Tokyo Fist vs. Kids Return

It's Tokyo, the mid-Nineties and you fancy punching the shit out of someone. That's how total cult directors Tsukamoto Shinya and Kitano Takeshi felt, at least. Coming a year apart - much like your mother's sex life - both made Tokyo-based films centred around boxing: 'Tokyo Fist' (1995) and 'Kids Return' (1996), both bringing their own unique flair to the art form.   

To start, the films are very similar: 'Tokyo Fist' starts with salaryman Tsuda bumping into an old school friend, Kojima, a part-time boxer. Likewise, 'Kids Return' begins with former best friends from school, Masaru and Shinji, happily bumping into each other on a Tokyo street, both recognising that their lives have taken a downward spiral since they last saw each other. However, due to the nature of both directors, the similarity largely ends there.

'Tokyo Fist' is very much along the lines of Tsukamoto's most famous work: 'Tetsuo: Ironman'. Focusing on ideas of revenge and aggression, Tsuda soon becomes paranoid that his old classmate might be knocking up his missus, Hizuru. His paranoia gradually drives Hizuru away, as their quiet life becomes loud, aggressive and full of blood-splattering scenes, with her ending up in the arms, and bed, of Kojima, played by Tsukamoto's brother, Koji. The anger and rage building inside him, exemplified by the ever-present loud music, Tsuda joins Koji's boxing gym, determined to beat him in the ring, much like Koji is doing to Hizuru.

The film then becomes a loud, brash experience, with fast camera movements, editing and thrashing music, leaving the viewer out of breath just watching it. And, as ever, a confusion is created as to what exactly is going on, throwing in extreme moments to push things just that little further.

Rage, obsession, and fetish are themes running throughout Tsukamoto's works, and 'Tokyo Fist' is no exception, working as a more polished version of 'Tetsuo: Ironman'. The special effects are still a little budget, but creative in the excessive blood pouring and Hizuru's new fetish for piercing any part of her body possible. Punch, punch, punch is the style for the boxing scenes, with Tsukamoto creating a work to seep into your mind and punch your brain into dazed confusion.

But where Tsukamoto chooses to show graphic violence and gore, this is the very thing that Kitano often avoids. Since starting with 'Violent Cop', the violence is Kitano's films is more in the mind than on screen. The use of still cameras and editing means that actual acts of violence fall out of shot or are skipped for comic timing. The majority of punches thrown in 'Kids Return' are at punching bags or in sparring practise.

'Kids Return' is seen as Kitano's most autobiographical work, set in the part of Tokyo where he grew up and featuring events and job roles that he himself experienced while growing up. The two friends, Masaru and Shinji drift through school, seen as the ultimate prodigal sons by their teachers. Neither has much direction; simply wreaking havoc on the lives of their classmates. Meeting his match, Masaru decides to take up boxing, but soon realises he hasn't the discipline for the sport. His perennial sidekick, Shinji, however, does, and his talent is quickly spotted by the gym's coaches. Masaru then drifts away, becoming a low level yakuza.

For Shinji, boxing is a sense of direction after days drifting, rather than an act of aggression. 'Kids Return' is all about direction when entering adulthood, mirroring roles taken by Kitano himself. Meek Hiroshi tries his hand at selling scales and driving a taxi on finishing school - two jobs Kitano had - but soon finds that neither provide him with what he wants out of life. Two students forming a school double act perform stand-up comedy to their classmates with a manzai act similar to that brought Kitano his initial fame.

If anything, 'Kids Return' is quite a depressing film. On leaving school, hopes and ambitions are quickly lost for all characters, with all left feeling lost and abandoned by their seniors. Hiroshi is repeatedly criticised by the bosses of his various jobs; Masaru is expelled from his yakuza family for speaking out of turn; and Shinji's coaches give up on him once he is led astray by an older boxer who takes him drinking.

The boxing in 'Kids Return' is exactly that: there is more emphasis on the sport, with more realistic bouts and styles. 'Tokyo Fist' goes down the Stallone-form of boxing with non-stop punch fests that would lead to permanent brain damage in seconds, but with blood spurting out of eye sockets, this is the only way Tsukamoto of the Nineties would work.

