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Good movie, but best of all time? Hardly . . .

The biggest problem with this movie is it’s a little better than you think it might be, which somehow makes it worse. As in, it takes itself a bit too seriously, which makes most of the movie feel kind of dull.

The movie's not perfect, but it sticks the landing of its message. It was engaging - thrilling at times - and I personally thought it was a great time.

An old-fashioned movie made with new-fashioned finesse.

Shohei Imamura was one of the directors in focus in the 2007 edition of the Japanese Film Festival, but his vast filmography means that we continue to see some of his masterpieces in this year's edition as well. A Man Vanishes examines the concept of Johatsu, tackling the phenomenon of people missing in Japan over the years. It picks one such person from the list, someone who had seemed to disappear from the face of the earth due to embezzlement from his company, and the filmmakers begin an investigative documentary into the reasons behind and attempt at tracking him down.The presentation of the documentary runs like an investigative drama predominantly filled with police interrogative type of questioning. The filmmakers take great pains to locate friends and family of Tadashi Oshima, and interviews them on camera – at times needed to mask their eyes to protect identities - to provide us a vast and hopefully objective opinion of the man we get engaged into looking for. This provides an opportunity for Imamura to touch upon themes such as relationships, as well as the general attitudes of people in Oshima's generation. At one point the occult is also pursued as an option to try and obtain answers to the million dollar question as to his current location.And you may find that the film does get a little long-winded with no end in sight in its discussions and interviews, crafting a story quite unlike how it will be done in today's context, since the tale here come in pieces from the series of interviews, perceptions formed, and the memories of subjects that we know will be tainted inevitably by time. If done today, it'll be more in-your-face and to-the-point (though there's a reason why this was avoided) with a clear narrative guiding hand to point us where it wants us to look. This one spirals a little out of control where the interviewees and subject craft most of the talking points, and as a result we get a potential for a murder-mystery, involving two sisters who seem to be equally involved, and possibly guilty as to the outcome of Oshima's location.But when the rug gets pulled under our feet through the sudden breaking of walls and the audience being engaged at a different level, we then realize how in effect the film may set out to make us understand how near impossible it is to solve cases of this nature, on how it's mind boggling to know where to begin, nor know whether time invested in investigations will lead to a successful outcome. It has to rely on the faulty memories of people insistent that they're right, and as events unfold show how stalemates are so easily reached when either party fervently believe what they see as experience as the truth, and in so will contradict the accounts of others. On the other hand, the line between reality and fiction, truth and lie gets blurred beyond recognition, so whatever you thought you knew becomes something you don't anymore.In the last 2 scenes which are quite similar in content, one in a room and the other in an outdoor street location, one will get dizzy following the entire dialogue exchange, because it beats around the bush, never ends, and contains never ending bickering that you'll be exasperated enough to root for someone giving up. Thank goodness that the camera pulls out in time, though still leaving you perplexed over

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.

A Man Vanishes is a really unique film. The film plays with the documentary form of filmmaking and what part a director plays in the forming of a documentary. The film is always interesting, and is consistenly surprising. This film never is even mentioned in the discussion of the director's work. This is unfortunate, due to the fact that on closer examination the film is tackling many different issues. During the filming the wife of the man that is missing, starts to fall in love with the director of the documentary. This is only one of the plot twists in the film. This is my personal favorite of all of Imamura's work. If you can't find this film rent another one, because he is one of the great surprises in the history of japanese film.