bmwracer wrote:
Maybe the director will reintroduce Smell-O-Vision. :mrgreen:
The Japanese can do it.
The Japanese can do it.
Japanese Movies/Discussion/Recommendations
Started by angiemakino · 12 Sep 2003 · 4,597 replies
Japanese Entertainment
The Japanese can do it.
is a japanese movie released in 2000s the title was something like battle of the wits or battle of the wigs or war of schools or something like that! it was a big title! i checked in google but without luck...it only had 1 result with a movie known as battle of the wits but this is not what i am looking for... the story is about highschool students! i only remember the begining where there was 1 classmate who kept annoying other classmates and suddeny during the class a boy stood up and complained... at that point the annoying one angrily stood up and came near to him while all the other students drew their desks away from his way... the annoying student hit the other's student nose with his head... later there was a clothes shop that was making school uniforms and some students were complaining about something... please help!!!!
it is not battle royale...
the movie i am looking for i downloaed from the internet and it was 2 cds...(not big of a help huh?)
it is not battle royale...
the movie i am looking for i downloaed from the internet and it was 2 cds...(not big of a help huh?)
Theatrical movie or TV movie?
Regardless, wrong forum... Moving and merging.
Regardless, wrong forum... Moving and merging.
Yakuza movie lines without honor or humanity
By MARK SCHILLING
Special to The Japan Times
January 26, 2011
Japanese movies, like their Hollywood counterparts, have produced plenty of –¼‘䎌 (meiserifu, famous lines) over the years, in just about every genre. But when I was researching a book on ƒ„ƒNƒU‰f‰æ (yakuza eiga, Japanese gangster movies), I realized that this particular genre had generated more than its share.
One reason is that Japanese gangster-speak is filled with not just flavorsome slang \ ›O”k ishaba, the world outside prison), “‡ (shima, gang territory) and Œ˜‹C ikatagi, straight) being among my favorites \ but also expressions that sum up an entire world view in a few pungent words or characters.
ˆêhˆê”Ñ‚Ìm‹` (isshuku ippan no jingi), for example, encapulates the classic gangster movie story of the ŒÒ—·•¨ (matatabimono, wandering gamblerj, who, in exchange for ˆêhˆê”Ñ (isshuku ippan, a night's lodging and meal) at the house of a friendly e•ª (oyabun, gang boss) becomes involved in the gang's battles in accordance with m‹` (jingi, the gang code). For an old-time gangster, typically played by Ken Takakura, an obligation, no matter how slight, must be repaid, even if it means risking his own skin.
The battles of postwar gangsters, however, have more usually been m‹`‚È‚«í‚¢ (jingi naki tatakai, battles without honor or humanity) \ Darwinian struggles that trash the gang code. This was also the general title of the five-part Kinji Fukasaku epic um‹`‚È‚«í‚¢v ("Battles Without Honor or Humanity," 1973-74) about a 20-year gang war in Hiroshima \ and has since become a phrase in non-gangster use.
Another reason is that, in their 1960s and 70s heyday, hundreds of ƒ„ƒNƒU‰f‰æ were made by Toei and other studios and several produced lines still remembered by fans today.
Among the most famous was uttered by Takakura just as he was about to dispatch an enemy with a ƒhƒX (dosu, short sword) \ never a gun: uŽ€‚ñ‚Å–á‚¢‚Ü‚·v("shinde moraimasu"), which is a polite way of saying "I want you dead."
Another immortal Takakura line was one he delivered just before he and Ryo Ikebe were about to ‰£‚肱‚Ý(nagurikomi, invade the headquarters of a rival gang) in Kosaku Yamashita's u”ꉲ’O”Ž“kv ("Hibotan Bakuto," "Red Peony Gambler," 1968): uŠ‘FA‰´’B‚Ìs‚æ‚ÍÔ‚¢’…•¨‚©A”’‚¢’…•¨v ("Shosen, oretachi no ikusaki wa akai kimono ka, shiroi kimono ka"; "After all, we're bound for either a red kimono [worn by prisoners] or a white kimono [worn by the dead].")
This stoic view of life extended to affairs of the heart. In Seijun Suzuki's u“Œ‹ž—¬‚êŽÒv ("Tokyo Nagaremono," "Tokyo Drifter," 1966), Tetsuya Watari, whose character has become a hunted outcast after killing his duplicitous boss, must say farewell to his nightclub singer girlfriend, played by Chieko Matsubara. Before departing, he tells her u—¬‚êŽÒ‚É—‚Í‚¢‚ç‚È‚¢A—‚ª‚¢‚¿‚á•à‚¯‚È‚¢v ("Nagaremono ni onna wa iranai, onna ga icha arukenai"; "A drifter doesn't need a woman. If a woman's around he can't walk").
