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| FIGHTING ELEGY (1966) | |
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Value of individual freedom cannot be measured, as it provides the right
for a person to do what he or she desires.
However, most societies have rules that each and every person must follow in order to maintain a safe society.
These rules are often based on some sort of moral value. Nonetheless, individual freedom in general offers the freedom
of self-expression and individual growth without outside influence.
In a society where freedom is given it is essential to protect this freedom, as freedom gives people
the power to fulfill themselves. Expression of fascism often puts the race before all through despotism that is exercised from a central source where total domination enforces the rules. In the event of resistance brutal force maintains the order and people quickly learn that punishment is the only means of motivation. In the Japanese community where the high school student Kiroku Nanbu (Hideki Takahashi) lives he is being fostered to in a strong nationalistic spirit where hostility toward strangers is overtly expressed. This helps to form Kiroku’s identity, as heavy punitive regulations keep him in line. The fascist theme has a very serious meaning, yet the middle-aged Seijun Suzuki’s direction offers youthful illumination of the situation through Kiroku Nanbu who finds himself between fascist ideology and individual expressive freedom. Kiroku is torn between the young fascist males and a neighbor catholic girl Michiko (Junko Asano), and is fueled by his adolescently raging hormones. Through Kiroku’s friends he ends up in gang fights that function as an outlet for his anger and trained dissatisfaction with the society. However, Michiko dislikes Kiroku violent behavior, as it goes against her moral upbringing and she tries to sway him to stop, as she shares the affectionate feelings that he has for her. The adolescent maze of sexual discovery, love, and emotion confuses Kiroku and is even made more difficult through induced guilt. Kiroku who is coming of age does not really know what he wants, which makes him a very an easy target to have new ideas pushed onto him. The other young males in his cohort feed him misguided information in regards to love and affection and drives him deeper into sexual puzzlement. Inside Kiroku fantasizes about Michiko, as he teaches himself about masturbation and its reliving stimulation. However, guilt overcomes him and he is forced to repress his sexual feelings through guilt. Yet, these feelings need an outlet, as his passionate feelings manifest themselves through violence brought to him through his cohorts. Amidst the adolescent confusion while trying to find oneself Kiroku has a number of people influencing him. His father, who is extremely relaxed, treats him like an adult, as a means to provide parental guidance. This is counter productive, as Kiroku has no idea what being an adult is like, which makes him look for more guidance from a mechanic named Turtle (Yusuke Kawazu). There are also other rough characters that become his guides through his brawling adolescence in Yamaoka before he is sent to the countryside. Kiroku Arrives at a new school in a rural area where boys tend to treat newcomers with suspicious disrespect and bullying, which forces him to stay strong. The contempt of the hostility toward strangers further evolves the fascistic tendencies in the film, which seem to be even stronger on the countryside. The strength of the fascistic ideals is rooted in traditional pride, which Seijun makes fun of as the fascists only display their strength by attacking those who are evidently weak. Kiroku even points this out, as he turns into one of the leading fascist adolescents that gain power through display of fighting might. As the story unfolds the audience can witness Kiroku's change and watch him become more confident. The confidence leads him to find some middle ground where he reaches out to Michiko while embracing the violent path that he treading. However, Michiko does not reply with the answer that he anticipates, which leads him further down on the raging road that he is now traveling. Fighting Elegy is an amusing coming of age tale in the shadow of fascism where war and love struggle against one another. Seijun pushes the story to the limit through ironic symbolism where adolescents search for a worthy identity through bad role models. Despite the heavy dose of humor it is a remarkably powerful story that loosely depicts events that took place in Japan during 1936--events where the true characters started a rebellion that was squelched, Seijun depicts how some mislead youth could have been lead into the madness. This is enhanced through the camera work of the film, which is exceptional despite its low budget. The black and white film is another illustration of how they budgeted the finances of the film. In the end, Fighting Elegy offers a wild cinematic journey with slapstick, punches, and kicks, as emerging youth embrace fascism while desire to love struggles to overcome. |
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DIRECTED BY |
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| Seijun Suzuki | |
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Japan |
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| REVIEWED | |
| 2/27/2005 | |
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The Internet Movie Database. |
