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fizzingwizard · 6 months

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An unfiltered reaction to Jigen Daisuke the live action movie, which I call Jigen Daisuke, A Very Nice Man Who Kills People And Cries A Lot

I didn't read any other reviews/reactions yet because I want this to be PURE. lol. Also only watched once and I often change my mind on some points when I rewatch

Not sure whether I like this movie. I enjoyed it! But did I enjoy it as a movie, or as a Lupin fan?

It's not a movie that can stand alone outside the Lupin fandom. Like, if this was some random gunslinger movie, I would not have watched it in the first place. That would mean it loses points, except this is Lupin III, everyone knows it is, and it's openly relying on that clout. In this case, it's probably silly to consider it as a "movie" rather than a "Lupin movie." So that doesn't bother me.

On the flip side... the movie has nothing to do with Lupin III, so it could be about some rando and nothing would have to change. At all. That bugs me because if you're gonna give Jigen his own live action and not include the rest of the gang in any way (except for a three second appearance of the Fiat and Lupin's red jacket through the windshield), then you've got to go to lengths to make me believe it is in fact Jigen. I don't mean I want a "Meet Jigen Daisuke" montage - we're working under the assumption that most everyone watching already knows his character bio. In the script and acting, I need something that means he couldn't be switched out with any other Cool Guy (TM) character and read exactly the same way.

Nice things:

I like Tamayama's Jigen. He's cool but subdued, although you do get hints that he's not always so mellow, which I really appreciated. Like when he almost shouts at Oto and then purposefully lowers his voice. "Oh, I'm not yelling at Lupin, this is an actual child," lol. One of my favorite scenes was when he reads Oto's tragic backstory in the notebook, and wants to hide that he's tearing up, so he desperately fumbles for a cigarette, only to be thwarted haha. That, and him telling spectators "Don't look," seemed really Jigen to me.

A fun cast of original characters. I enjoyed Chiharu a lot. I think it's rather funny that Tamayama is playing the Cool Guy Main Character, who spends almost all of his on screen time talking to an elderly woman lol. But she was tough and kind and honestly I'm just glad she wasn't a sexy young lady lol. The people in her town, the florist, the guy who was kicked out of the Go club for gambling - all a lot of fun too.

Special mention: Ruri! I adored her the minute she appeared and I really expected she'd have more of a role than she did. I was back and forth whether she'd be a help or a hindrance, especially after it turned out she was Shadow Guy's (forgot his name sorry) lover. Usually I don't like the Love Interest Who Appears For One Movie Then Never Again, but in this case I was actually cheering fo Jigen/Ruri. Of course, the one time I like a ship, the rug is immediately pulled out from under me hahaha.

Found family dynamic I mean what can I say, you hit my weak point. Grandma Chiharu (the gun forger), her nephew Jigen (the hired gun), and his daughter Oto (the tortured child). Checks out. Also Jigen's desperation to make Oto happy was adorable.

Really cool disabled villain?! Adele's opening scene was awesome. Honestly, when I saw she was in a wheel chair and had a fancy prosthetic leg, all I was expecting was that she'd open her knee cap and surprise! there'd be a gun inside. But not only did she get to pop some wheelies, she also took advantage of her lower vantage point to maneuver the gunmen into shooting each other. It was a strong opener and, personally, my favorite action sequence in the movie.

The lighting and atmosphere were pretty great throughout. I especially enjoyed Shadow Guy's uhh shadowy-ess. (Not so much his questionable CG faces.) The use of colored lighting, the showdown between Jigen and Shadow Guy that was all in blue etc, gave the film an artistic tone which kinda helped cover up stuff that was otherwise rather bland.

The concept of "drugs made from children" - at first I was just laughing, like what the heck? I thought they meant smuggling drugs inside the children's bodies or something. But I changed my mind. However sci-fi it is, I think it's kind of neat that they basically taught the audience the effect of constant stress on a young child's psyche, and how it keeps them in a constant state of fight or flight. Yeah, all the details were super iffy (why would drinking their blood send any of that to the recipient, and why would it result in eternal young? lol), but hey, it's Lupin *shrug* At the time, I was hoping there would be further messages about ways adults, even those who are well-meaning, overlook the impact our actions have on children, or ignore their feelings. Because Oto's feelings were very much ignored before Jigen. The movie seemed to be going out of its way to show us how much Jigen was trying to get Oto to speak for herself, even through writing, and have an opinion of her own. So I was intrigued, but it didn't really go anywhere. It's nice that Jigen's goal was Oto learning to laugh, but since Oto is pretty much just a victim after getting kidnapped again, we lose touch with her character and it doesn't hit the same for me. Which leads me to...