Both made in the mid-Nineties, set in Tokyo and with boxing as a key element, the films are very different. Tsukamoto favours high-octane fight scenes and special effects to create a visually spectacular gore fest, while Kitano chooses a more mellow-paced drama. At a time when two former boxing film legends return for the undoubtedly terrible 'Grudge Match', 'Tokyo Fist' and 'Kids Return' are both blasts from the past that fall under the same weight class, but see a clash of styles. 

Politic 23

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Every 14 Days...(18)

Looking for the Lost (Alan Booth)

‘The Roads to Sata’ was a book I very much enjoyed. Beyond it being what I wish my life was, it is a very well written and interesting journey across Japan, by a sarcastic Englishman, walking all the way.

‘Looking for the Lost’ is very much a sequel, published posthumously, telling the tale of three further journeys across Nihon, following the path of famous Japanese before him. All three journeys find something of Japan’s past, now lost through the ages, and ultimately never found.

The first trip is one through Aomori, following the footsteps (or dirt tracks) of Dazai Osamu and his journey around his home region. The second takes Booth to Kyushu, following the rocky road of mythical warrior Saigo Takamori. The third then starts off in Nagoya, and the high-tech world of Nagoya's International Design Exposition, before traipsing north through some of Japan’s less explored areas, hoping to find something of its past.

The book acts as a bit of a metaphor for Booth’s reasons to be in Japan. Moving during the Seventies to study Noh theatre, he soon lost his passion for it, but remained in the country despite this. Almost as if trying to rediscover what brought him there to begin with, Booth searches for something intangible that he knows he will never find. The journeys coming at a time when he would succumb to bowel cancer seem all the more poignant, delivered with mild black humour references towards the book’s conclusion.  

It is sad that this and ‘The Roads to Sata’ are the only real lasting works of Booth, though leave enough for the start of another journey.

Days to read: 21

Days per book: 16.2

Can't Stop, Won't Stop (Jeff Chang)

I've read many a 'hip hop history' book, all written in different ways, by different people, most of which say the same old things. 'ego trip's Book of Rap Lists' is without doubt the pick of the bunch, aiming more to entertain, inform and educate, rather than simply do a chronological look at how the music progressed from the Seventies Bronx to the painful noises of today. Jeff Chang's go at writing a hip hop history book is long, but engrossing enough to keep you ploughing along through its considerable pages.

Bought for me as a birthday present based on a comment I must have made many years ago, I'm always sceptical of any hip hop history book, feeling it will probably annoy me for various reasons giving far too much page time to penises, like Puff Daddy, or whatever he now chooses to be called. I, therefore, started this with a sense of dread.

But, I was nicely surprised, finding myself quickly drawn in to the book, absorbing every word. Focusing less on the music, Chang places hip hop more in a wider social context, with the first few chapters looking at Fifties and Sixties New York town planning and the politics of the music industry in Jamaica.

Gradually, the music comes in and how the young stars deal with their newfound fame takes over, looking at the more controversial acts, like Public Enemy and Ice Cube. Groundbreakers, like Run DMC, the Beastie Boys and De La Soul feature less in this history, being that they are more remembered for their music, rather than the public outcry it created. This does mean that penises, like Raymond 'Benzino' Scott get a disproportionate amount of pulp dedicated to them.

A bit like hip hop music, the more time goes on, the less interesting it becomes, but there is more than enough here to keep your head nodding, in thought at interesting points, rather than the boom bap.

Days to read: 25

Days per book: 16.3

Japanamerica (Roland Kelts)

'Japanamerica' was part two of my two-part thirtieth birthday present from an old friend. Again, I was sceptical. A book written about the coming of anime into US consciousness seemed a bit of a cash-in on the sudden popularity of anime, manga and hardcore Japanese goblin sex snuff biscuits in the West. But, like the pre-conception-having twat that I am, my expectations were unjustified.

Focusing on some specific case studies, Japanese-American Roland Kelts looks more at how Japanese companies have perhaps failed to exploit the potential success of their offerings in the West, particularly America. This is the countered against products being shipped in the other direction, with American companies varying success in Japan.

