As done with economic theory, disaster movies can be sub-divided into micro (Poseidon, The Towering Infernal) and macro (Deep Impact, Armageddon). SoJ falls somewhere in between. It's neither the destruction of our entire planet, nor does it pertain only to a cruise ship or a building. It's about the threatened obliteration of an entire island nation.
I have not seen the 1973 "original" and can only dwell on the current "remake". It gives you everything you expect from a disaster movie the CGI mayhem, the scientific backbone, the action and reaction of various government officials, the plight of the "little people", lovers caught in a struggle of life and death. But somehow that doesn't seem enough.
The mood is gloomy throughout, accentuated by the faded brown hue and grainy shots. There are not only one, but two claustrophobic deaths you can choke on. What we don't find are the occasional upbeat moments, even in the face of heroic sacrifices. Here, I must digress and mention the excellent made-for-TV docu-drama "Krakatoa: The last days" (2006) that I happened to have watched just 7 hours after watching SoJ. Krakatoa is REALLY gloomy, but for a good reason it tries to recreate a REAL disaster, possibly among the most devastating known in human history. SoJ however is pure fiction, and the audience has the right to expect more uplifting treatment of the material.
The more positive note on this movie comes from the two leads. Tsuyoshi Kusanagi of the top Japanese pop group SMAP plays a likable, gentlemanly role similar to the one he had in Yomagaeri (2002), and more with heroic self-sacrificing. Immensely popular Kou Shibasaki (Crying out love in the centre of the world) is distinguished not by her beauty, but by her charm as a character actor. In SoJ, she finds another role that is a perfect match for her screen persona.
Some local critics point to the lack of chemistry between the two protagonists and I'll not debate that point. What I find refreshing is the un-Hollywood treatment. On the night when he comes to say goodbye before he seeks refuge in England, his sincerity finally breaks down her inhibitions. Returning his love and promising to join him in England soon, she offers herself to him. After an initial moment of emotional response, he backs off, gently declining her offer, saying that as they will be together in England soon, he can wait. The real reason, however, is that he is not going to England, but a suicide mission the last chance to save Japan from sinking. He did not want to take advantage of her. By Hollywood standard, this is unrealistic fairytale. But despite Hollywood, noble sentiments still exist.
In the end, the movie is far too long, clocking in at 135 minutes, and poorly paced. Taking away 30 minutes, in my view, should put it in much better light with the audience.
I have not seen the 1973 "original" and can only dwell on the current "remake". It gives you everything you expect from a disaster movie the CGI mayhem, the scientific backbone, the action and reaction of various government officials, the plight of the "little people", lovers caught in a struggle of life and death. But somehow that doesn't seem enough.
The mood is gloomy throughout, accentuated by the faded brown hue and grainy shots. There are not only one, but two claustrophobic deaths you can choke on. What we don't find are the occasional upbeat moments, even in the face of heroic sacrifices. Here, I must digress and mention the excellent made-for-TV docu-drama "Krakatoa: The last days" (2006) that I happened to have watched just 7 hours after watching SoJ. Krakatoa is REALLY gloomy, but for a good reason it tries to recreate a REAL disaster, possibly among the most devastating known in human history. SoJ however is pure fiction, and the audience has the right to expect more uplifting treatment of the material.
The more positive note on this movie comes from the two leads. Tsuyoshi Kusanagi of the top Japanese pop group SMAP plays a likable, gentlemanly role similar to the one he had in Yomagaeri (2002), and more with heroic self-sacrificing. Immensely popular Kou Shibasaki (Crying out love in the centre of the world) is distinguished not by her beauty, but by her charm as a character actor. In SoJ, she finds another role that is a perfect match for her screen persona.
Some local critics point to the lack of chemistry between the two protagonists and I'll not debate that point. What I find refreshing is the un-Hollywood treatment. On the night when he comes to say goodbye before he seeks refuge in England, his sincerity finally breaks down her inhibitions. Returning his love and promising to join him in England soon, she offers herself to him. After an initial moment of emotional response, he backs off, gently declining her offer, saying that as they will be together in England soon, he can wait. The real reason, however, is that he is not going to England, but a suicide mission the last chance to save Japan from sinking. He did not want to take advantage of her. By Hollywood standard, this is unrealistic fairytale. But despite Hollywood, noble sentiments still exist.
In the end, the movie is far too long, clocking in at 135 minutes, and poorly paced. Taking away 30 minutes, in my view, should put it in much better light with the audience.