Heroes in traditional gangster movies, the so-called ”C‹ ‰f‰æ (ninkyō eiga, chivalry films) set from the early Meiji Era (1868-1912) to the prewar period of the Showa Era (1926-1989), often had a similarly negative view of the gangster life, with the hero, fresh from ‚Þ‚µ‚å (musho, short for ŒY–±Š [keimusho, prison]), trying earnestly to ‘«‚ðô‚¤ (ashi wo arau, literally "wash the feet," or go straight). But, inevitably, since he is ‹`—lî‚ÉŒú‚¢ (giri ninjō ni atsui), that is, faithful to his personal obligations, no matter what the cost to himself, he ends up being dragged into a gang o“ü‚è (deiri, battle), tossing away his shot at a normal life.
The purest distillation of this gangsters-are-lost-souls attitude is found in Yamashita's genre classic u”Žšó‘Å‚¿ ‘’·“q”Žv ("Bakuchiuchi Sōchō Tobaku," "Big Gambling Ceremony," 1968). Koji Tsuruta plays a self-sacrificing peacemaker in a gang succession struggle who is repeatedly forced into deadly violence. Finally realizing that the machinations of his own uncle, a gang boss, have led to the killings, he confronts him with a sword, bent on revenge.
The uncle turns coward and begs for his life: uf•ƒ‹M•ª‚̃ƒV‚ɃhƒX‚ðŒü‚¯‚é‹C‚©I‚Ä‚ß‚¥‚Ì”C‹ “¹‚Í ‚»‚ñ‚È ‚à‚ñ‚¾‚Á‚½‚Ì‚©! v("Ojikibun no washi ni dosu wo mukeru ki ka! Temē no ninkyōdō wa sona mon dattanoka!"; "You can turn a sword on me, your uncle? Is that what the Way of Chivalry is to you?")
Tsuruta replies before he plunges in the blade: u”C‹ “¹‚©. ‚»‚ñ‚È‚à‚ñ‰´‚É‚Í‚Ë‚¦B‰´‚Í‚½‚¾‚Ì"ƒPƒ`‚ÈlŽE‚µ''‚¾.v("Ninkyōdō ka. Sonna mon ore niwa nē. Ore wa tada no "kechi na hitogoroshi" da; "The Way of Chivalry? That has nothing to do with me. I'm just a low-down killer.")
Dirty Harry has nothing on this guy.
By MARK SCHILLING
Special to The Japan Times
January 26, 2011
Japanese movies, like their Hollywood counterparts, have produced plenty of –¼‘䎌 (meiserifu, famous lines) over the years, in just about every genre. But when I was researching a book on ƒ„ƒNƒU‰f‰æ (yakuza eiga, Japanese gangster movies), I realized that this particular genre had generated more than its share.
One reason is that Japanese gangster-speak is filled with not just flavorsome slang \ ›O”k ishaba, the world outside prison), “‡ (shima, gang territory) and Œ˜‹C ikatagi, straight) being among my favorites \ but also expressions that sum up an entire world view in a few pungent words or characters.
ˆêhˆê”Ñ‚Ìm‹` (isshuku ippan no jingi), for example, encapulates the classic gangster movie story of the ŒÒ—·•¨ (matatabimono, wandering gamblerj, who, in exchange for ˆêhˆê”Ñ (isshuku ippan, a night's lodging and meal) at the house of a friendly e•ª (oyabun, gang boss) becomes involved in the gang's battles in accordance with m‹` (jingi, the gang code). For an old-time gangster, typically played by Ken Takakura, an obligation, no matter how slight, must be repaid, even if it means risking his own skin.
The battles of postwar gangsters, however, have more usually been m‹`‚È‚«í‚¢ (jingi naki tatakai, battles without honor or humanity) \ Darwinian struggles that trash the gang code. This was also the general title of the five-part Kinji Fukasaku epic um‹`‚È‚«í‚¢v ("Battles Without Honor or Humanity," 1973-74) about a 20-year gang war in Hiroshima \ and has since become a phrase in non-gangster use.
Another reason is that, in their 1960s and 70s heyday, hundreds of ƒ„ƒNƒU‰f‰æ were made by Toei and other studios and several produced lines still remembered by fans today.
Among the most famous was uttered by Takakura just as he was about to dispatch an enemy with a ƒhƒX (dosu, short sword) \ never a gun: uŽ€‚ñ‚Å–á‚¢‚Ü‚·v("shinde moraimasu"), which is a polite way of saying "I want you dead."
