to becoming an actor to get a seat in first class on a jet because, in his narrow-minded world, he thinks sex is one of the services on offer from air-hostesses. His antics get bigger and bolder and wackier the more desperate he becomes. Pretty soon they involve armed robbery, becoming the next Zatoichi in a movie production, a yakuza hitman, and an invisible man and worse because of crazy scientific experiments.
Getting Any? uses an episodic structure to launch a scattershot satire of Japanese society and popular culture through the lens of Kitano’s unique sense of humour which he takes to extremes in terms of the inanity and stupidity. Every situation start off at some reasonable level of idiocy initiated by Asao before becoming a series of bizarre, over the top and absurd slapstick gags at the expense of the central character and a cast ranging from serious actors to Kitano’s army of fans, his Gundan who appear in many of his films and TV shows, all of whom throw themselves into the skits with gusto. Even Kitano shows up to take part.
Kitano finds comedy in every situation thanks to Asao being of a character with a one-track mind with a brain straight out of dullstown. This leads to tremendous sight gags especially in the first part of the film. In order to get money Asao figures he needs to rob a bank. So he needs a gun. Who has guns? Cops. Asao imagines stealing a gun and getting blown away. When he acquires a gun, one of his targets is a bank run by cops.
As the film ticks along, his imagination gets only slightly bigger but his luck get much better. Seeing Asao graduate from being a bit-part player stuck full of arrows in a samurai movie to playing Zatoichi by way of accidentally getting the original actor to almost drown is hilarious and then taken to the next level as the central fool plays the blind swordsman by closing his eyes and engaging in physical slapstick such as dousing people with manure and much more dangerous liquids while in the presence of a naked flame.
Kitano manages to work in mocking references to fillms as diverse as Mothra (1961), Branded to Kill (1967) and Ghostbusters (1984), the television series Ultraman (1966-1967), Michael Jackson’s song Beat It, and even Akira Kurosawa as Asao travels across Tokyo and gets into misadventures. Having a knowledge of Japanese pop-culture adds a lot of depth to the gags and makes them funnier, the laughs last longer, but towards the end of the film, many of them have a habit of going on way too long (especially the tokusatsu stuff), well past the point where the joke is funny. This was deliberate on Kitano’s part since he made the ne plus ultra of bad jokes to scandalise the Japanese entertainment industry and also to destroy his own career.
This a film with which some Japanese fans of Kitano feel he tried committing suicide as public figure since he went to such great lengths to be absurd audiences wondered if he had lost the plot. It was filmed at a time when he was at the height of his fame and fortune in Japan as Beat Takeshi, the comedian, radio star, writer and so forth but not taken seriously as Takeshi Kitano, the film director and serious actor. With so many TV shows, books, and other projects he was working on and an eventful private life to say the least, he was finding it difficult to manage the stress of fame and public interest as well as his excessive work and partying. This was compounded by the box-office failure of his 1993 gangster film Sonatine, which Kitano personally saw as his first major artistic achievement as a director. With fame and pressure mounting, he let the comedian, Beat Takeshi tear up the screen with this film and the results are scandalous. Further adding to the dramatic context of the film, Kitano finished production before the motor-scooter accident, which left the right side of his face paralysed. No wonder some critics have interpreted Getting Any? as a film he made unconsciously to help him deal with career frustrations and anxiety over fame, as well as being a rebel yell against an industry not taking him seriously.
Getting Any? may have been made out of frustration but there is enough comedy and shock value and bizarre prurient humour here to justify viewing it. It is easy to imagine fans at the time being scandalised by some of the scenes packed full of nudity and violence but also there’s a sense of dangerousness and liberation in seeing people gleefully engaging in the anarchy on screen. Kitano is pushing back against good taste and does so effectively.
Kitano leads actors with whom he has worked previously astray as everyone throws themselves into this nonsense. It is fun seeing the likes of Yurei Yanagi, Susumu Terajima, and Ren Osugi from Boiling Point (1990) and Sonatine reprise roles as gangsters and weirdoes who only show up to get bumped off or take part in sight gags based on societal quirks and erotic games that will lead to audience-members doing spit takes. Leading the cast is Dankan who plays Asao with a vacant gaze perfect for a man so shallow he is unable to see where his disastrous schemes go wrong and why women don’t like him. He would come off as a sexual predator of the worst kind if he wasn’t so inept at everything he put his hand to, and Kitano didn’t keep slapping him in stupid situations that break off his ardour or totally subvert it.
Getting Any? is a solid comedy and interesting to engaging with when you consider this as Kitano’s mid-career crisis film. We should be glad he survived it and his accident because he went on to make even more films and gain a serious following in Japan as an auteur and we are now able to watch his films get re-released in wonderful 4K and enjoy his idiosyncratic sense of humour and direction. Even if it doesn’t always work, most of it is amusing to watch and a great time capsule of pop-culture hits from the 1980s and 1990s.
Getting Any? is released on Blu-ray on October 16 from Third Window Films.