Racing films were all the rage in the early 2000s thanks to the successful launch of the Hollywood “The Fast and the Furious” franchise. A year before that franchise relocated briefly to Tokyo for its third drive, which introduced and focused on the technique of drifting, Hong Kong cinema also turned to Japan for “Initial D”, a feature based on a manga and anime of the same name, which also looked at the world of street racing and drifting in Japan.
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By day, Takumi Fujiwara works at the gas station of his best friend Itsuki's father. Come nightfall, he goes down the nearby Mt. Akina and delivers tofu for his father Bunta “Tofuman” Fujiwara's business in his father's AE86 car. The Mt. Akina mountain pass is a favourite track amongst underground street racers as well as professionals, who test their and each other's skills out on the twisty mountainous pass.
Unknown to most and even to himself, all his years of practise driving through that road has made Takumi something of a champion on the track and the words of wisdom from his father, a former Racing God of Mt. Akino, have only gone and made him one of the greatest to drive down that route. When he unintentionally wins against a high-end car in his AE86, Takumi starts to seriously consider taking up racing as a future, while the more seasoned drivers all line up to go against him and get the coveted unofficial title of the Racing God of Mt. Akina.
In terms of the storyline, “Initial D” doesn't have a lot going for it, giving a feeling of deja vu, with the circumstances leading to each passing race. The relationship between the father, an alcoholic and womaniser, and son is probably the narrative's one interesting element. The loveline between Takumi and long-time girlfriend Natsuki is interesting, particularly in the direction it takes in the second half, but doesn't do nearly enough to keep the storyline buoyed. Andrew Lau and Alan Mak seem to keep a fun attitude towards the narrative without taking it too seriously, which could effectively work for the right audience.
It's the racing scenes that end up being the feature's real saving grace. While not entirely inventive, they are exciting enough to warrant attention from the viewers. Odd music choices aside, they have a thrilling quality to them, making use of the beautiful mountain landscape and narrow roads to good effect. The editing is going to be a topic of hot discussion, working for some while putting others off. If there is one thing it could have with a less dose of, it is the ever so frequent, utterly unnecessary spilt-second freeze frames that it uses in places where they just don't work. Thankfully, the directors do manage to reel themselves in when it comes to the slow motions, which feel just right and don't overstay their welcome.
Serving as the acting debut for singing sensation Jay Chou, the production was also intended to increase the profile of the King of Mandopop in Japan, thanks to the manga origins of the story. While it may have served the latter purpose, Chou's work here should be testament to the fact that not every popular singer is cut out to be an actor. In one of the most wooden acting debuts put to screen, Chou's expressionless performance is somewhat puzzling as it comes in an Andrew Lau and Alan Mak film, directors who have in the past evoked some career defining work from their actors. The argument in his favour regarding this role goes that the character in the source material too is supposed to be an expressionless one who is hard to read, but without the knowledge of the manga or anime, one would be just as bored looking at him as he seems when he's sat behind the wheel going down Mt. Akina.
Fortunately, Chou has quality acting support around him that prove to be far more enjoyable. Anthony Wong as Tofuman Fujiwara is delightful and has fun, particularly in his tag-team scenes with Kenny Bee. Chapman To has a tendency to sometimes go over-the-top with his comedic turns but just manages to balance it on the right side here. Anne Suzuki barely gets much scope as Natsuki and Edison Chen has little else to do other than pose coolly. Shawn Yue as rival racer Takeshi brings his inherent charm, but features in lesser scenes than he should have.
“Initial D” may be a product of its time in terms of its execution, but even with that in mind, it is hard to excuse Jay Chou's tedious performance, making his Golden Horse and Hong Kong Film Awards wins for Best New Performer awards most puzzling. Easily one to skip and to add to the pile of terrible anime adaptations, unless you're a fan of automobile racing films in general.
