646f9e108c A drama set during World War II where a submarine carrying a secret weapon attempts to stop a planned third atomic bombing of Japan. Based on Harutoshi Fukui's novel Shuusen no Lorelei.
The slick music is a flaw. It's a pity that traditional Japan music can't be adopted in movie about modern affair. Music sound tedious in a repeated oppressive rhythm,wellthe cadenced music that helped to arose the urgency condition. Perhaps better without the background music. <br/><br/>Having watched some Japanese WWII movies. The common narration was: graceful landscape and relics in motherland, dear family members or lovers –everything in country is so beautiful, and all these should be cherished; be forced to frontier; found be cheated by warlord (only when defeated?); but, in any way, soldiers should behave braveness and obedience (approve the real Japanese soldiers' behavior in late stage of WWII); at last, somebody sacrificed for their honor, the survivals represent the hope of new Japan.<br/><br/>– All above in the service of such a mention: the own country is the core, in other words, Japan is the most important. It seems most Japanese turn a blind eye to other nation's suffer, and addict themselves to their own perception. People in occupied territory means nothing, and if they does, they should appreciate the occupiers from the same Asia for their 'liberation' from Westerners. Defeat is not reconciled to – 'Go down swinging'. If plot not be treated so, the nation's 'self-pride' would hurt. Sometimes, remorse or condemn to warlord are allowed, in an delicate 'apropriate' limit, but it wouldn't account for the main line. Scenarios must be turned around thereafter anyway. Perhaps someone responsibl for movies partially realized the fact, but they just wouldn't recognize it.
I found LORELEI entertaining with some great performances and production values (especially for a big budget feature, by Japanese standards), but felt the story was lacking in a number of ways.<br/><br/>Shinji Higuchi (special effects director for GODZILLA-MOTHRA-KING GHIDORAH and Shusuke Kaneko's GAMERA series) shows great promise here to be an excellent director. His talent and originality really shines in this film, and it's obvious he has a big future ahead of him. I'll be looking forward to his adaptation of NIPPON CHINBOTSU (JAPAN SINKS) next year. Despite his background, Higuchi shows in LORELEI that he knows how to balance SFX with the drama.<br/><br/>Koji YakushoCaptain Shinichi was wonderful. I'm so used to seeing him play laid back, morose characters in things like Kiyoshi Kurosawa films, and I didn't think he could beanimatedhe was in LORELEI. Tokusatsu fans will also appreciate a good performance from Jun Kunimura (Major Komuro in GODZILLA FINAL WARS)Dr. Matoi Tokioka, and one of my favorites, Masato Ibu (the Old Controller in GFW) shows upAdmiral Narazaki. On the other hand, the "young leads", Yu KashiiPaula and Satoshi TsumabukiOrigasa left me rather cold. The western cast was one of the best I've ever seen in a Japanese film, delivering their lines and reaction shots on a much more convincing level than anything I've seen recently in Japanese SF/F film.<br/><br/>Special effects heavily dominated the movie, and although great (unprecedented?) for a Japanese film, they still looked like special effects more often than not. I was surprised (and a little disappointed) how much of it seemed to be CGopposed to miniatures work. Very few shots looked "real". There was an almost dreamy "unreal" nature to many of the shots that may have been intended. But I think Japanese SFX crews still have a long way to go with compositing. Having said that, water is said to be the most difficult thing to work with in CG, and they did an admirable job with exciting dramatic shots that supported the story rather than detract from it.<br/><br/>As I mentioned, though, the story itself felt weak in spots. LORELEI was written by Harutoshi Fukui, based on his bestselling novel "Shuusen no Lorelei". Based on what I've read of the original storyline, there were many changes made in the transition from print to screen, and the film probably benefitsa result. The storyline is tighter and faster, and jumps right into the action.<br/><br/>But there are, in my Western-informed opinion, some mixed messages here that are a little hard to swallow, much of it related to how the Japanese tend to address their own perceptions of Word War II. Fukui certainly makes his politics known in the story. This is not to say that the Americans or Allied POV is treated poorly in the story, not at all. I just felt that there was a somewhat skewed "Japanvictim" angle that perhaps requires a Japanese background in order to truly empathize. As a result, it makes it difficult to understand some of the character motivations and twists in the story.<br/><br/>As farthe sci-fi element of the story (MILD SPOILERS FOLLOW), I was surprised by how little of it there was. The I-507 itself is a very advanced German-built sub that has a detachable minisub that is towed by cable. The minisub is operated by one crewman and occupied by Paula. Paula has been engineered by the Nazis to be a living sonar, and is delivered to the Japanesea component of the "Lorelei System". She's wired and tubed up to the minisub, and the whole device basically provides the I-507 with a super-advanced 3D visualization system with a reach of 120 nautical miles. This makes the I-507 incredibly accurate, but the deadly side effects take their toll on Paula. It's an interesting concept, but it's really just a plot device, sort of "What if Japan had a modern day weapon in WW2?" In the end, it's only used to position against more "What ifs" such"What if the US had a third atom bomb at the time?" and "What if there were Japanese who had a hidden agenda towards the end of the war?" Nevertheless, LORELEI is an exciting look at what can be done by modern Japanese filmmakers with a big budget, quality talent and time. It takes the best of big-budget American thrillers, and fuses it with a more thoughtful Japanese approach to human drama that is, more often than not, lacking in its western counterparts. It remains to be seen whether the politics of the film will prevent it from wider exposure to audiences in the U.S..


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