Meh things:

The first half of the movie is kinda low energy. While I wasn't exactly expecting typical Lupin shenanigans, so much of the first half is just Jigen talking to people without learning much. I like Chiharu, sure, but she's not like a scintillating conversationalist. (Although she is better than Jigen lol)

And while as expected the energy picked up with the action scenes in the second half, they were almost without speech - which is a point for realism, but minus a point for Entertaining Fizz *shrug* If only Lupin were there to provide a partner for some witty banter. I'm kinda joking, with Jigen alone the silence is fitting and supports the clean and speedy way he shoots. But it just went on so long. And you know there's not much very Lupin-y about this movie, except the ridiculous stunts and sheer number of people Jigen defeats all by his lonesome self... so that's a thing.

The whole "your gun talks to you" thing gets a big What from me. If was Goemon I'd understand, at least in the sense that it would be Goemon and I don't understand him anyway. :P Jigen's relationship with his gun is weirdly intimate true. And I really enjoyed Chiharu pointing out that considering how many parts he's had to replace over the years, no part of his magnum is actually the same one he started out with. When Jigen got a present of magnum bullets from the florist, I knew he'd get his revolver back soon (I mean we all would have known it anyway, it's Jigen), and the moment he ran out of bullets for his replacement gun, I was like, shit Chiharu's coming NOW?? And not only does she come, she careens into the hyper security building in a big ol' bus. Which... is a good choice I guess, good protection. But the timing, THE TIMING. There are some coincidences I can forgive and some I can't lol. All I'll say saves this scene is that Chiharu doesn't die in it.

Re: the talking gun: for this movie to impress me, it needed to tell me something about Jigen. It didn't need to earth-shattering news. I wasn't hoping for a bunch of flashbacks about his youth on the streets or anything. Just something about his heart, his values, his weaknesses... Anything. What we get is obvious: The first scene is Jigen shooting a man in a gun fight. A child is there, although they're taken away before it starts, so I guess the man is the kid's father. Then the movie itself is about protecting a child's happiness. I suppose there's a message there. Still I don't think, in the end, we learned anything about Jigen at all. He's cool. He's brusque. He likes to say he doesn't like things he does in fact like very much. He's sentimental. I guess we learned Jigen cries easily because he was like crying aaaaall the time. Okay okay, that's exaggerating. But still. The cigarette cry was a good cry. Loved the acting. But when he tears up around Chiharu later, it was too much for me. Like he's trying to convince her that she shouldn't rely on the police, she should rely on him instead, because he'll definitely be able to shoot straight through those tears. *shrug*

Another complaint about Jigen: is he a guy who's worked as a bodyguard, a merc, a hired gun? Because ya definitely don't see it in this movie! He's pretty much a superhero. Rescuing Oto, protecting Chiharu, fighting through his own injuries, defeating legions of enemies, and keeping the moral high ground. As much as I don't think a Jigen movie has any need to explain it's a Jigen movie, it's weird to me that he's so much a good guy in it - yeah, I know a lot of Lupin movies are like that, so this kind of a pointless complaint... But it still bugs me.

Back to the OCs. Adele, who was so awesome at first, is totally uninteresting the rest of the time. I expected some commentary on her using a mechanical voice while Oto tries to recover her real one. It's probably good they didn't do that, because it's pretty insensitive to real people with vocal problems. But because they still gave Adele that voice and made it part of her tragic backstory, your mind goes there anyway. The real bummer of Adele is that we never really know what she wants. She says it's power, and we're meant to understands that because she had so much of her power taken away as a child, this is how she gains it back as an adult. But she's soft and heartbroken at the end, pretty much telling us she wishes Jigen had been there for her the way he's there for Oto. That's not a new idea, but it sucks when the only build up to it is Adele saying it out loud and then, instead of using her amazing fighting prowess, she challenges him to a quick draw duel. You could argue that since they're both quick draws, this was an interesting fight... But what was memorable about Adele's fighting was how intricate and showy it was. Jigen did that took in his way, but what he's known for are those cowboy stand-offs. So this was Jigen's duel from the outset and from the audience's perspective Adele had already lost simply because of that. Yes she's happy Jigen's released her from her miserable life I guess. Who she is, what drives her, how she really feels about Oto and the other children, is all kinda just bits of information which come out piecemeal in the rather anticlimactic finale.

