Matt Cooper Films

Awake (2020) by Atsuhiro Yamada

Shogi, Japanese chess, is a popular but unforgiving game, with relatively few people making it to the upper echelons of top players. “Awake” is inspired by real events of the Denousen tournament which pitched an elite Shogi player against the best computer. The film follows Eiichi Kiyota (Ryo Yoshizawa), a programmer who creates the system “Awake” that is able to compete at an incredibly high level. As a child Kiyota attended a shogi academy where he met Riku Asakawa (Ryuya Wakaba), who would go on to be one of the country’s top player and would be the one to challenge Kiyota’s computer.

Inspired by true events, the film follows the formula of a sports movie, with the central rivalry driving the action. Kiyota, a strong player in his own right, feels disappointed that he is unable to compete with the very best, unfortunately finding himself in a club with Asakawa, whose abilities are largely unmatched. Kiyota then devotes himself to creating the AI system that he hopes will be able to beat Asakawa, along with the help of Isono (Motoko Ochiai), the lone misanthropic member of his University’s computing club. Large parts of the film are taken up with shogi matches, and it will no doubt add a level of enjoyment if you understand the game. Even for those less familiar, the film does a solid job of explaining what is going on and when players reach a crucial moment or make a serious blunder. A relatively straightforward story and an easy watch. The performances from the two leads Eiichi Kiyota and Ryuya Wakaba, demonstrate these chracters dedication, concentration and determination to win. Writer and director Atsuhiro Yamada crafts a simple yet effective tale of sporting rivals, showing the rise of the two young men from youths at their shogi academy, through their divergent careers. The single-minded focus they share for the game is reflected in the film also with very little extraneous material about their lives. We see Kiyota’s father and a small number of supporting characters, but for the most part the narrative remains fixed on their desire to excel in shogi.

While the film is ostensibly about the battle between human and AI, and questioning what future there is for humans when computers finally become unbeatable; there is a more human and emotional theme running throughout. The teacher at the shogi school explains to the youths there that very few individuals ever make it as a professional. While we are brought up to do our best, it is interesting to consider what happens when we fail to achieve what we set out to; or more troubling when we see someone who is better at the thing we are most passionate about. Kiyota’s story is a familiar one, since almost everybody will be somewhere below the top spot in any chosen sport, activity, or profession. His story shows how he is able to take his intelligence and pour it into a second hobby, that of programming, able to memorise large texts and learn quickly the skills he needs. He also seems to be at peace with the fact that his journey to becoming a professional shogi player was cut short, and that the most important thing is continuing to improve even if you never achieve perfection.

Matt Cooper Films

Beach Volleyball Detectives Parts 1 and 2 (2007) by Yumi Yoshiyuki

While playing volleyball, a group of three female officers see a man spying on them. After running him down they find a memory stick containing information about a nuclear bomb threat. The group are joined by a CIA operative who arrives and the four of them must go undercover. They sign-up for an international volleyball tournament alongside Chinese, Indian and Russian teams. The Chinese competitors, under the auspices of the mysterious “Black Sun”, are planning to destroy the world and it is up to the Japanese to stop them.

“Beach Volleyball Detectives” is a film that has a concept that could absolutely have worked in the right hands. The farcical plot and blend of low-brow titillation and slapstick humour do provide a few good moments, but on the whole they are undermined by the poor production quality. The locations in Chiba are hardly fitting for the sexy tone the film is trying to establish and the sets are usually no more than empty rooms dressed with a few posters and props. In a film such as this a silly and unbelievable plot and wooden acting is hardly a significant drawback, but the film never reaches that critical mass of humour or outrageousness, often being bland and uncreative. The actresses are there to look good and little else. There are jokes about Chinese, Russian and Indian stereotypes that again suffer from poor execution. It feels as though little effort was put into anything beyond the basic premise, which makes it remarkable they managed to convince even this small cast to star in it. Film’s like the live-action “Cutie Honey” and “Oppai Volleyball” show that the problem is not necessarily with the fundamentals, but with the execution. Likewise, “Ping Pong” and “Prince of Tennis” are examples of over-the-top sports comedies that are engaging. The problem here is that not enough effort went into the production. An egregious example of this is in the use of CGI volleyballs. There is absolutely no reason why the actresses could not have strung together a couple of plays, and in the close-up one shots it is completely unnecessary to use special effects. I loved the concept of players each having a video game-esque special move, but again this was undermined by poor quality graphics. They could have done more of the visual gags with practical effects with just a little more creative thought.

Overall, “Beach Volleyball Detectives” is probably one best avoided. It is lacking in quality humour, script, dialogue, acting and special effects. It is almost incredible that a film about women playing beach volleyball can be so uninteresting.

Matt Cooper Films

Mukoku (2017)

Kengo Yatabe (Go Ayano) is a young man battling several demons. His father, strict to the point of psychologically abusive, trained him in the art of kendo. After an incident in which Kengo struck him across the head with a bokuto, his father is now comatose and Kengo feels the guilt of his actions, knowing that he has as good as killed his own father. He has retreated into the bottle, given up kendo, and now works as a security guard. His days consist of routine punctuated by heavy drinking, a far cry from the young focussed athlete he once was. Tooru (Nijiro Murakami) is a teenager who likewise seems frustrated and alienated from the world. His passion is rap and specifically writing lyrics which help him express his pent up rage and emotions. After a run-in with a group of kendo players, he is dragged along to their training session. Showing himself to be full of aggression, though untrained, the tutor takes an interest in him. The teacher is also trying to bring Kengo round from his stupor and arranges for the two men to cross paths. This fateful meeting puts both on a collision course, with Tooru now dedicated to the sport that Kengo is attempting to run from.