Another immortal Takakura line was one he delivered just before he and Ryo Ikebe were about to ‰£‚肱‚Ý(nagurikomi, invade the headquarters of a rival gang) in Kosaku Yamashita's u”ꉲ’O”Ž“kv ("Hibotan Bakuto," "Red Peony Gambler," 1968): uŠ‘FA‰´’B‚Ìs‚æ‚ÍÔ‚¢’…•¨‚©A”’‚¢’…•¨v ("Shosen, oretachi no ikusaki wa akai kimono ka, shiroi kimono ka"; "After all, we're bound for either a red kimono [worn by prisoners] or a white kimono [worn by the dead].")
This stoic view of life extended to affairs of the heart. In Seijun Suzuki's u“Œ‹ž—¬‚êŽÒv ("Tokyo Nagaremono," "Tokyo Drifter," 1966), Tetsuya Watari, whose character has become a hunted outcast after killing his duplicitous boss, must say farewell to his nightclub singer girlfriend, played by Chieko Matsubara. Before departing, he tells her u—¬‚êŽÒ‚É—‚Í‚¢‚ç‚È‚¢A—‚ª‚¢‚¿‚á•à‚¯‚È‚¢v ("Nagaremono ni onna wa iranai, onna ga icha arukenai"; "A drifter doesn't need a woman. If a woman's around he can't walk").
Heroes in traditional gangster movies, the so-called ”C‹ ‰f‰æ (ninkyō eiga, chivalry films) set from the early Meiji Era (1868-1912) to the prewar period of the Showa Era (1926-1989), often had a similarly negative view of the gangster life, with the hero, fresh from ‚Þ‚µ‚å (musho, short for ŒY–±Š [keimusho, prison]), trying earnestly to ‘«‚ðô‚¤ (ashi wo arau, literally "wash the feet," or go straight). But, inevitably, since he is ‹`—lî‚ÉŒú‚¢ (giri ninjō ni atsui), that is, faithful to his personal obligations, no matter what the cost to himself, he ends up being dragged into a gang o“ü‚è (deiri, battle), tossing away his shot at a normal life.
The purest distillation of this gangsters-are-lost-souls attitude is found in Yamashita's genre classic u”Žšó‘Å‚¿ ‘’·“q”Žv ("Bakuchiuchi Sōchō Tobaku," "Big Gambling Ceremony," 1968). Koji Tsuruta plays a self-sacrificing peacemaker in a gang succession struggle who is repeatedly forced into deadly violence. Finally realizing that the machinations of his own uncle, a gang boss, have led to the killings, he confronts him with a sword, bent on revenge.
The uncle turns coward and begs for his life: uf•ƒ‹M•ª‚̃ƒV‚ɃhƒX‚ðŒü‚¯‚é‹C‚©I‚Ä‚ß‚¥‚Ì”C‹ “¹‚Í ‚»‚ñ‚È ‚à‚ñ‚¾‚Á‚½‚Ì‚©! v("Ojikibun no washi ni dosu wo mukeru ki ka! Temē no ninkyōdō wa sona mon dattanoka!"; "You can turn a sword on me, your uncle? Is that what the Way of Chivalry is to you?")
Tsuruta replies before he plunges in the blade: u”C‹ “¹‚©. ‚»‚ñ‚È‚à‚ñ‰´‚É‚Í‚Ë‚¦B‰´‚Í‚½‚¾‚Ì"ƒPƒ`‚ÈlŽE‚µ''‚¾.v("Ninkyōdō ka. Sonna mon ore niwa nē. Ore wa tada no "kechi na hitogoroshi" da; "The Way of Chivalry? That has nothing to do with me. I'm just a low-down killer.")
Dirty Harry has nothing on this guy.
Hula Girls
Yeah I know... it's an old favorite and it's been mentioned on this thread a dozen times. And tonight's was the third or fourth time I've watched it.
Thing is... Netflix just put out the "bonus Material disc" for Hula Girls (or I just noticed it. I don't know which). Meaning the DVD extras. I grabbed it as a lark, poped it in, and it was wonderful.
A half hour "making of..." feature.
A behind the scenes short of the girls trying to learn the Hula, and the two and a half months they lived together during the rehearsal period.
And a feature on the woman who actually did teach the girls how to dance, 40 years ago. (She still looks younger and better than her original dancers.)
Once I was finished with it I had to watch the movie again. So now it's 2 in the morning, and I have to be up in 4 hours.
Great movie.
Yeah I know... it's an old favorite and it's been mentioned on this thread a dozen times. And tonight's was the third or fourth time I've watched it.
