In the course of watching, this made a few different impressions at different points. What first struck me was that in a time when the broad genre of "sports drama" is filled with cookie-cutter stories of struggle and triumph over adversity and long odds, it's refreshing to see those relative few that approach the subject matter from a different angle. Second was that Kobayashi Masaki's unmistakable condemnation of the extant sports establishment, ruled by money and perceived commercial value, was lessened in some measure by the presence of a character who showed some semblance of conscience, like Watanabe Kanji in Kurosawa Akira's 'Ikiru'; then again, as the length draws on, both these factors strengthen until the second impression morphs into the fourth. The third impression, that there comes a point where the proceedings feel overlong and lagging, may still remain true but fades into the background in the last stretch as that fourth impression, and the fifth and last, take over. Strong as 'I will buy you' is overall, it bears extra power in the last ten minutes or so, and in so doing reminds of other titles that happen to follow a similar pattern (e.g. Celine Song's 'Past lives,' Ang Lee's 'Brokeback Mountain,' Martin Scorsese's 'Killers of the flower moon'). In the case of this picture, though, that power is twisted into a level of condemnation that stops just short of Abel Gance vehemently lashing out with 1919's anti-war epic 'J'accuse,' and which at its peak more closely minds of the wholly bleak assessment of humanity that is Billy Wilder's 'Ace in the hole.' 'I will buy you' is a sports drama, technically, but through the lens of critiquing modern (contemporary) baseball, it has just as much to say about people and society at large, and ultimately Kobayashi does not mince words.

Through to the end and the very last moments I don't think the feature is flawless in its tone, pacing, length, or otherwise conveyance of its ideas, and the impact this carries is a little less than it would have been otherwise. Be that as it may, in adapting the source material, the filmmaker and co-writer Matsuyama Zenzo take a long, hard look at the extent of the infection in sports of money and business sensibilities. In so doing the film speaks to the pernicious corrupting influence of capitalism, to the cynicism and mistrust that it breeds, and to the way that our occupations and otherwise places in such a baneful system demand - nay, require - that we forsake our sincerity and values, or at least relegate them to a small hole where they can be locked away, diminishing ourselves in turn. While the primary focus here is on sports and baseball, news media also fall under Kobayashi's crosshairs, and these are nothing if not a microcosm through which the man assails humanity at large. Can you even imagine what Kobayashi might have to say about the state of these in 2024?

Despite imperfections this is far better than not, and very much engrossing and satisfying. If long in the tooth the narrative is compelling even in its dreariness, and the scene writing is unfailingly sharp and vivid, as the writing arguably takes center stage. The cast are superb in bringing the sorry tableau to life, with fantastic performances of range, nuance, physicality, and at times notable emotional depth realizing these characters who are trapped in the quagmire of a culture driven by money. Sada Keiji and Ito Yunosuke surely stand out most as Kishimoto and Kyuki, both for their prominence and the skills that their parts allow them to demonstrate, but this is hardly to count out Kishi Keiko, Oki Minoru, or Mito Mitsuko, among others, who all unquestionably have their time to shine as the tale progresses. Other elements of the movie are less outwardly noteworthy, but rest assured that the production design and art direction, costume design, cinematography, editing, and not least Kobayashi's direction are all solid and commendable in putting this together.

It may not be an immediately striking, impeccable lightning bolt of brilliance like some other titles, including some others in Kobayashi's body of work, but the clarity of intent and the vibrancy of the themes absolutely come across in the storytelling and in the acting. As other participants round out the proceedings with fine, able contributions, the end result really is absorbing, and hits hard, even if the execution slightly falters. All told the flick may not totally demand viewership, yet whether one is a fan of Kobayashi or someone else involved, has some other special impetus to watch, or is just looking for something good, when all is said and done it continues to hold up and is well worth checking out. For various reasons it won't appeal to all comers, and it bears repeating that the overarching mood is decidedly dour. If that tenor and a few minor faults are no obstacle, though, 'I will buy you' is an excellent, thought-provoking picture, and I'm pleased to give it my firm recommendation.

Before he made his best known films (like those in The Human Condition trilogy, Harakiri, and Kwaidan), Masaki Kobayashi made a handful of fairy small-scale dramas. I'm not crazy about them (and I'm also not crazy about sports movies much of the time), but such films are still pretty interesting and well-made, and I Will Buy You is no exception.

It's a very downbeat look at the behind-the-scenes machinations that go in within the baseball industry in Japan, with the lives of people being bought, swapped, and bartered on, all in the name of a national pastime. The film is a little dull, but I think at its core, the subject and approach does contain some interest; it's definitely got things to say, I just wish I found it a tiny bit more engrossing.

The premise of the movie is rather unique and I feel it's even more meaningful nowadays - it is about a sporting scout trying to recruit the next promising young star to join his team. Like a vulture, from the very beginning, he is looking for weaknesses in the coaching staff of the young star and he quickly starts enjoying moderate success as he gets close to the coach of the star, the star's family, and his girlfriend, who, at he describes as a chameleon as he's unsure how to bend her in his favor.

After a while, a lot of moral and ethical issues come to light as he starts questioning whether what he is doing is right or if it is just the price of his job to be dealing with such issues. As the scout of rivaling teams is also interested in the young star, the whole situation starts a discourse that describes the ambitions to get the star as a war where instead of bombs money is used.