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Oh, one thing I looooveee is when they take a song from a film and make it a musical trailer for the film. Here is the English version of the end song.





You can't make a rainbow without a little rain.
The Samurai left his poor wife for a new wealthy cruel one. He then had regrets over the marriage, the second wife left him. He went back to his home fell through the floor and died. His first wife was already a ghost haunted their ramshackle home and they spent one night together. When the morning came the Samurai woke up and realized that his wife was dead, and that he was dead. The moral of the story is stay with your wife because had the Samurai been loyal to either of the women he would still be alive.
I thought that the man left his second wife to go back to his first wife. I didn't realize that she left him. I also didn't know that the man died when he went back to his first wife. I thought he was still alive at the end.


She's a snow spirit, she has ghostly, witch and vampirac qualities. She did kill although it would be more accurate to say she fed off the old guy and left the 18 year old so that she could marry him. She did tell him not to say anything or she would kill him...this was the bargain. She sparred his life because his death would also mean the death of the children, but as she's a ghost-witch-vampire and confirmed with the husband she couldn't stay. We don't know how many times she did this but her inability to age made it so it was becoming noticeable after spending a decade with her lover.
How do you know that she's done this before? Was that mentioned in the movie, or are you just assuming that? (I also didn't realize that she didn't age.)
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You can't make a rainbow without a little rain.
It seems like you may have been trying to take these fables too literally. They're sort of an equivalent to Grimm's fairy tales. You're not meant to question every element of the stories, because they're not aiming at realism.
That seems to be a problem for me with a lot of movies. I take most things literally, so I have a hard time when I have to figure things out like in these stories. (I've said before that I think my brain is missing the imaginative/creative side of the brain. My brain seems to have two logic sides. )


Warning: Potential Spoilers for Kwaidan below.

The woman was a Yuki-onna, a type of spirit that is very common in Japanese folklore. She did kill the old man, and before leaving the hut she explicitly warned Minokichi not to tell anyone about what happened.
I've never heard of Yuki-onna, so it's not something that I would ever have figured out. I knew that she was some kind of spirit, but that's about all I figured out about her.


The ghosts that Hoichi is singing to are the same ones from the tale. This was revealed when we see that the Lord Hoichi was being taken to was the child Emperor. They even take up the same positions during the most dramatic moments of the story.
Unfortunately I thought his singing was so bad that it made it hard to watch those scenes. I wasn't focusing much on the people he was singing to. I just knew that it had something to do with some kind of stories that he was telling them.


The difference is about intent. The husband in the first story was simply greedy. Hoichi didn't retell the story for money, but rather to calm the spirits of the dead in case any were listening. He was knowingly putting himself in danger to ease the suffering of others.
I had no idea that he was putting himself in danger at the end. I thought the danger ended when the samurai took his ears. The older guy, (maybe his father?), even said something about how they took his ears as a trade to spare his life. It seemed like he was only singing for the money at the end because he seemed to be singing only for the rich and/or important people. (I think they said something about how the person even brought his servants along this time.)



I thought that the man left his second wife to go back to his first wife. I didn't realize that she left him. I also didn't know that the man died when he went back to his first wife. I thought he was still alive at the end.

It's subtle but if you rewatch the scene you see him stumble, at first you think it's a small hole but when the morning comes to see it's a giant hole. And once again in the morning...




So now he's a ghost, you can see he's now painted all in white that means he's now a ghost.



How do you know that she's done this before? Was that mentioned in the movie, or are you just assuming that? (I also didn't realize that she didn't age.)

Once again it's subtle...but if you rewatch the scene and look in the background. You can see all the eyes in the background..now to me the inference is that the spirits are constantly messing with the visitors







When you get to last shot you see only one eye






Which to me means that the spirits have taken lovers, that's common in mythology the gods come down they take a lover and then they go back.



You can't make a rainbow without a little rain.
I think a lot of people struggle with the same thing when they first start watching foreign films. The good news is that it gets easier with practice. Something that might help is to watch subtitled films on a smaller screen if possible. The larger the screen, the more your eyes have to move between the images and the text, so there's a greater chance of missing something.