Thing is... Netflix just put out the "bonus Material disc" for Hula Girls (or I just noticed it. I don't know which). Meaning the DVD extras. I grabbed it as a lark, poped it in, and it was wonderful.
A half hour "making of..." feature.
A behind the scenes short of the girls trying to learn the Hula, and the two and a half months they lived together during the rehearsal period.
And a feature on the woman who actually did teach the girls how to dance, 40 years ago. (She still looks younger and better than her original dancers.)
Once I was finished with it I had to watch the movie again. So now it's 2 in the morning, and I have to be up in 4 hours.
Great movie.
Geezer wrote:Hula Girls
Yeah I know... it's an old favorite and it's been mentioned on this thread a dozen times. And tonight's was the third or fourth time I've watched it.
Thing is... Netflix just put out the "bonus Material disc" for Hula Girls (or I just noticed it. I don't know which). Meaning the DVD extras. I grabbed it as a lark, poped it in, and it was wonderful.
A half hour "making of..." feature.
A behind the scenes short of the girls trying to learn the Hula, and the two and a half months they lived together during the rehearsal period.
And a feature on the woman who actually did teach the girls how to dance, 40 years ago. (She still looks younger and better than her original dancers.)
Once I was finished with it I had to watch the movie again. So now it's 2 in the morning, and I have to be up in 4 hours.
Great movie.
Yeah, that behind the scenes stuff is always interesting and fascinating. :victory:
The same rather rigorous training was endured by the girls in Swing Girls as well: long sessions of learning how to play their various instruments to the point where some were in tears for fear of failing. :sweat:
bmwracer wrote:
[...] long sessions of learning how to play their various instruments to the point where some were in tears for fear of failing. :sweat:
... but ended up with an award. :victory: :mrgreen:
7th-key wrote:... but ended up with an award. :victory: :mrgreen:
True. :)
Geezer wrote:Hula Girls
Yeah I know... it's an old favorite and it's been mentioned on this thread a dozen times. And tonight's was the third or fourth time I've watched it.
Thing is... Netflix just put out the "bonus Material disc" for Hula Girls (or I just noticed it. I don't know which). Meaning the DVD extras. I grabbed it as a lark, poped it in, and it was wonderful.
A half hour "making of..." feature.
I did the same thing a few months ago. Good stuff.
Geezer wrote:And a feature on the woman who actually did teach the girls how to dance, 40 years ago. (She still looks younger and better than her original dancers.).
The woman's name is Kaleinani Hayakawa. She first went to Hawaii way back in 1956 to learn hula, then went back again in 1962 to receive more instruction. Because of her efforts, there are supposed to be half a million Japanese who participate in hula today. She still makes frequent trips to Hawaii, often bringing dance troupes over from Japan for hula performances.
shin2
Nice to know I'm not the only goof ball around here.
Best part of the extras, for me, was getting to see Tokunaga Eri working around the set as a self appointed, unpaid, PA/Gofer.
Eri's was the first face you see in the movie. She played Kimura Sanae, Yu Aoi's best friend. It was her character's idea to join the dance troop. She dragged Aoi along. And she was one of the original 4 dancers.
But her character's dad lost his job, and she had to leave town... and so ended Eri's part in the movie. She didn't get to go through the training, didn't get to be a part of the dance troop for the big final performances.
But she wanted to stay a part of the group... so she turned up, filled ice bags, stacked folding chairs, swept floors, and cheered the other girls on.
Actresses do not do that sort of thing. In movies, once your part is done... you are gone.
But there she was. Working her butt off.
She was something.
Saddest part of the extras: No interview with Junko.
Can't have everything.
Nice to know I'm not the only goof ball around here.
Best part of the extras, for me, was getting to see Tokunaga Eri working around the set as a self appointed, unpaid, PA/Gofer.
Eri's was the first face you see in the movie. She played Kimura Sanae, Yu Aoi's best friend. It was her character's idea to join the dance troop. She dragged Aoi along. And she was one of the original 4 dancers.
But her character's dad lost his job, and she had to leave town... and so ended Eri's part in the movie. She didn't get to go through the training, didn't get to be a part of the dance troop for the big final performances.
But she wanted to stay a part of the group... so she turned up, filled ice bags, stacked folding chairs, swept floors, and cheered the other girls on.
Actresses do not do that sort of thing. In movies, once your part is done... you are gone.
But there she was. Working her butt off.
She was something.
Saddest part of the extras: No interview with Junko.
Can't have everything.
Kokuhaku didn't get the nod to be in top 5 for Oscar. Bummer.