The movie is live action, and generally benefits from it. But with Adele, for some reason it went super anime IMO. I don't just mean her character design. It's definitely different, but not too far off from the rest of the characters. The way she cradles Oto, dressing her in the white gown, keeping her on her lap like a doll, made me think of gothic novels, and def shojo manga. The way Adele dramatically falls out the window with a smile in slow motion as well seemed right out of anime storyboard. Not a big deal in the scheme of things, but it stuck out to me like a sore thumb. Obvs Shadow Guy is a pretty anime-style henchman too, but not as extreme as Adele.

Shadow Guy and Ruri: Just didn't get enough development. I really wish Ruri and Jigen had met again in the end. I was half expecting her to show up and try to get revenge on Jigen, or kill herself... I mean I'm definitely glad she didn't, because we hardly needed more tragedy to balance out Oto's rescue. But I liked Ruri, I'm sorry her lover was killed even if it was his own doing, and they definitely seem to have been in tough strait themselves, so. And Ruri knows Chiharu. Everything seemed prime for her to have some role in the finale, but nope. Honestly, much as I like Chiharu, I might have enjoyed Ruri taking in Oto? Okay, Ruri's lifestyle isn't conducive to raising a kid at all :P But it would have tied her in, maybe, if she moved in with Chiharu so an old retired lady didn't have sole responsibility of a traumatized young girl. And Ruri could have learned watch-making, along with being a sex worker, hopefully encouraging her to be more choosy with her clients so she doesn't get hurt so much. Idk I just felt Ruri was left out to dry in the end, her romance existing just to make the movie sadder.

Last, Oto: Cute actress. Very good at behaving terrified. And adorable when she was finally allowed to smile. But like I mentioned earlier, I wish she had found more agency in the end. Of all the tropes they avoided, one I wish they'd kept was Oto finding her voice in the final battle scene. I know she says "I'm sorry." But I'm picturing like, Adele has Jigen at her mercy, and at the moment Adele begins to shoot Oto just shrieks with everything in her and it distracts Adele enough that Jigen finds an opening... Her getting miraculously cured in an instant would be overkill for sure, and I appreciate that she's doing some self-therapy through writing in the notebook as she recovers and heads towards speech one day. What I really just wanted was for Oto to have some say/something to do in her own rescue.

Speaking of which, it seems children have replaced women in the action movie "damsel in distress" role. In Lupin it's everywhere. I'm a bit tired of it. I miss scrappy, precocious kids.

Tl;dr: I enjoyed the movie as a Jigen fan. It's not bad! It's better than expected really. I have a couple :) issues, that's all. Lol

#lupin iii #jigen daisuke #fizz ur excessively longwinded for no good reason whatsover #i know but i must bitch or i will die lol

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chemicalperfume · 7 years

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All That Takarazuka: Sagiri Seina x Towaki Sea Cross Talk

A couple of months ago, @chevalierene requested a translation of this interview (and very graciously provided materials for it to be made possible.) Read more below for some warm discussion between Chigi and Hitoko about “Caleb Hunt, Private Eye”, and the special system that is shinjin kouen. I also translated a small section at the end, with the reporter’s description/impressions of the leads of each 2016 shinjin kouen (from Shakespeare to One Samurai From Kagoshima).

Special thanks to @animaniacal for beta-reading and puzzling over English with me. <3

Snow Troupe Show Special Talk: Top Star x Shinjin Kouen Lead

A shinjin kouen is a regular show as performed by young actresses who have been with the Revue for seven years or less. In particular, the young actress who plays the lead, the same role as the Top Star, receives special attention. We spoke with the Snow Troupe Top Star, Sagiri Seina, and shinjin kouen lead, Towaki Sea, about “Caleb Hunt, Private Eye”, then we looked back on the up-and-coming actresses who starred in each troupe’s 2016 shinjin kouen performances.