I already watch these movies on a 26 inch TV. How much smaller can it get where I can still read the words?

I rarely watch foreign films anyway, so I just deal with it when I have to. Sometimes I can get through it easily, especially if the movie is good enough to hold my interest. (I watched La Belle et la Bête without the subtitles being a problem.)



You can't make a rainbow without a little rain.
It's subtle but if you rewatch the scene you see him stumble, at first you think it's a small hole but when the morning comes to see it's a giant hole. And once again in the morning...



So now he's a ghost, you can see he's now painted all in white that means he's now a ghost.
I doubt I ever would have figured that out, even if I had noticed that.


Once again it's subtle...but if you rewatch the scene and look in the background. You can see all the eyes in the background..now to me the inference is that the spirits are constantly messing with the visitors



When you get to last shot you see only one eye



Which to me means that the spirits have taken lovers, that's common in mythology the gods come down they take a lover and then they go back.

I saw the eyes in the background. I thought they looked pretty cool, but I had no idea what they meant.



I thought that the man left his second wife to go back to his first wife.
That's how I seen it too. The man said his contract was up with his lord (or whatever he was called) so then he was free to leave and go back to Kyoto where his first wife was. His second wife was a pain and didn't want him around, but he didn't want to be around her either.

I also didn't know that the man died when he went back to his first wife. I thought he was still alive at the end.
I don't believe the man died when he fell through the floor, it wasn't that far of a fall and the story is a cautionary tale. What happened is this: the man was so stricken with grief for what he had done to his first wife when he left her to marry the rich second wife, that when he finally got back to the town where his first wife lived and he seen her body and realized he had caused her death, he went insane with grief and died from the burden of knowing what he had done. The black hair chasing him is him going insane with grief.

I also didn't realize that she didn't age.
The washer ladies doing laundry at the river commented how she always looked so young and how strange it was.


I already watch these movies on a 26 inch TV. How much smaller can it get where I can still read the words?

I rarely watch foreign films anyway, so I just deal with it when I have to. Sometimes I can get through it easily, especially if the movie is good enough to hold my interest. (I watched La Belle et la Bête without the subtitles being a problem.)
What you want to do is to quickly glance at the subtitles, but don't stare at them to read them, instead look immediately back at the actors and read the subtitles from the the image in your mind (yes it's possible with practice). That might sound weird but it's what you're suppose to do if you're driving on the freeway in heavy traffic and need to look at the speedometer, you quickly glace, then look back at the road, your brain then catches up to what your eyes seen.



You can't make a rainbow without a little rain.
That's how I seen it too. The man said his contract was up with his lord (or whatever he was called) so then he was free to leave and go back to Kyoto where he first wife was. His second wife was a pain and didn't want him around, but he didn't want to be there either.
Thanks. I was pretty sure that I remembered him leaving her. I don't remember the exact words that were used, but I remember something about his time with his second wife was over, and he could now leave her to go back to his first wife.


I don't believe the man died when he fall through the floor as Siddon said, it was on a few feet of a fall, and doesn't do anything for the story. What happened is this: the man was so stricken with grief for what he had done to his first wife when he left her to marry the rich second wife, that when he got back to the town where his first wife leaved and he seen her body and realized he had caused her death, he went insane with grief and died from the burden of knowing what he had done.
I knew that I realized that he caused his first wife's death, but I didn't think that the story made it clear that he realized it. I didn't see it as him going insane, but I guess that would explain why her hair attacked him.


The washer ladies doing lady at the river commented how she always looked so young and how strange it was.
I heard that comment, but I didn't really think much about it. It just seemed like a random conversation to me.


What you want to do is to quickly glance at the subtitles, but don't stare at them to read them, instead look back at the actors and read the subtitles from the the image in your mind. That might sound weird but it's what you suppose to do if you're driving on the freeway in heavy traffic and need to look at the speedometer, you quickly glace, then look back at the road, your brain then catches up to what your eyes seen.
I can quickly see the speedometer when I drive because the angle of the needle tells me the speed, so my brain can figure it out quickly. (Kind of like glancing at a clock to see the time.) But I don't think that works for subtitles. I have to read the whole line of text, and there's usually many more lines of text surrounding it. By the time I get an image of the full text in my head, the movie can already be at the next scene.



