Haven't Seen Shitcom?

▶

Fall, 1962. Film critic and Co-founder of New Wave François Truffaut was conducting an interview with the great Sir Alfred Hitchcock. During the highly insightful discussion, there was one analogy by the English filmmaker which stood out:

“There is a distinct difference between ‘suspense’ and ‘surprise,’ and yet many pictures continually confuse the two. I'll explain what I mean.

We are now having a very innocent little chat. Let's suppose that there is a bomb underneath this table between us. Nothing happens, and then all of a sudden, ‘Boom!’ There is an explosion. The public is surprised, but prior to this surprise, it has seen an absolutely ordinary scene, of no special consequence. Now, let us take a suspense situation. The bomb is underneath the table and the public knows it, probably because they have seen the anarchist place it there. The public is aware the bomb is going to explode at one o'clock and there is a clock in the decor. The public can see that it is a quarter to one. In these conditions, the same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: ‘You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!’
In the first case we have given the public fifteen seconds of surprise at the moment of the explosion. In the second we have provided them with fifteen minutes of suspense. The conclusion is that whenever possible the public must be informed. Except when the surprise is a twist, that is, when the unexpected ending is, in itself, the highlight of the story.”

Suspense and surprise. The former is certainly held in higher regard than the latter, as modern stories tend to commoditize more immediate means of payoff. But while audiences may grow weary of jump-scares and emotionally cheapened writing decisions, the element of surprise must not be understated. Suspense and surprise are essential tools in the author’s toolkit, as seen in Hitchcock’s illustration. Yet there are few stories that expertly weave both into a cohesive narrative. Such is the case with Shitcom, most notably in its pivotal scene in which the Woman, in involuntary response to her male counterpart’s earnest proposal, proceeds to defecate out of her mouth-

But I’m getting ahead of myself.

Director Takena Nagao’s meticulous craft is as concise as it is deliberate. No shot is wasted in this film; each and every one of its mere 23 cuts progresses the story being told. Any attempt on part of the critic to heap accusations on this piece for pandering with establishing shots and over-indulgent set design is futile. Right from the opening scene, the focus is placed squarely onto the laps of our nameless couple. Our exhibit neatly conveys a world of subtext within measly seconds. I can’t ever possibly profess to fully grasping every minutia of thematic importance that is communicated here, but I will do my utmost to share that which I have interpreted. First, let us commence by examining the text itself. The illustration reveals a contented Woman, dabbing her mouth clean after what is evidently a hearty meal. This establishes two throughlines that will develop over the course of the film. One such thread worth delving into is that of a metaphorical nature. For times and ages, white essence has been attributed to purity. The empty plate, the silk napkin, the drab background – such elements work together in unison and exude said purity. The porcelain dish in particular is noteworthy, as it symbolizes the Woman’s whole-hearted partaking of a fulfilling relationship. In pre-historic times, humans used to operate amongst groups and would shun the minority should they deviate from the common consensus. Survival was key, and existing as an individual spelled only death. Fast-forward to present day, where our human ancestors’ primal instinct has served its purpose and failed to evolve alongside the interconnected landscape of modern civilization. A cruel irony is at play, where our apparent close proximity from one to another is the very bane of this generation’s collective isolation. When one makes an intimate connection and chooses another individual out of the countless millions that are and have come before, that truly is the pinnacle of human existence and must be celebrated. And here we return to the Woman, who has jovially taken in her meal and the firstfruits of a committed relationship. It would appear that she herself is an active participant in such a weighty transaction. Her cleanliness and attire suggest a rigid conformity to societal norms, befitting the attention of potential suitors. All is well in this picturesque moment, but even that is merely a front; our cross-examination tells the secondary purpose our scene: foreshadowing. Clearly I am referencing the spick-and-span sheen of the proceedings. Her partaking of her meal and cleaning of her mouth is punctuated by a deafening rumble, an unrest behind the scenes, the bomb underneath the table. This hints to the audience that her mask of purity is in direct contrast with the pivotal scene of Shitcom, in which the Woman, in involuntary response to her male counterpart’s earnest proposal, proceeds to defecate out of her mouth-

But I digress.

Next follows a tour de force; a riveting, transcendent back-and-forth as two forces engage in conflict. Tranquility is disruptively demarcated by that distressing motif, that devilish howl from the deepest pit of the Woman’s bowel. Suspense. What began as an innocuous meal, inspired by Hitchcock’s analogy, turns into a battle internalized entirely within the Woman’s person. The Woman leans forward under duress, the Man tilts his head in concern. She responds with a lie, as if to assure him that she can still retain control and remain the companion he so admires. The demon inside then roars once more, as if to mock her vain tenacity. Strike two. The stakes escalate. The Man, undeterred by her suspect behavior, presents her with a ring. A symbol of commitment, of holding fast to another and becoming as one flesh. The diamond glistens, yet another symbol of purity. The Woman takes it all in, a stunned expression forming on her face. She is being chosen out of the countless millions that are and have come before – for her efforts to please another she is offered acceptance, the pinnacle of human existence. The Man’s smile widens, confirming his devotion and sincerity. Finally, the courting ritual is nearing its end. Finally, the Woman can rest assured that she will love and be loved for years to come. Finally, in a world of chaos and insanity, she has been rewarded something that makes sense. She accepts these thoughts and the betrothal, returning his eager grin with one of her own. No words need be spoken, but they rest on the tip of her tongue nonetheless. “Yes, yes, yes-“