There is more interest in the business models of marketing anime and manga both at home and abroad rather than the creative content. This would, I thought, be something that would leave my cock floppier than a flick through a copy of Geordie Readers' Wives.

'Japanamerica' isn't the greatest read, but does give some interesting little insights into how Japanese media makes its way to us ignorant gaijin baka.

Days to read: 10

Days per book: 16.2

Animal Farm (George Orwell)

It's been many a year since I last read 'Animal Farm' at school, and after some long reads, I fancied something short, but not so sweet...and I saw it on the cheap.

There's probably not much that I can say about the book that hasn't been said before, and much better (just like every other book I've ever read), so I won't bother pretending that there's anything I can particularly say about it, other than that it is the classic it is, though, for me, not Orwell's best.

Days to read: 7

Days per book: 16.1

More Trees to Climb (Ben Moor)

Ben Moor has always been a bit of a Kevin Eldon for me: pops up in the shows of more successful comedian friends. Though Moor was always a bit of a poor man's version. But the boy has talent!

The scripts from three Edinburgh shows, 'More Trees to Climb' is a collection of bizarre tales, but done with an earnest wit and charm that make their short length seem like a bit of a prick tease.

The manner of the writing (or delivery if you're lucky enough to have seen the shows) flows effortlessly, despite the peculiar nature of the subject matter and punbearable wordplay.

This is a book that is simultaneously hilarious, magical, endearing and all that other crap. Now, I simply want to see him in his own show...much like Kevin Eldon.

Days to read: 6

Days per book: 15.9

Mustn't Grumble (Joe Bennett)

With nothing on my book shelf that hadn't been read needing something to read, I dipped into my girlfriend's book collection, picking one of her many books by non-Aston Villa left back, Joe Bennett. Being English, I opted for 'Mustn't Grumble', the Englishman in Kiwiland's journey around the land, commenting on how we're all moaning bastards.

Following in the footsteps of Morton before him for much of the journey, 'Mustn't Grumble' is very much like fellow Englishman living abroad, Alan Booth's 'Looking for the Lost'. Taking the same route as someone before him, he journeys in pursuit of identifying a national identity, stopping off in as many drinking establishments as possible along the way. But while Booth chose to walk, Bennett chose the very thing Booth was against: hitchhiking, only to quickly find that this will never happen in modern day England, soon deciding to borrow the car of an old school friend.

'Mustn't Grumble' is also written in the same, dry, almost arrogant wit of Booth's travel accounts; often humorous, often insightful and well-observed, often borderline alcoholic. And while entertaining, Bennett doesn't quite have the same magic as Booth, though with many of his titles sat on my girlfriend's shelf, I'm sure I'll be polishing off some more of his titles soon.    

Days to read: 15

Days per book: 15.9

Samaritan (Richard Price)

'Clockers' is without doubt one of the best books I've read in a while. Richard Price's story of a battle-weary detective's working through a case that makes him rethink his preconceptions is a detailed account of the motivations around murder and how the authorities work to solve them. 'Samaritan' is a similar story, again looking at a veteran detective, working a final case before retirement, struggling to comprehend the motivations of victims and suspects alike.

Returning to the fictional town of Dempsey, New Jersey, Ray is an overly generous television writer volunteering at a local school who is attacked at his home. With the case lacking interest for most detectives, the soon-to-be-retired Nerese, an old school friend of Ray, takes the case on but finds her old pal unfriendly in volunteering information as to who may be involved in his attack.

Again, Price divides the telling of the story between the two sides, detective and victim, gradually piecing the puzzle together and leaving the reader guessing as to the final outcome. Again, this is an absorbing read, drawing you in and leaving you to play detective yourself; coming to your own conclusions from seeing both sides of the story, unlike the protagonists.

'Samaritan' is good: Price has a definite style to his writing which is evident from both this and 'Clockers'. However, while 'Clockers' has eye-opening revelation, the conclusion to 'Samaritan' fails to hit the same heights, perhaps due to so many potential suspects turning it into more of a whodunit than an in-depth, psychological piece as to motivation to crime.     

Days to read: 21

Days per book: 16.0