-- What kind of man is Caleb, in “Caleb Hunt, Private Eye”? Sagiri: He is a very straightforward man, with justice as his core, who always pursues what he believes in. Also, the way he does not waver out of concern for himself or his surroundings, and just faces the case straight on, is another part of that wholehearted determination to help the weak and those in trouble. Isn’t that right?

Towaki: Yes, I also believe he’s a very straightforward person.

Sagiri: While he’s a private detective, which is not a common setting, I think there must be people working in normal companies and independent businesses who are like him. Caleb’s sense of justice can resonate with everyone, after all. As a play, it is not just a “hardboiled” crime drama, there are some comedic elements, too. You can see that through Masatsuka Haruhiko’s direction, and I think the play constantly switches gears between the comedic and the serious aspects of solving a case.

--Masatsuka’s works are known for their natural dialogue and characteristic manly worldview; doesn’t this make it a highly difficult production, especially for a shinjin kouen?

Sagiri: It is essential that we maintain the pauses and tempo of natural, everyday conversation, even with dialogue that is merely there to move the story along. This is difficult even for me, with all my experience, so I think this role will be a big challenge for Hitoko (Towaki). She’ll need to bring the role into existence while standing on stage as an otokoyaku within a very minimal world, wearing a simple suit as if it’s her everyday clothes…. A really big challenge.

Towaki: Yes!

Sagiri: I’m looking forward to seeing how Hitoko will make this role her own.

Towaki: I always watch Chigi-san (Sagiri)’s rehearsals, but I’m also aware that I shouldn’t become too much like Chigi-san’s Caleb...

Sagiri: Yes, that’s it! It’s amazing that you’ve noticed that.

Towaki: *laughs* I think that is especially important with this kind of play.

Sagiri: Yeah. Even if you use me as reference, you need to play it like it’s an entirely different part.

Towaki: Yes. This will be my third shinjin kouen lead, so instead of just studying by observation, I have come to first think about the part on my own, and then watch how Chigi-san acts it out in rehearsals. Seeing Chigi-san’s acting really helps me figure out the parts I don’t understand by myself.

--Such a dilligent youngster we have here!

Sagiri: Ain’t that the truth!

Towaki: Absolutely no such thing!

Sagiri: Even that first time she played one of my roles, in the “Maeda Keiji” shinjin kouen, she thought about the role and her acting very deeply, and asked some very perceptive questions. Even some that made me go “I hadn’t thought of that!” and then made me reassess some things *laughs*. There have been many times she’s asked good questions, which I enjoy. Throughout my own shinjin kouen era I was in a frantic state, so I think Hitoko is really amazing.

Towaki: Not at all! However, “Lupin III” and “Rurouni Kenshin” didn’t have particularly strong romance elements, while in this play I have a lover for the first time, and there are kissing scenes; it’s packed with first-time experiences.

Sagiri: Can’t wait *laughs*

Towaki: Chigi-san’s gestures are incredibly natural and cool.

Sagiri: Eh, I don’t think I’ve shown you much of that *laugh*

Towaki: No, it is all very educational for me!

-- What is Towaki’s appeal as a stage actor?

Sagiri: While she has all the makings of an otokoyaku and a Takarasienne, she also has the humility to not rely too much on her natural talent, as well as the ability to think for herself. That said, if instead of overthinking and then freezing up, she could add to her other qualities the daring to just go for it, even if that takes her in a different direction than she’d intended, I believe she would rise even higher.

Towaki: Before I go out in front of people, I’m scared of freezing up, so I end up thinking too much. I always want to give it my all and do it properly, though.

Sagiri: Yeah, you can do it, but something inside you is holding back.

Towaki: I lack confidence……..

Sagiri: No one is confident. We don’t have confidence, that’s why we rehearse.

Towaki: I think I’m scared of not being able to do it. Even if the rehearsal room is where you’re supposed to mess up, I don’t want to be seen messing up.

Sagiri: You are still too protective of yourself, definitely *laughs*

Towaki: I’ll do my best!

--What can one gain from performing as a shinjin kouen lead?

Sagiri: An endless number of things. Personally, more than anything else, I think I realized that no one can go out on stage alone; that a play becomes possible when everyone’s strengths become one. You are given the privilege of standing in the middle, wearing the most beautiful outfit, and having the brightest spotlight shine on you. You are automatically made to stand out, so you must grow into someone who can rise to the occasion. That realisation has probably led to where I am today.