Warning: Spoilers for Kwaidan below.

I had no idea that he was putting himself in danger at the end. I thought the danger ended when the samurai took his ears. The older guy, (maybe his father?), even said something about how they took his ears as a trade to spare his life. It seemed like he was only singing for the money at the end because he seemed to be singing only for the rich and/or important people.
When the first Lords and vassals show up wanting to hear Hoichi play, the other monks warn him not to, in case there are ghosts hidden among them. It was possible that Hoichi could get caught in a similar situation to before. Hoichi says he will play anyway to ease their suffering, showing that he didn't care about the danger if it meant he could help others. There was no indication that he was interested in what they paid him.

I was pretty sure that I remembered him leaving her. I don't remember the exact words that were used, but I remember something about his time with his second wife was over, and he could now leave her to go back to his first wife.
Since the second wife was depressed and neglected, her attendant urges the husband to go comfort her. He refuses, and says that the wife can go back to her parents if she wishes. So the second wife is the one who left, but he husband told her to go. He spent the rest of his contract alone, waiting to return to his first wife.



The Lord of the Rings: The Return of the King (2003)

As I know how this review will turn out, I'll pre-emptively clarify one thing. The Return of the King is a good movie. It's not that by a large margin, but it gets a thumbs up from me. If the rest of the review sounds overwhelmingly negative and critical, it's because I'm comparing it to the first two films of the trilogy.


There are many issues in The Return of the King. Some of them are fundamentally its faults, while others are more about its relationship with the other two movies. Also, like CosmicRunaway, I don't think either version is optimal.

Especially when watched back to back, there are too many similarities in major storylines between The Return of the King and The Two Towers. Both Theoden and Denethor repeat the same incompetent ruler who dismisses those loyal to him. Their motives and reasons are different, but it feels repetition none the less. The same is true with the battles of Helm's Deep and Minas Tirith (I prefer Helm's Deep, but it's hard to be objective when the latter always feels like the same old). Also, why did the orcs have torches in their boats when they were sneak attacking Osgiliath?

Another thing I dislike in The Return of the King is its excessive sentimentality. Momentarily the first two movies are bordering on this already, but the final film goes over the top. Also, the extended version's ending feels endless, like Jackson just replied "yes" when asked which ending to use.

On a positive side, Shelob is well done. She's probably the best monster in the trilogy from a technical point of view. Settings are superb (though Minas Tirith looks a bit too delicate). For the most part, it's "I guess it's kind of good" but compared "It's bloody great" of the previous films it's a disappointment.
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You can't make a rainbow without a little rain.
Warning: Spoilers for Kwaidan below.


When the first Lords and vassals show up wanting to hear Hoichi play, the other monks warn him not to, in case there are ghosts hidden among them. It was possible that Hoichi could get caught in a similar situation to before. Hoichi says he will play anyway to ease their suffering, showing that he didn't care about the danger if it meant he could help others. There was no indication that he was interested in what they paid him.
I saw the other guys, (I didn't know they were monks), saying something to him about not playing, and he wanted to play anyway, but I didn't realize that it was a warning. Wouldn't it be more dangerous for him not to play for them? The samurai ripped his ears off when he didn't go to play for them. I would think that real live, rich and powerful people could be even more dangerous.


Since the second wife was depressed and neglected, her attendant urges the husband to go comfort her. He refuses, and says that the wife can go back to her parents if she wishes. So the second wife is the one who left, but he husband told her to go. He spent the rest of his contract alone, waiting to return to his first wife.
I knew that his second wife wasn't happy with him, but it still seemed like he left his second wife to go back to his first wife. She didn't actually leave him. She just ignored him, as if he wasn't there, and hoped he would go away.




