Blue Review
With Blue, director Keisuke Yoshida takes viewers on a subtly affective journey through the lives of professional and amateur boxers that shows not only the physical rigours and toll of the often brutal sport but also the very human trials of its protagonists.
The film focuses on three boxers, the veteran Urita (Kenichi Matsuyama) who despite his adoration for the sport struggles to achieve victory in the ring, his friend and junior, Kazuki (Masahiro Higashide) who is chasing the weight division title, and Narasaki (Tokio Emoto) who starts boxing to show off to his workmates but soon becomes serious about going pro. Whilst following the journeys and fights of each man, their personal struggles are also given key attention. Urita must deal with Kazuki dating and intending to marry his childhood friend, Chika (Fumino Kimura), whilst also helping the man prepare for his title match and having to cope with his own lack of success. Narasaki must also contend with his romantic tensions at work, with his own feelings unrequited.
Blue benefits from Yoshida’s directorial style, with a simplistic clarity to the cinematography and presentation that allows the performances of the cast speak clearly, particularly with the unspoken emotion lying just underneath the often tense dialogue. That general approach, however, does not preclude some more showy (but appropriate) editing and camera work, specifically to depict the punch-drunk syndrome experienced by Kazuki as he continues to take more and more hits as his boxing career goes on. The visual presentation of the fights (and training) is also well done, not so much in the cinematographic technique and editing of shots, but in having taken the time to illustrate through choreography the full skillset of a fighter – not just punches, but guarding, footwork and tactics. Visually the matches may be nothing particularly novel or spectacular, but their well-roundedness takes the film outside some others in the genre which tend to just highlight the punching.
Whilst the verbal acting of the cast achieves much, Blue’s real strength lies in the unsaid and the implied. In this, Matsuyama’s performance is most noteworthy with him displaying a command of his craft in his nuanced expressions and body language, embodying Urita’s frustration and resentment but also his unshakable passion for the sport he has dedicated his life to. The story of Narasaki, whilst reasonably well acted, is however less engaging than Urita’s and feels like it could have benefited from some additional attention given that the raw materials for a more fulsome and interesting subplot.
For fans of sports films, Blue is a worthwhile watch, and as a human drama it holds even broader appeal. Make sure to catch it at the Japanese Film Festival this November.
Blue is playing as part of the Japanese Film Festival 2022 in Australia. Check out the full program and book tickets here.
