Wednesday 19 September 2018 photo 1/2
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Lorelei: The Witch Of The Pacific Ocean Full Movie In Hindi Download
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DOWNLOAD: http://urllio.com/r4bhf
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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 movie is set in the waning days of World War II, Japanese cities are being devastated by firebombing, and Hiroshima has been Atom- bombed. The plot centers on an attempt to prevent further Atomic incineration of Japanese cities by using an advanced submarine to prevent the delivery of other bombs. The Japanese cast was very strong and as others have noted, the American characters which are often third-rate actors in Japanese movies, were at least OK.
The submarine was supposedly a late donation from the Nazi's to Japan. In fact in the film, it is almost identical to the French Surcouf submarine, which defected to the allies after France fell to the Germans.
The Sci-Fi element is a young girl with an almost telepathic ability to see underwater. (I really don't think this information will spoil anything, but some viewers may be excessively touchy on such details) Other plot twists I will leave unsaid.
I was fascinated by the way the Japanese attitude to the war was presented. The link with the Nazi's was somewhat explored and there was much discussion of the faults of the elders of Japanese society for starting a war which caused such chaos to the country. Not to be too critical on this point, but the movie did seem to dwell solely on the harm which befell the Japanese people, with no acknowledgment of the harm the Japanese did to others by starting an aggressive war in the first place. The Japanese have been criticized on this issue in other contexts, notably by the Chinese. Not that this detracts from the movie, but is is something we Gaijin (foreigners) may note.
Nevertheless there is a sensitivity shown in the telling of the story which is quite remarkable given the subject matter. I found the movie to have a literary and almost poetic feel compared to a comparable American film. I mean have you ever seen a discussion of Dostoyevsky in an American Movie?
One understands the suffering of a people, few of whom had any say in starting the disastrous events of the war. The soldiers mostly just "followed orders". The civilians of the cities of Japan, ended up as the real victims.
The subplot involving the Captain on shore who orders the submarine on its mission, is not so much hard to follow as to understand the motivation. Possibly it makes more sense to the Japanese audience, who would be familiar with the book on which this is based.
The computer work was not up to western standards, but was serviceable. I was left wondering if anyone would be prepared to hire an American or New Zealand lab to redo this to a higher standard. To do so would make the movie a genuine epic.
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.
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.
Koji Yakusho as Captain 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 be as animated as he was in LORELEI. Tokusatsu fans will also appreciate a good performance from Jun Kunimura (Major Komuro in GODZILLA FINAL WARS) as Dr. Matoi Tokioka, and one of my favorites, Masato Ibu (the Old Controller in GFW) shows up as Admiral Narazaki. On the other hand, the "young leads", Yu Kashii as Paula and Satoshi Tsumabuki as Origasa 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.
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 CG as opposed 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.
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 benefits as a result. The storyline is tighter and faster, and jumps right into the action.
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 "Japan as victim" 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.
As far as the 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 Japanese as a 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 as "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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