The clock strikes 12, forever fracturing the fallacious fairy tale. The Woman’s guard, the impenetrable façade that served her so faithfully, comes crashing down in one moment. The look on Woman’s face knows full well what the third gastric growl spells for her. The bomb explodes. Thus we arrive at the pivotal scene in Shitcom, in which the Woman, in involuntary response to her male counterpart’s earnest proposal, proceeds to defecate. Out of her mouth. The Man retracts his hand from the engagement ring, his confidence waning. A most repulsive mess forever taints both the once-pristine setting and the picture-perfect relationship in one fell poop.

There is an old Cherokee proverb. In it, an elderly figure offers words of wisdom for his grandson. “A fight is going on inside me,” says the grandfather. “It is a terrible fight and it is between two wolves. One is evil – he is anger, envy, sorrow, regret, greed, arrogance, self-pity, guilt, resentment, inferiority, lies, false pride, superiority and ego. The other is good – he is joy, peace, love, hope, serenity, humility, kindness, benevolence, empathy, generosity, truth, compassion and faith. The same fight is going on inside you – and inside every other person, too.” The grandson thought about it for a minute and then asked his grandfather, “Which wolf will win?” The old Cherokee simply smiled and replied, “The one you feed.” I’ve examined and pondered on this allegory from time to time, as there is one fatal flaw in the grandfather’s message. His advice stems from the erroneous idea that the evil wolf is a predator, one that dominates and finds its prey from the get-go. But Evil is no predator, it’s a parasite. A leech that plays the long game, that lurks in the shadows, that slowly-but-surely drains the life from another for sustenance. Starve the wolf and it will perish. Meanwhile the parasite will set its vile hooks, and the victim will be none the wiser until it is far too late. Sooner or later we fail to keep our secrets shrouded in the shadows. Insecurities, flaws and fear. Sin will always come to light. Eventually all must come clean with the dirty truth. And no clearer is this demonstrated than in the pivotal scene in Shitcom, in which the Woman, in involuntary response to her male counterpart’s earnest proposal, proceeds to defecate out of her mouth-

Only for the Man to reciprocate in the same manner. Surprise.

Finding a partner for life is no walk in the park. Courting can be a lengthy process that necessitates time and dedication. In order for one to find another to depend on, he/she must first appear dependable. First impressions are important, and all must either stick to the rules of the ritual or risk isolation. Thus we put up our façades and play the game; not revealing all of ourselves at once, rather just enough to justify an investment of time from the other party. While such an approach is viable, vital even, in the name of getting things off the ground, many a pairing has taken the proceedings too far. Self-restraint morphs into disingenuous selfishness, leading to false expectations and dissatisfaction. Keep your mask on at the ball for too long, and eventually you will grow weary of having to keep dancing in the masquerade. This is what happens when a means to an end turns into the end itself. Romantic interests can be so fixated on customary behavior, on artificial charisma, on appeasing the other party with no little care to their self-satisfaction. They are ever so desperate to keep the Bad Wolf tucked away. But they fail to focus on the next component imperative to fostering a relationship: understanding, or at the very least the attempt at doing so. Making an intimate connection and choosing an individual is special, yes, but one has to reflect and wonder if that life is meaningful. And can meaning truly be ascribed to any life experience without strife? Does this experience on earth hold value if there is no struggle? If the line is horizontal and devoid of all downs, can there ever be ups?

Can you deserve someone at their best if you never get to accept them at their worst?

Nagao’s magnum opus tells a brilliant story, evocative of the human condition and life itself. In the pivotal scene of Shitcom, in which the Woman commits the first instance of mouth defecation, the intent was to payoff the suspenseful buildup prior with a harsh critique of the farce couples display in courtship. Basically, the story takes, for lack of better terms, a shit on dating. But in having the Man defecate out of his mouth in response, Shitcom’s message takes a surprising turn from tragedy to triumph. There is no holding back the Bad Wolf, but perhaps there is a purpose in letting it escape momentarily. When both Man and Woman lay out their feces on the dining table, and look into each other’s eyes with smiles, that is the pinnacle of human existence. That is all-compassing love; love that applies to the good, the bad and everything else in-between.

not enough poop 4/10~

Thanks for stopping by! Just want to set your expectations as a reader moving forward. If this is your first time reading one of my articles, I'm a reviewer currently catering primarily to seasonal content. The analysis is spoiler-free and less in-depth than what I've tried out in this piece. Experimentation was a big part of why I wanted to work on this in my spare time, so feel free to hit me with feedback for how I can improve.

Now that I have you here, I want to set expectations for my future reviews moving forward. I feel the need to state right now that this "jokey" review is a one-time thing. My aim is still to be a resource for people to hear what I think, and at this time I don't want to have a rep as a "troll" reviewer. So I really hope that I don't get requests to do "meme" coverage of shows moving forward.

Thanks for reading, your support is kinda what made this mess happen in the first place. Looking forward to seeing you around, peace~