Watch Getting Any?

Getting Any? is a Japanese comedy film from 1994, directed by the celebrated filmmaker Takeshi Kitano, who is also known as Beat Takeshi. This film stands out as a drastic departure from Kitano's usual fare of Yakuza dramas and poignant art pieces. Getting Any? is a zany and absurd comedy that employs a slapstick sense of humor, showcasing Kitano's versatility as a filmmaker.

The film follows the misadventures of Asao, a bumbling and somewhat delusional man played by Japanese comedian Duncan, whose primary objective in life is to have a sexual encounter. Asao is convinced that the key to fulfilling his carnal desires lies in getting a car—believing that owning a car is an irresistible magnet to women. His naive and simplistic view of the world and sexuality sets the stage for a series of increasingly bizarre escapades that lampoon various genres of Japanese cinema and popular culture.

As Asao embarks on his quest for a car, he soon finds out that obtaining one is not as straightforward as he had initially thought. His lack of funds and his hapless attempts to save enough money to buy a vehicle lead him into various odd jobs and misadventures. Asao's endeavors range from feverish attempts at becoming a film star to engaging in criminal activities, each scenario spoofing a different movie genre—from gangster films to sci-fi.

The humor in Getting Any? is farcical and irreverent, with Kitano throwing in surreal gags and nonsensical situations that seem to escalate with each of Asao's failures. The protagonist's encounters are punctuated by a strong satirical edge, as Kitano critiques the superficiality of status symbols, the vain quest for instant gratification, and the absurd length humans will go to achieve their shallow desires.

Tokie Hidari and Akiji Kobayashi, as supporting actors, are part of an ensemble cast that contributes to the laughter and madness. The characters they portray, along with other supporting roles, are often exaggerated caricatures, ranging from stereotypical gangsters to eccentric scientists, which helps in poking fun at the clichés found within genre films and the entertainment industry as a whole.

Getting Any? showcases Kitano's knack for visual comedy, with meticulous mise-en-scène and comedic timing that reflect his experience as a television comedian prior to his film career. Kitano's offbeat directorial style is evident in the film, as erratic, deadpan, and unpredictable as his other, more serious work, which may come as both a surprise and a delight to those familiar with his oeuvre. The film's non-linear progression and disjointed narrative serve to amplify its comedic impact, as the disjointedness itself becomes a source of humor.

As the movie progresses, viewers witness Asao's transformation in response to his wild misadventures. With each failed attempt to attain what he believes will make him irresistible to women, Asao sinks deeper into an absurd world of his own making. The film reveals the superficiality of the protagonist's aspirations while reflecting the larger human propensity to misconstrue what leads to happiness and fulfillment.

Despite the laughter and the ludicrous situations, there is an underlying commentary on human desire and the lengths to which people will go to satisfy their perceived needs. Kitano uses physical comedy and exaggerated scenarios to shed light on the folly of consumerism and the modern obsession with appearances and material possession. Like many of Kitano's films, Getting Any? offers more than mere entertainment—it invites the audience to reflect on the nature of human greed and the never-ending chase for ephemeral pleasures.

In conclusion, Getting Any? is a slapstick comedy that demonstrates Takeshi Kitano's broad creative range. The film might catch viewers off guard, especially those used to Kitano's more serious works. It is a farce filled with social satire, cultural parodies, and a relentless barrage of comedic set-pieces. Getting Any? offers a hilarious ride through the mishaps of a man whose search for a simple pleasure leads him to the most complicated of situations, making it a unique entry in the landscape of 1990s Japanese cinema and in Kitano's filmography.