Review: "I'd been having diarrhea since this morning, so I took a shit on my teacher's desk."

One student's statement uttered around the mid-point of Toshiaki Toyoda's "Blue Spring" goes as far as it needs to sum up the attitudes and actions of the student body at Asa High. Ruled more by an intense gang scale of authority than it is by the faculty (of which there is little present save occasional moments of adult degradation), The halls of Asa High reek of blood as thick as the layers of dark black spray paint that marks territory next to typically banal high school tags.

As Kujo (Ryuhei Matsuda) claps for the eighth time while balancing on the highest ledge possible, his place as "boss" is solidified, whether or not everyone else agrees with it or chooses to recognize it. Cue fast, energetic chords that wrap themselves around the scene and "Blue Spring" has already established a latex-tight focus from the audience, due mostly in part to its insistence not to waver from the principal players, resulting in a refreshingly linear ride that doesn't get bogged down in side-stories.

Youth loses itself to whatever, fades away with fleeting sports dreams or hopes of academic success dashed and climbs in the back seat with ambivalence and survival in a hierarchy with death at both the top and the bottom. Kujo is a wholly accepting character. Accepting of his position as boss as well as of his possibly futureless life, as a student in a violent position of leadership he's humorously enough the most indifferent. In an empty, cutthroat world, the only things that are remotely frightening are dreams, ambitions, goals, and more specifically, those who have them. Kujo himself is as stone-faced as possible, yet unafraid to admit, "People who know what they want, scare me".

School is shown from a few perspectives in "Blue Spring", but never as a tool for education, a mold for college and ultimately a career, or even as an escape from whatever mundane family situations the characters may carry on their shoulders. It's a venue for growing up too fast, and a scouting grounds for hard nosed yakuza seeking the newest rising stars fit to go to the Koshien of the crime underworld. Like "Fudoh: The New Generation", Toyoda's work is somewhat of a yakuza jr. tale. The comparisons stop there as it's good enough to get a general idea of what we're working with. "Blue Spring" isn't as sensationally violent, but doesn't end up being as much of a reprieve from reality either.

Ryuhei Matsuda is perfect as Kujo, and the rest of the cast fills everything out pretty nicely. Maybe it's his porcelain, ready-to-shatter face that creates the character. Playing opposite Matsuda as Kujo's best friend turned rival, Aoki, is Hirofumi Arai. Subservient heel for one portion, and challenging upstart the next, Arai nicely shows his eventual disdain for the lowly position under Kujo. One of the greatest saviors of this movie was the decision (conscious or not) to make sure these kids don't come off as screaming, whiney, angsty "Battle Royale II" rejects (The fact that it was pre-BRII notwithstanding). They dish out punishment and face it on the receiving end. There may be a busted jaw across the school floor, but at least no one's calling their mommy or delivering a pouty-lipped soliloquy over the whole ordeal. Roll with fate and stay under someone's foot forever, or more ideally, make it to the top or die trying.

Topping everything off is the music, which starts and ends the film on an equally sombre yet paradoxically energetic note. Thee Michelle Gun Elephant does for "Blue Spring"s temperamental underage yakuza rage what The Pillows did for Gainax's wide-eyed frenetic anime "FLCL". It musically expresses a lot of the feelings and atmosphere that's projected by the movie itself, and in no uncertain terms does it rock the balls off the walls.