Lest one think subject matter grounded in real life, like boxing and interpersonal drama, would temper Tsukamoto Shinya's unmistakable style of film-making, let's lay those thoughts to rest right now. We're treated to the same rapid cuts that result in a frenetic look and feel, and loose, handheld camerawork that feels informal, personal, and confrontational, and which further lends to that frenetic tenor. We absolutely get some blood and gore among other stunts and practical effects, and the quick sequences of stop-motion animation that he perfected in his famous breakthrough 'Tetsuo: The iron man,' not to mention very specific choices of lighting to help foster dark overtones. For good measure, add in an original score that often directly or indirectly echoes the harsh industrial music proliferate in the man's best known works; industrial, brutalist, or urban imagery; and enthusiastic overacting wherever it may be appropriate. 'Tokyo fist' may play in a different genre space, but Tsukamoto's stamp is all over it, even including a subtler variation on the theme of transformation that is paramount in a fair portion of his oeuvre.
With all this well in mind I can understand how the filmmaker's tendencies won't appeal to all comers, and I'm not about to sit here and say that the picture is a pure must-see. There are also small touches of homophobia scattered herein that really haven't aged well; this may have been the 90s, but folks should know better. All the same II find myself rather pleased with how good it is, and I think Tsukamoto's brand of film-making and storytelling manages to work pretty well in this instance. The root story is a suitable melodrama in which outwardly mild-mannered office worker Tsuda comes into conflict with old friend Kojima, chiefly but not exclusively over beautiful Hizuru. Layered atop this foundation are the efforts by all three characters to wildly remake themselves, and with the flourishes for which Tsukamoto is known, the resulting tableau is characterized in large part by the vibes that conventionally belong to more violent, far-flung, action-packed genres. It's an interesting blend that shifts somewhat between tones, but it all fits together surprisingly well.
I do think the writing is uneven and imperfect - maybe even ultimately a little unsophisticated, truthfully - and the storytelling could have been tightened and refined. This applies to the filmmaker's sequencing, too, which seems a smidgen disjointed. Be that as it may, the core of the feature is marvelously strong. The central narrative is compelling and satisfying, and more than it may seem at first blush; the scene writing is smart and flavorful. As Tsukamoto wears multiple hats, as he commonly does with his endeavors, his versatility is without question, including his direction and cinematography. Especially as the journeys of their characters more or less escalate in the latter half I think the cast give excellent, vibrant performances to bring their characters and the story to life, quite naturally including Tsukamoto himself, his brother Koji, and definitely co-star Fujii Kahori (among others). Terrific production design and art direction adjoin fantastic filming locations, and from costume design to gnarly special makeup and practical effects, 'Tokyo fist' looks all-around great. Further factor in good use of sound and Ishikawa Chu's swell music, and I think this is a movie that kind of grows on you.
It has some shortcomings, it's a bit garish at times, and neither the violence nor Tsukamoto's personal style will appeal to all comers. To the same point, while the sum total shares considerable kinship with the filmmaker's other works, it remains true that this is in some measure a different type of title. Nonetheless, I sat to watch with expectations that were a tad mixed, and at length I'm very pleased with how sharp it turned out to be. Strictly speaking I should maybe be viewing the whole with more criticism, yet the fact is that this flick carries itself with a vehemence, and and a ferocious energy, that helps its value to outshine its less sure-footed facets. It's the application of outrageous horror sensibilities to a premise that's fairly ordinary, and when all is said and done 'Tokyo fist' is striking and evocative in a way that makes me kind of love it. One should be well aware of Tsukamoto's proclivities before watching, and I'm not saying the film is a total revelation, but if you do have the opportunity to watch, it's unique, memorable, and invigorating, not to mention entertaining and satisfying, and I'm happy to give 'Tokyo fist' my hearty recommendation.
