I literally just saw Koseki Yuta play a cute trans woman and now to see him play a creepy stalker dude LMAO I was caught off-guard. Also, everybody in this drama is creepy AF. The FL seems to be the only sane person.
A mellow, and sad love story filled with cliches, but worth the watch for Michieda Shunsuke and Fukumoto Riko's…
I do wish Izumi never revealed the truth to Maori. That would have been more impactful and powerful.
This reminded me a little of this old Hindi film called 'Sadma'. That's even more heartbreaking. This teacher takes in a woman who has lost her memory and become a kid. He takes care of her and falls in love, and I can't remember how but towards the end, something happens, causing her to forget the time she had with him. In the end, she leaves and returns to her hometown. The man watches her leave and she never gets to know that she was loved so unconditionally by this man.
A mellow, and sad love story filled with cliches, but worth the watch for Michieda Shunsuke and Fukumoto Riko's beautiful chemistry. You can't finish this without feeling moved by the love Izumi, Tooru, and her family had for Maori.
The storyline definitely tested my patience as there were too many characters that I didn't care about, with plot inconsistencies here and there, but the romance made it worth the watch. Older dramas just hit different with the feels they give you, unlike modern ones. And Eddie Peng, WHAT A HOTTIE. Can he go back to doing romance dramas, pretty please.
The bad sleep well, indeed. Welp. The title couldn't have been any more apt. As always, Kurosawa and Mifune Toshiro…
I do wish we saw the way the father murdered Nishi. Like not showing it felt incomplete. I was seriously looking forward to a confrontation between both of them.. I wonder why Kurosawa left it out. Leaving that out definitely reduced the impact of everything we saw because the film clearly was leading up to it..
The bad sleep well, indeed. Welp. The title couldn't have been any more apt. As always, Kurosawa and Mifune Toshiro didn't disappoint in this intense, dark and bleak tale of a man's fight against corruption and evil. Though this wasn't Kurosawa's best, I'm always amazed by how this man makes stories that are still relevant and powerful even after so many decades.
That breakdown at the end which cuts to the haunting music was the cherry on top of an already great movie.
I just finished it and I have a question The psycho did it out of hatred and jealousy of his circumstances over Gondo's saying that Gondo wouldn't understand given the comfort and luxury he lived in. And yet, he was so sure that Gondo's moral compass would be upright and that he would definitely save the driver's kid. WHY? Is that a flaw in the writing or am I not understanding it right? Would love to know what you think.
This has to be one of the best police procedurals I've ever seen. Kurosawa's attention to detail, his masterful…
The psycho did it out of hatred and jealousy of his circumstances over Gondo's saying that Gondo wouldn't understand given the comfort and luxury he lived in. And yet, he was so sure that Gondo's moral compass would be upright and that he would definitely save the driver's kid. WHY? Is that a flaw in the writing or am I not understanding it right?
A general comment - While I did love the police procedural focus in the 2nd half of the film, I wish we continued to see a little more of Gondo, and how he was managing. Kawaga Kyoko was wasted here.. she had little to do. In fact, I wanted more of the psycho kidnapper, and Tokura as well. 3 very different and intriguing personalities. I SO WISH THIS WAS A MINI SERIES.
This has to be one of the best police procedurals I've ever seen. Kurosawa's attention to detail, his masterful direction and techniques, the simple yet intricate and engaging plot with fine actors like Mifune Toshiro, Nakadai Tatsuya, Yamazaki Tsutomu, and Kagawa Kyoko who don't need words and are able to express through every inch of their body; all of which made this one hell of an experience. Only Kurosawa [and another director from India- Satyajit Ray] could use such a simple plot to tell a story from different compasses, moral, psychological, social and the list could go on.. To think this was released 60 years ago and yet, remains as amazing. Words fall short, and I can't recommend this enough. Just WATCH IT.
There is one 1 thing I don't understand though [see spoiler]. Would appreciate anyone who could share their insight.
"Why do you seek to tear off your own wings?" Small town melodrama, with Takamine Hideko playing a pitiful, virtuous,…
It was an open secret that her husband was violent and had a mistress, and that was okay, and yet when she is seen merely walking with Keizo, people start spreading rumours and thinking of her as an immoral woman. The husband is already dead and yet they expect her to fulfill the role of a widow, shut off her desires and just remain a mother to the kid. SIGH... The brother-in-law who claimed to love her also judged her the same way by telling the father to hold off the convo with her.
Also, the callousness with which Keizo tells people to write whatever they want, that too when she already rejected him. URGH. Like you're openly admitting to your feelings but don't care how others will see her and treat her?! Your 'truth' is convenient for you. How manly to own up to your feelings, with little regard for the other party.
The ending was sad. If only she had the courage Keizo's sister had. Sigh.
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BEST COMMENT.
I was caught off-guard.
Also, everybody in this drama is creepy AF. The FL seems to be the only sane person.
This reminded me a little of this old Hindi film called 'Sadma'. That's even more heartbreaking. This teacher takes in a woman who has lost her memory and become a kid. He takes care of her and falls in love, and I can't remember how but towards the end, something happens, causing her to forget the time she had with him. In the end, she leaves and returns to her hometown. The man watches her leave and she never gets to know that she was loved so unconditionally by this man.
TOO MUCH PRETTINESS IN ONE FRAME <3
As always, Kurosawa and Mifune Toshiro didn't disappoint in this intense, dark and bleak tale of a man's fight against corruption and evil. Though this wasn't Kurosawa's best, I'm always amazed by how this man makes stories that are still relevant and powerful even after so many decades.
Also the J drama is even better.
The psycho did it out of hatred and jealousy of his circumstances over Gondo's saying that Gondo wouldn't understand given the comfort and luxury he lived in. And yet, he was so sure that Gondo's moral compass would be upright and that he would definitely save the driver's kid. WHY?
Is that a flaw in the writing or am I not understanding it right?
Would love to know what you think.
Is that a flaw in the writing or am I not understanding it right?
A general comment - While I did love the police procedural focus in the 2nd half of the film, I wish we continued to see a little more of Gondo, and how he was managing. Kawaga Kyoko was wasted here.. she had little to do. In fact, I wanted more of the psycho kidnapper, and Tokura as well. 3 very different and intriguing personalities. I SO WISH THIS WAS A MINI SERIES.
Words fall short, and I can't recommend this enough. Just WATCH IT.
There is one 1 thing I don't understand though [see spoiler]. Would appreciate anyone who could share their insight.
https://fsharetv.io/watch/high-and-low-episode-1-tt0057565
Also, the callousness with which Keizo tells people to write whatever they want, that too when she already rejected him. URGH. Like you're openly admitting to your feelings but don't care how others will see her and treat her?! Your 'truth' is convenient for you. How manly to own up to your feelings, with little regard for the other party.
The ending was sad. If only she had the courage Keizo's sister had. Sigh.