Written for RAF News September 2021
In the wake of WWII, an American prize fighter with a string of losses competes in Japan against an undefeated boxer.
The politics in the background remains just that, as In Full Bloom avoids the path of Rocky IV and instead focusses on the meaning of the fight itself. It becomes less of a show for an audience or the media, and instead dives into the philosophy of boxing through the headspace of these two fighters.
It does this by taking an expressive, poetic form – earning obvious comparisons to Terence Malik through its use of whispered narration over the top of natural landscapes and stirring string compositions. This style is sustained for the entirety of the film, as we follow American Clint Sullivan (Tyler Woods) and the struggle he has in the locker room before the fight when his honour is questioned, or as we jump back in time to see the preparation undertaken by Japanese fighter Masahiro (Yusuke Ogasawara).
At a press conference, Masahiro is asked about his connection to a legendary figure – a former champion living out in the woods in isolation. Avoiding a collapsed montage with upbeat music, we instead see the ways in which this recluse becomes Masahiro’s very own Mr. Miyagi, stealthily honing fighting technique through various tasks and challenges, such as catching fish in a stream barehanded, or hunting whilst blindfolded.
The tone of the film seems to work more naturally with the Japanese characters, whereas dialogue feels a bit simple in the mouths of the Americans, perhaps losing something in translation. By the time of the fight however, none of this matters.
The dialogue falls away, the crowd are blacked out and the camera circles the ring as we watch the first round play out in real time. In a dizzying whir of visuals and sound, this final fight is an explosion of style that pays off all of the films earlier meditations.