TOKYO FIST (1995)
Directed by Shinya Tsukamoto
Starring: Shinya Tsukamoto, Kahori Fujii, Koji Tsukamoto
Genre: Drama
Running Time: 87mins

Rating:

Exhausted businessman Tsuda finds his life turned upside-down following a re-union with old school friend turned professional boxer, Kojima (played by Tsukamoto's real life brother Koji). Intimidated by his physique, seething with jealousy from Kojima's incessant flirting with his fiancee Hiruzu, and following an ego-crumbling bout Tsuda gets body conscious in an attempt to become the model 90's man and reclaim his dignity with bloody retribution.

While in Tetsuo, Tsukamoto was attacking the industrialist city; in Tokyo Fist it is the city attacking Tsukamoto. An iron maze towering above his miniscule salary man, the city is represented as the worse of both extremes filmed in ice-cold blues and fiercely hot burnt oranges creating a contrasting polar furnace of human decay simmering amidst the unbearable heat waves that distort each frame. There is no let up from this lifestyle; it is an all-consuming metropolis.

However, while the location could be conceived as being an extra character to the film as a constant form of oppression, Tokyo Fist is very much a departure for Tsukamoto in terms of subject matter. Yes, the regular motif of body horror and metamorphosis of flesh is present and correct, as is the destruction of mind and physicality, but at the core of Tokyo Fist is a concern about the male ego and the superficial requirements of a fashion dictated 90's man full to the brim with insecurities about physique and power.

Throughout Tokyo Fist Tsukamoto deconstructs, examines and tears apart the male psyche laying to bare sexuality, emasculation, empowerment and sensitivity as protagonist and antagonist journey in opposite directions seeking the achievements of each other. The meager salary man (Tsuda) seeks the power and physique of the boxer (Kojima), while Kojima seeks the emotional comfort and loving stability of Hiruzu (Tsuda's partner). Both aim to improve themselves with the need of the times, the impending image of a media created model 90's man - a perfect combination of physique and understanding sensitivity.

However, while both seek to achieve their goals it becomes apparent that neither have what the other desires. Kojima appears strong yet inside he is a crushed soul, an emotional wreck with no power living a dead end life with a dead end job. His power exists only on the surface. Meanwhile, Tsuda proves to be the most headstrong. Unable to control his jealousy, Tsuda struggles with his insecurities of physique in a new society where the body is the attraction, not the social status. His insecurities and paranoia make him the most irrational and destructive force as he sets out to send both his life and those around him into ruin. The results are two grotesqueries, superficial representations of the modern man gone wrong in a society where the intended improvements destroy everything they once had. Commanded by a society and a media to be something they are not, they are left with only two options: fail, or be destroyed.

A prevalent theme that runs through Tsukamoto's later works is the presence of a female character representing not so much the middle ground, but a nihilistic, self-destructive approach to the proceedings. A resounding wake up call to the insignificance of the films characters and their problems, whether it's a physical or mental salvation they seek - Hiruzu is the one who soars from society's cage. An embodiment of independence through recklessness she attains contentment through self-destruction. Wilfully desecrating her body in defiance of what is deemed right, she is free of concern, unfettered by the demands of a superficial society. And it is through her anarchistic behaviour that Tsukamoto finds contentment.

However, this is not anarchy against the system, this is more personal a movement. This is a liberation from the demanding masses, this is Hiruzu learning to live for herself. It seems that within the social climate Tsukamoto sees the dangers of our self-conscious times that lead ultimately to self-loathing. A society obsessed with transformation, power and manipulated trends Tsukamoto is calling for individualism amongst the masses, Hiruzu is his mouthpiece.

With Tokyo Fist, Tsukamoto paints an exaggerated picture of 90's superficiality with contrasting desires and needs. A society shattered by its own demands inhabiting a grotesque landscape of depression and decay the imagery is powerful and pulls no punches. Garishly coloured with very little in the way of natural colour Tsukamoto presents a nightmarish vision of obsession, power, mutation and destruction in the most realistic of ways - this is not man versus machine, this is man at war with himself.

And it is a war that he is losing.