Towaki: During my first lead, I realised I couldn’t do it without the support of everyone around me. The second time, there was the dread of having to exceed the first, along with feeling that I must pull everyone forward, and so it didn’t go well and I stumbled. This third time, as one of the senior actresses in shinjin kouen, I would like to look over the play in its entirety and also get to show off being the “energy at the centre”.

--Snow Troupe has many rapidly maturing young actresses. What kind of performance are you aiming to get in your troupe’s newest production?

Sagiri: It’s been a while since we had a completely original play and revue combination; therefore, I would like for us to enjoy our material, make the audience discover new, charming points in all our performers, and want to follow the show’s entire run.

2016 Shinjin Kouen Playback

Performed only once in each theatre during a show’s run, the shinjin kouen is a place of diligent study for young talents. The lead actresses walk their first steps to stardom, as the future hope of each troupe.

Shakespeare: Rukaze Hikaru, Haruha Rara

Rukaze, who joined the Revue in 2012, was chosen to play her first lead in her 4th year. Her vivacious role-building, robust singing and stage presence that capitalises on her whole 174cm of height, all made a memorable impression. Her classmate, Haruha, was the heroine. With her lovely looks, she exhibited high suitability for the position. A fresh and striking combination.

Rurouni Kenshin: Towaki Sea, Irodori Michiru

The second lead for Towaki Sea, the hopeful who debuted in 2011. Thanks to also being given the part of the “shadow” of the protagonist, Kenshin, in the main production, her sword-fighting is now magnificent. Her originality in building the role and her emotional singing charmed audiences. The heroine was Irodori Michiru, also in her second lead role. In the main performance, she got to display her aptitude for acting in a boy’s role, which earned her favourable reviews.

Die Fledermaus: Shidou Ryuu, Maaya Kiho

A highly difficulty production, adapted from Johann Strauss II’s operetta, served as Shidou Ryuu (class of 2010)’s first lead. With earnest singing and youth as her main weapons, she displayed quite the stately stage presence. The role of the heroine went for the first time to Maaya. She lived up to her reputation as a true talent of outstanding vocal and acting skills.

ME AND MY GIRL: Yuunami Kei, Shiroki Mirei/ Ayaki Hikari, Oto Kurisu

This grand musical was split into Acts 1 and 2, and the pairs of Yuunami / Shiroki and Ayaki / Oto played the leads in each. Yuunami built her role as noble and straightforward, while Ayaki used her raw talent to act with a remarkable aura. Shiroki and Oto, who got to shine in the main show as well, are both certified talents. It turned out to be a very high-level performance.

NOBUNAGA: Akatsuki Chisei, Yukarino Koyuki

With her excellent dancing skills and robust vocals, Akatsuki Chisei got to play an active part in the main show as well; this was the third lead for the strapping young star, who joined in 2012. She broke new ground for herself playing an imposing Nobunaga, quite different from her own personality. Her classmate, Yukarino, served as the heroine for the first time. A musumeyaku of adorable countenance but inherent vocal skill and charisma, she enchanted audiences.

Elisabeth: Rukaze Hikaru, Hoshikaze Madoka

The one to lead the shinjin kouen for this Takarazuka staple, was, for the second time, Rukaze. The role of Der Tod demands strong vocal prowess, and with her powerful singing voice, she gave an enthusiastic performance. The heroine was Hoshikaze from the 2014 class. Since she was chosen for her first heroine role in 2015, she is a rapidly rising musumeyaku star. She also delivered a great performance in the main show as young Rudolf.

One Samurai From Kagoshima: Amahana Ema, Kozakura Honoka

A combi that each received their first lead roles, Amahana and Kozakura. Amahana joined the Revue in 2012. Even in a difficult nihonmono role, she managed to enchant audiences with her dynamic acting and beautiful guise in casual traditional wear. The lovely Kozakura, of the 2013 class, also displayed staunch acting and vocal skill. It was a passionate shinjin kouen overflowing with youthful energy.

#sagiri seina #towaki sea #yukigumi #takarazuka #translation by chemicals #not sure i should tag all the shinko leads of every troupe for just a small blurb #so i won't #sorry it took forever chev orz #but at least you can be sure good work was done on it!

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