A businessman, Tsuda, runs into a childhood friend, Kojima, on the subway. Kojima is working as a semiprofessional boxer. Tsuda soon begins to suspect that Kojima might be having an affair with his fiancée Hizuru. After an altercation, Tsuda begins training rigorously himself, leading to an extremely bloody, violent confrontation.
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What a waste of my time!!!
It isn't all that great, actually. Really cheesy and very predicable of how certain scenes are gonna turn play out. However, I guess that's the charm of it all, because I would consider this one of my guilty pleasures.
Amazing worth wacthing. So good. Biased but well made with many good points.
It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.
I feel it's sort of a shame for such a movie to have less than at least 100 reviews on its page. So here I go, helping it out with this 22nd review, if I recall it correctly...First time I read a review on Tokyo Fist on another site, I didn't quite know what to expect from this movie. I was deep down in Cronenberg horror, but this title's plot and atmosphere (as described by a rather insipid reviewer, I guess) simply eluded my intuition. Luckily, I decided to give this a try, and it was one good decision. Tokyo Fist stands at a fine border between black comedy (and also really dry), surrealism, action and plain existential malaise. Tsukamoto's cam angles and effects act perfectly coherently with his intent, from emphasizing the ridiculous monotony and isolation in Tsuda's life to highlighting the irrational ferocity of his old "friend" that almost seems to turn night into day and day into night.Now, diving a bit into the predictable Fight Club comparison, Tokyo Fist is the severe, restrained, Eastern cousin of Palahniuk's novel's adaptation. There is no noticeable trace of emotion (maybe except anger), pathetism, or nihilist verbosity in the discourse of Tokyo Fist's characters. It's as if their existence and the duty of assuming various roles (and subsequent failures) squeezed their sentimental tendencies out of them and sent them into an abyss. There is no "love trio" in this movie, no matter how tempting it would be to call it that way. Its three main characters remain as insulated as can be, until the very end - a brilliantly open and non-conclusive end to a small, powerful drama of people not able to manage their remorse or lack of meaning without showering themselves in suffering. Beyond the plot, there are some really nice hyperkinetic boxing scenes in this movie, and the generous to parodic flows of blood and bruises might seem chuckle and nausea-inducing at the same time.I am afraid, though, that what I have said doesn't give this film the aura that it deserves. If you are not necessarily an adrenaline freak yet not an instant puker either, and want to see something done artistically indeed, you ought to give this at least one punch with the eye.
Tsukamoto in this film strips away excess to reveal a animal emotions which are then stretched to excess. In this film anger, violence, pain and revenge drive the action.Tsuda and Kojima witness the murder of a girl they like and while both vow to find and punish the killers only Kojima holds on to the twisted dream to become a second rate boxer. Tsuda becomes a salaryman in a sexless relationship in which they spend the evenings watching old films (I spotted Metropolis and another which I can't place). A chance meeting between the two after many years awakens the anger that Kojima feels towards Tsuda, and the former begins making a play for Hizuru, Tsuda's girlfriend. This in turn leads Tsuda to become angry and he turns to boxing to get revenge on his former friend. Meanwhile Hikuru becomes a masochist, autonomous of both the males. The fairly graphic violence is mostly make up and is so over the top it is clearly to make the point mentioned in one of the other comments: violence is often the first recourse in a situation. However, as opposed to a film like Rocky where the violence leads to personal redemption, or an emotional force like Raging Bull, the violence is non-cathartic and meaningless. It is almost as if the characters are driven to behave in a certain way as a reflex reaction. Fast editing, powerful sound effects and blue colours mark the film out as Tsukamoto's style, and the transformation theme is another element that he returns to. Lots of fun for me, but the person I was with didn't have a clue what was going on. Make your own decision, but there is no relationship to Fight Club whatsoever: this is about human emotion, not social issues.
Japan's answer to Ed Wood may have an entirely different row to hoe, but Shinya Tsukamoto continues to match America's beloved auteur when it comes to obsessive filmmaking. Unfortunately his films are a lot less fun than Wood's. If you enjoy watching people pound on each other in between shots of festering meat and other nastiness, this is your film.
Have you ever thought that almost every movie you see is bound to be american? Of course I am assuming that you live in the western world and you are living what has been called a perfect life. You go to work in the morning, then you return home to eat, watch maybe a little television or read a book and go to bed. That is how it is Japan too. But Tsukamoto doesn't think that way. He goes BEYOND that. And it isn't pretty whatever he sees. His movies has the same elements every time. Fast Editing and persons at the moment before they get a mental breakdown. Expect a dark, dark movie. He uses symbolism more than american presidents have lied and violence as a metaphore. I shouldn't tell what. This movie is bound to make you think for some weeks. And that can be nice? P.S Be sure not to miss his next film "Gemini". I saw it at Bergen International Film Festival and I am stunned.