Geezer wrote:shin2
Nice to know I'm not the only goof ball around here.
Best part of the extras, for me, was getting to see Tokunaga Eri working around the set as a self appointed, unpaid, PA/Gofer.
Eri's was the first face you see in the movie. She played Kimura Sanae, Yu Aoi's best friend. It was her character's idea to join the dance troop. She dragged Aoi along. And she was one of the original 4 dancers.
But her character's dad lost his job, and she had to leave town... and so ended Eri's part in the movie. She didn't get to go through the training, didn't get to be a part of the dance troop for the big final performances.
But she wanted to stay a part of the group... so she turned up, filled ice bags, stacked folding chairs, swept floors, and cheered the other girls on.
Actresses do not do that sort of thing. In movies, once your part is done... you are gone.
But there she was. Working her butt off.
She was something.
Saddest part of the extras: No interview with Junko.
Can't have everything.
The part with Tokunaga Eri was great--really a testament to her character and evidence of how those actresses bonded through those tough practice sessions. Kinda like an injured player who still does everything he can to help his teammates (Jay Cutler, are you listening?)
Re: Fuji Junko--you can't have everything. :puppydog:
I'm just grateful she's still acting, still turning in solid performances.
That's some dedication, even knowing beforehand how short her part was. How long was production? She could've gone for other auditions during that time instead of staying behind and helping behind the scenes. Either way, I'm sure she got a few extra contacts during her time there.:victory:
Makes me wonder if she would've been able to pull that off on a bigger production, like a Yamato?
I feel like watching the film again and checking out the extras. Thanks, Geezer. :D
Makes me wonder if she would've been able to pull that off on a bigger production, like a Yamato?
I feel like watching the film again and checking out the extras. Thanks, Geezer. :D
WD wrote:Kokuhaku didn't get the nod to be in top 5 for Oscar. Bummer.
Oh nuts. Too bad for Matsu. :doh:
OT:
THE GIRL WHO LEAPT THROUGH TIME (live action, 2010) - As I had previously seen (and loved) the 2006 anime spin-off, I was expecting this particular adaptation to have lots of time-leaping action and to explore the ripple effect and micro-consequences of time travel. The pacing feels a bit slow at first, but the unconventional love story involving Naka Riisa and the film major really grows on you. The implications and ethical constraints of time travel are not lost on the viewer either, even if these are fully dealt with only at the movie's bittersweet end. There's a poignant inevitability to how the story resolves itself, and when the credits started rolling my cheeks felt strangely damp. :shamefulcry:
BANDAGE (2010) - Who knew that 2 hours of watching Akanishi Jin being Akanishi Jin wasn't too shabby a deal? :mrgreen: I'm giving this movie props for the direction, the solid supporting performances, even the budding romance between Jin's character and his groupie. :sweat: Above all I loved the soundtrack, the jamming sessions, the music. :metaldevil: I think it's safe to assume that viewers who normally would not touch anything with a JE idoru in it will find this movie worth their while. :hehe:
I also enjoyed Hula Girls. Why did the lead actress look so familiar?
Ender's Girl wrote:
Oh nuts. Too bad for Matsu. :doh:
OT:
THE GIRL WHO LEAPT THROUGH TIME (live action, 2010) - As I had previously seen (and loved) the 2006 anime spin-off, I was expecting this particular adaptation to have lots of time-leaping action and to explore the ripple effect and micro-consequences of time travel. The pacing feels a bit slow at first, but the unconventional love story involving Naka Riisa and the film major really grows on you. The implications and ethical constraints of time travel are not lost on the viewer either, even if these are fully dealt with only at the movie's bittersweet end. There's a poignant inevitability to how the story resolves itself, and when the credits started rolling my cheeks felt strangely damp. :shamefulcry:
Great animated film. Watch Summer Wars if you haven't already. Same director. Equally entertaining.
nukuza wrote:I also enjoyed Hula Girls. Why did the lead actress look so familiar?
She's very good :applaud: and she's been in a lot of stuff:http://en.wikipedia.org/wiki/Y%C5%AB_Aoi
Tu_triky wrote:
Great animated film. Watch Summer Wars if you haven't already. Same director. Equally entertaining.
No, haven't seen that one. Thanks for the rec, Tu. :victory:
Ender's Girl wrote:No, haven't seen that one. Thanks for the rec, Tu. :victory:
Torrent available at asiandvdclub.org. :victory:
Ender's Girl wrote:
No, haven't seen that one. Thanks for the rec, Tu. :victory:
You're welcome. :) I'm sure you'll find the film entertaining.
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