From the opening scenes of the film it is clear that this is something special. We see a young Kengo and his father training, while the mother calls them for dinner. The transition to the inciting incident of Kengo injuring his father is perfect in putting the audience off-guard. It is not immediately clear what has happened, as the early scenes could be straight from a samurai film, suddenly interrupted by the appearance of a university student. This perfectly captures one of the film’s themes as we see the ancient traditions coming right down to the present. This confusion also puts us in a similar position to Kengo himself as he is unable to fully come to terms or understand what happened, whether it was an accident or purposeful attack. Throughout he is haunted by visions and recriminations of that event, and it is not at first clear exactly what happened. Likewise, the way the film shows Tooru’s sense of isolation with an opening shot with him out of frame and imagery of an underwater crowd at his concert, shows the skill and confidence of the director Kazuyoshi Kumakiri to tell this story in an interesting visual way. The script is written by Ryo Takada, based on the book by Shu Fujisawa. Both Go Ayano and Nijiro Murakami give exceptional performances. The director is not afraid of long takes and even in lengthy scenes both are entirely believable in their roles. The supporting cast, most notably Akira Emoto as the kendo instructor help to bring this world to life. There is a small part for Atsuko Maeda as Kengo’s girlfriend. The story is well paced and the occasional flashbacks and lapses into Kengo’s traumatic recollections keep you guessing what has happened and what will happen. It is not a typical sports story, though there are occasional training montages, but everything is tied more particularly into the psychology of Kengo, and to a lesser extend Tooru. The cinematography is beautiful, including some standout moments, such as the fight in the rain.

Mukoku is nominally a sports story, with a great insight into the art of kendo and scenes of practice and combat. This only acts as a support for the emotional drama of the main characters. It would not have worked with another sport. The traditionalism and values of kendo are of special significance in this story. In an early scene we see a giant statue of Kannon, a buddhist deity, on a hillside behind Kengo as he shares a beer with a homeless drunk. Themes of religion and tradition become more apparent as the film goes along. The film stresses the importance of having a strong moral code and more importantly something to focus on to prevent becoming wayward. The will to survive in the battle-practice of kendo can be seen as a basis for a healthy life and averting a descent into melancholy and despair. It is clear that Kengo is directionless, drifting through a life of alcohol and regret, with his former master attempting to set him back on the right path. Tooru is by contrast inspired by the strict training regime and dedication required for Kendo. The philosophy of kendo plays a central role in the story, with many of the lessons of this art becoming guiding principles for the characters. The ideas of sin and righteousness, displayed by Kengo’s straying from the path and Tooru’s adherence to it, is characterised well. A highly entertaining film dealing with several issues and coming at them from a peculiarly Japanese angle. Definitely recommended for those with an interest in kendo, its practice and philosophy.

Matt Cooper Films

Oppai Volleyball (2009)

5 Junior High School boys share the same dream. Of touching, or even seeing a pair of breasts. When a new young female teacher, Mikako Terashima, is put in charge of their volleyball team they make her a deal: If they win a game in the upcoming tournament she will show them her breasts. The only problem is that they’re hopeless at volleyball,  having never played or even trained before. But with this fantastic reward ahead of them the boys suddenly find a renewed will to train hard and persevere. The film also looks at the life of their teacher and her reasons for moving to a new school and her passion for education.

The film works　well as a light high-school comedy. Plenty of jokes and a good summer soundtrack. Mikako’s story is intended to add a sense of drama to the story with her contemplations on her career. This does add an element of gravitas to the largely frivolous story,　but at times seems an unusual contrast. The film captures the youthful spirit and the jokes are funny, albeit mostly on the same theme. The acting is also solid from Ayase Haruka, as the overwhelmed teacher, and the boys, who deliver their lines with real zeal.

Oppai Volleyball (or Boob Volleyball) great feel-good summer sports film with an unusual MacGuffin (or pair of MacGuffins) providing a look at the humorous side of adolescence and education. Teaching us, in a roundabout way, that working hard for a goal you believe in is a noble thing.

Based on a novel by Mizuno Munenori.

Matt Cooper Films

Ping Pong (2002)

Ping Pong tells the story of two friends and their struggles to succeed at ping pong in inter-school championships. The child-like “Peco” Hoshino and his ever serious friend Tsukimoto (nicknamed “Smile” as he rarely smiles) have been friends for a long time. They are the top two player in the Katase High ping pong club and unassailable until a new chinese player arrives and solidly beats Hoshino in a friendly match, and Hoshino is then beaten by Sakuma, a student from rival Kaio school. Hoshino, at first so distressed he gives up training, then decides to stage a comeback at the next tournament. Meanwhile, his friend “Smile” who only plays to kill time and often lets people win despite his superiority also decides to try hard at the competition.

The film is well paced with plenty of character driven jokes. At first Hoshino is a little annoying as his character, incredibly over-the-top immaturity, but this mellows somewhat later in the film. Although the story is pretty basic, the cast of the two leads, their rivals and their trainers, all with very distinct personalities and styles make the film enjoyable. It’s also very well shot, utilising camera angles and shots to liven up the story, and only occasionally straying into manga-esque CG trickery.

The movie revolves around the philosophies of ping pong, the determination needed to win and the fierce rivalries. Although it’s a comedy, the parts which are meant to be serious are done well enough to evoke the desired emotions. In the end it’s a story of friendship and striving for something that you believe in, made interesting by superb directing and acting. One of the better Japanese sports films.

Based on the manga by Taiyo Matsumoto.