Juggling an impressive assortment of hats as co-directors, screenwriters, cinematographers and editors, VillaSenor and Ghassemi at least clothe this flimsy parable in sumptuous visuals, luscious colors and elegant production design.
FULL BLOOM FULL
“Inside you is a path, are you afraid to take it…?”īehind its silly highbrow pretensions and cryptically jumbled, nonlinear plot, In Full Bloom is essentially a vintage B-movie melodrama, peopled by stock characters who embody glib notions about ancestral honor codes and solemn manly pride. “Your only enemy is ego,” he counsels Masahiro. Like Yoda, Tetsuro speaks in Zen-lite riddles that strain for profundity but mostly sound like sappy inspirational poster slogans. He teaches him to catch fish by hand in an icy stream, hunt blindfold in woodland and resist the erotic temptations of sexy courtesan Asami (Hazuki Kato). Initially reluctant to play sensei, the old recluse soon begins testing his young pupil with unorthodox training methods. Meanwhile, Masahiro mentally prepares for his clash with Sullivan by tracking down reclusive former champ Tetsuro (Hiroyuki Watanabe) in his remote, snowy fortress old solitude. But Sullivan is too proud to play along, holding on to his last shreds of self-respect even if that means potentially signing his own death warrant.
Scott McCracken) has cut a deal with a murderous yakuza betting syndicate that his boy will deliberately take a fall in the ring. Adding to this tension, Clint’s silver-tongued slimeball manager Silas (S. boxer Clint Sullivan (Tyler Wood) and defending Japanese champ Masahiro (Yusuke Ogasawara) is charged with extra geopolitical friction as prickly references to Pearl Harbor and Hiroshima hang in the air. An impending light heavyweight title fight between washed-up U.S. In Full Bloom takes place in Japan soon after World War II, when antagonism toward the occupying American powers is still widespread.
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