Kwaidan
(1964)


I don't know why but I always expect to see old Japanese films in b&w. So when Kwaidan first starts with those blue and red blobs of artistry, I kinda thought I had the wrong film. Nope, I had the right film...I ended up liking the use of color along with the stylized backdrops for the studio sets. At times I swear I eyed eyeballs in those backdrops...or were they just color globules and the sheer terror of the film made me image them? OK, the film wasn't really terrifying at all. Actually it felt very relaxing and meditative...and had an unhurried pacing where we get to spend time reflecting on what we're seeing. That seems appropriate to me for a Japanese cultural film that brings to 'life' the spirit stories of their ancestors. I enjoyed it for those reasons.

The Black Hair
This one was effective as the sheer guilt that a human can feel is enormous, and when that guilt doesn't subside but grows and festers over the years, that guilt can be utterly devastating. The most effective scene was when the beleaguered man returns to his first wife and they talk of grief and forgiveness. That love bond between them was strong and we see that the man has made a horrible mistake by leaving her. A mistake that will haunt him forever.

The Woman of the Snow
This segment goes very surrealistic in the set's backdrops and lighting, which adds to the other worldliness of it. While not emotionally charged like The Black Hair was, it's story is more fleshed with more set pieces. I don't why but snow covered scenes are always cool.

Hoichi the Earless

This by far was the most elaborate of the stories, it functions as a show piece for the entire movie. We're treated to a retelling of a famous sea battle between two clans, where the defeated end up committing suicide by jumping overboard into the blood filled sea. Their spirits haunt the land, with their faces appearing on the backs of crabs. I loved the music that was played on the string instrument and singing the tale was creative. But what I really liked was the monastery setting. Were the priest sure that the spirits would really rip Hoichi apart? The spirits didn't seem to be a threat. But I guess they were as witnessed by Hoichi's poor ears! When the spirit Samurai approached him and seen his ears, I thought for sure he'd slice them off with his sword...but yikes he pulled them right off. How horrible for the poor guy!

In a Cup of Tea
My least favorite, though the premise of a narrator telling us about old, unfinished manuscripts with no endings was interesting...and if In a Cup of Tea was truly a real, unfinished manuscript than that was a great way to end the movie.




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The Lord of the Rings: Fellowship of the Ring



When I first saw The Lord of the Rings films, I wasn't completely enamored, but I have grown to really like them. Peter Jackson deserves a hell of a lot of credit for taking on such a beast of a trilogy, one that I think merits great consideration as the best ever. From a pure production standpoint, it's hard to argue just how well this film is artistically. The cast was perfectly chosen, the score is amazing, and the visuals are super impressive. The film is obviously long but you don't really feel the length at all because you feel like you are a part of it's world. Rooting for these characters on their quest is just so much fun. So many great scenes, obviously the last scene with Gandalf in this film is fantastic and what ensues sets up a lot of excitement for the rest of the trilogy. And well it is impressive, I don't LOVE the film, but it's insanely respected by me. Can't wait to see how I feel about 2 and 3 next. Also, since it has been so long, was super surprised that there wasn't much Gollum here, but it seemed to suit the film well as I can sometimes find him annoying. Id consider Gandalf my favorite character, and also Aragorn.

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Also, since it has been so long, was super surprised that there wasn't much Gollum here, but it seemed to suit the film well as I can sometimes find him annoying.
Yeah, Gollum mainly just creeps on the fellowship from a distance in the first film. I found him interesting in The Two Towers, but was quite tired of him in RotK. Though I definitely still respected Andy Serkis' performance.

While I'm on the subject, I was kind of tired of Frodo in Return as well.
WARNING: "Return of the King" spoilers below
I kind of wanted both Frodo and Gollum to fall into the fires of Mount Doom there at the end.



Last week I actually picked up that expensive 60th anniversary edition of The Lord of the Rings, illustrated by Alan Lee. I still doubt that I'll ever read it, but now I don't have an excuse if the mood ever strikes.

And speaking of anniversaries, it kind of blows my mind that Fellowship of the Ring is nearly 20 years old now. If we get new special edition BluRays next year, I'll probably buy them. I'd ideally like to see a set with both the theatrical and extended editions together. I know there were limited edition DVDs like that, but they were double-sided, and I hate double-sided DVDs. I still eyed them every time I saw them at HMV though haha.