Lorelei I-507 - Deutsche Wunderwaffe im Pazifik

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, as well as the cadenced music that helped to arose the urgency condition. Perhaps better without the background music.

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.

-- 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.

The directorial debut of Shinji Higuchi, Lorelei very quickly sinks into ridiculous territory despite the promising initial set-up. Sadly, for all the inspiration it can take from Wolfgang Petersen's Das Boot, the humanisation and exploration into the psyche of the submarine crew was not one of them; so much of the film flounders around with nonsensical political undertones that I've seen people criticise Takashi Yamazaki for, yet it's one full display here. Glorifying suicidal charges and glossing over human experimentation as if it were a trivial matter. So much of Higuchi's talent and style isn't here, often coating everything in a horrendous digital sheen; the direction is okay at best but honestly, it could have been anyone else behind the camera, let alone Higuchi. The acting is easily one of the better aspects with everyone turning in solid performances, however, the cast is given so little to work with that all their characters end up as one-dimensional cutouts. The music by Naoki Sato is passable but far from his best work and the less said about the incredibly rough CG effects, the better. I really wanted to like Lorelei going in, but the dubious political alignments and underwhelming filmmaking stamped out any form of entertainment I could have gotten from this, I expected far better.

If you, like me, watch this hoping to see a Japanese "Das Boot" one of three things will happen:

1. You fail to realise that this is not a Japanese "Das Boot". You won't like the film and you will leave a 1-star rating.

2. You do realise that this is not a Japanese "Das Boot", but don't like what it in fact is. Ratings will range from "I didn't like this, and that's all that counts" 1-star ratings to good ratings of "while I didn't like this, I can appreciate the movie for {how it was made/story line/whatever}".

3. You do realise that this is not a war movie but in fact a science fiction drama in a world war II submarine setting, and that is something that you at least don't immediately dislike just because of that.

Once I came to terms with this being a science fiction-movie I actually started to enjoy it. I like the fictional story line as well as the science fiction parts of the movie and the movie feels very good made. If I watch it again starting with the right expectations it's even possible that the rating will go up another star.

I think that where the movie falls short when compared to other movies en large is just the mix of genre and setting. It's like the Caprica TV-series, said to be a Sci-Fi Dallas. While not a bad series in itself people who like Dallas doesn't necessarily like Sci-Fi and vice versa, and therefore the series gets a bad average rating. I can therefore understand the low average grade this movie gets despite that this movie actually is quite good.

Excellent direction and acting highlight this WW2 fantasy which build upon a film genre that doesn't get much play outside Japan, the Japanese WW2 drama. Hundreds of war films have been made since the US occupation after the war. Most of the films are about the human tragedy of the war instead of glorifying the effort to create a racist empire. As a side note which relates to this film in an way, Eji Tsuburaya, the special effect mastermind behind the Godzilla films, never thought much about his monster effects. He was always the most proud of his work recreating WW2 battles and we in the US never have seen this work.

The plot is well described elsewhere here so I'll skip to other points about the film. The production is very well done and realist-looking most of the time. I am sort of sorry that they introduced a number of fantasy elements to the story that just upset the atmosphere for me. Somehow the Nazis managed to create a holographic radar system and made only one which they gave to the Japanese instead of using for themselves. On top of that the system requires a psychic/empath to be attached to it by tubes. On top of that they somehow have a beautiful Japanese girl who was sent to the concentration camps before she was experimented on and attached to the system. On top of that somehow her operatic singing has the ability to pass thru walls, seawater and broadcast itself over the radio. The idea that the US was preparing to bomb Tokyo with a third atom bomb wasn't much of a problem although the historical record indicates that the two bombs were all the US had at the time.

As mentioned here already also, I felt like I was watching an episode of Leiji Matsumoto's Space Pirate Captain Harlock during a rousing speech about free will. Believe me it's much more convincing coming out of the anime character's mouth if you have the luxury of comparison. The CGI effects were mostly video game cut scene quality and the depiction of sea battles were unrealistic. The sub-plot about military commanders taking over is based on actual events at the same time but what happens in the film is a very strange comment on the opinions of actual Japanese war veterans who agree with the US decision to drop the atomic bomb.

OK film not for heavy thinking.

Lorelei can best be described as a Japanese version of "Das Boot" with a supernatural storyline thrown in. The setting is the last week of WWII, Hiroshima having just been bombed. A Japanese veteran captain is given command of a German-surplus submarine with a secret weapon, the "Lorelei System". As viewers of Japanese movies will know, scenes with English-speaking characters usually end up very awkward, with the English-speakers often being cheap local "talent" grabbed off the street, in most cases with very questionable English credentials. But this movie was just about on-par with the classic Tora Tora Tora, using professional Hollywood and local English-speaking actors that portray their roles to near perfection, making the whole movie flow smoothly. Without giving away spoilers, it's difficult to review this movie. But the advancement of computer graphics has made for some really visually stunning submarine battle action. If anything, the surface vessels come across as being a bit lifeless, as the effort was spent on the underwater sequences. At 140 minutes the movie is long, and by western standards probably somewhat talky, but there is a lot of political maneuvering going on in this movie, plus the diverting from history as we know it, that requires the additional dialogue. All actors put in very decent performances, the soundtrack is fittingly orchestrated and the cinematography excellent. While not being the classic that "Das Boot" was, this movie is very enjoyable, and with subtitles could potentially get a decent western cult following.