At the offices of a Japanese corporation, during a party, a woman, who's evidently a professional mistress, is found dead, apparently after some rough sex. A police detective, Web Smith is ... See full summary »
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Louis Gossett Jr.
At the offices of a Japanese corporation, during a party, a woman, who's evidently a professional mistress, is found dead, apparently after some rough sex. A police detective, Web Smith is called in to investigate but before getting there, he gets a call from someone who instructs him to pick up John Connor, a former police Captain and expert on Japanese affairs. When they arrive there Web thinks that everything is obvious but Connor tells him that there's a lot more going on. Written by
The Sempai/Kohai relationship is touched upon during the movie, however there were a couple of problems. In Japan, "Sempai" is often used as an address and as a show of respect to one's superior. "Kohai", on the other hand, can be considered offensive when used to address someone directly, as it is "putting someone in their place." Hence Sean Connery's character effectively insults Wesley Snipes' character throughout the movie. Given that Connery's character is supposed to be well versed in Japanese customs, this action should be taken very seriously. "Kohai" is normally used as a reference, not an address. For example: Wesley is the Kohai of Sean. See more »
When Smith, Connor and Graham are in the elevator, reaching 45th floor, at the beginning of the film right before the elevator's doors open and Senator Morton is with the blonde guy, Smith has both his shoulders dry. However, when they reach their floor, right after Graham shouts "Geronimo!" you can see Smith's shoulders clearly wet by the rain. See more »
There is a credit in Rising Sun thanking "The MIT Leg Lab" and "Marc Raibert and his Running Team." This refers to a short scene where the two detectives go out to a fancy-looking research lab (really a water treatment plant; also used as the set for Starfleet Academy on the TV series "Star Trek - The Next Generation). In the background of some of the shots there are two legged robots: one hopping in a circle in a tea-house; the other bouncing up a garden path. These robots are actually academic research projects from the MIT AI Lab's Legged Locomotion Lab. They really do hop about and maintain their balance. Power comes from off-board hydraulic pumps (hence the guy in the background (me!) pulling hoses for the robot), and body attitude is sensed with gyroscopes. A human with a joystick tells the robot what direction to go, and the control algorithms (which are the real subject of Leg Lab research) maintain speed, direction, and balance. However, the robots aren't designed for special effects. They're always being modified, and they tend to break down frequently. This made shooting in the hot july sun of the San Fernando Valley a real nightmare, with transputers crashing in the heat, stuck gyros, and hydraulic leaks. Three grad students and a professor worked steadily for about a month before Hollywood, and then five days on the set and on location to get the robots in about 15 seconds of film. The credits are: Marc Raibert (our prof), and Charles Francois, Rob Playter and Lee Campbell (me) who are students. We three students appear in the film in white lab coats acting like Robot Scientists!! See more »
I basically watched this movie due to the fact that Toru Takemitsu for some reason got sucked into doing this ignorant film. If you have seen any of his work on Hiroshi Teshigahara's, Masaki Kobayashi's or Akira Kurosawa's films you know why I would be interested. From the opening credits I new this was going to be a train wreck when they decided to add Chinese gongs over Takemitsu's otherwise realistic Japanese style score, thus beginning the baffling ignorant betrayal of these Japanese people as sex crazed, backwards criminals whom only a westerner, well studied in Japanese culture can communicate with, as well as manipulate them like they were simpletons or something. I gather they even twisted Takemitsu's arm (who usually had a very minimalistic approach to scoring at key moments) into doing a continual Japanese score to remind us constantly that we are dealing with a mysterious and sinister culture here. Beyond this the acting is like what you would find in a a Jim Jarmusch film (ie: bad), and you can't help but feel sorry for Harvey Keitel who wouldn't be able to act badly if he tried, and Sean Connery and, well, the whole cast when you think about it, who are stuck with this director and script, both of which were not up to par with the ambition they were aiming for (I'm guessing intellectual thriller). Also, is it so hard to fly over some Japanese actors or find Japanese Americans for the parts instead of getting just any Asian? Bad accents galore! I must admit, I only watched about half an hour of it, but I can guess that it doesn't get any better later. Hell, I didn't really even care about the woman who was killed anyway.
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