| Kôji Yakusho | ... | Masami Shin'ichi | |
| Satoshi Tsumabuki | ... | Yukito Origasa | |
| Toshirô Yanagiba | ... | Kizaki Toshiro | |
| Yuu Kashii | ... | Paula Atsuko Ebner | |
| Shin'ichi Tsutsumi | ... | Asakura Ryokitsu | |
| Ken Ishiguro | ... | Narumi Takasu | |
| Colter Allison | ... | Lt. Eric Minott | |
| David Austin | ... | Lt. Dodet | |
| rest of cast listed alphabetically: | |||
| Nicholas Dombrovskis | ... | German Scientist | |
| Christopher Ryan Doyle | ... | Captain's Talker | |
| Norman England | ... | Sonar Operator #1 | |
| Caroline Paris Gluck | ... | Girl on Beach | |
| Isao Hashizume | ... | Sadamoto Nishimiya | |
| Masatô Ibu | ... | Eitaro Narazaki | |
| Takaya Kamikawa | ... | Man | |
| Ryûki Kitaoka | |||
| Kreva | ... | Shunpei Komatsu | |
| Jun Kunimura | ... | Matoi Tokioka | |
| Matt Lagan | ... | Submarine captain | |
| Dave Monahan | ... | Radio Operator | |
| J.J. Mortimer | ... | Navy crewman | |
| Takehiko Ono | ... | Shichigoro Iwamura | |
| Shûgo Oshinari | |||
| Tyrone Power Jr. | ... | US Battleship Captain | |
| Ryûta Satô | ... | Kikuo Kiyonaga | |
| Fred Spiker | ... | Warrant Officer Nick Nelson | |
| Pierre Taki | ... | Tokutaro Taguchi | |
| Yoshiyuki Tomino | ... | Ouwada | |
| Shingo Tsurumi | ... | Sankichi Oominato | |
Directed by | |||
| Shinji Higuchi | |||
| Cellin Gluck | (US segment) | ||
Writing credits | ||
| Harutoshi Fukui | (novel "Shusen no Lorelei") | |
| Satoshi Suzuki | (screenplay) | |
Produced by | |||
| Karin Beck | .... | line producer | |
Original Music by | |||
| Naoki Sato | |||
Makeup Department | |||
| Iaso Tsuge | .... | creative director | |
Second Unit Director or Assistant Director | |||
| Francois Caillaud | .... | second assistant director: second unit | |
| Sonny Lowe | .... | first assistant director: second unit | |
Sound Department | |||
| Jacob Balser | .... | engineering services | |
| Chris Barron | .... | digital sound transferer (as Christopher Barron) | |
| Tim Burby | .... | digital editorial services | |
| John Countryman | .... | digital sound transferer | |
| Frank E. Eulner | .... | supervising sound editor (as Frank Eulner) | |
| Andre Fenley | .... | assistant supervising sound editor (as André Fenley) | |
| Doug Ford | .... | engineering services | |
| Jonathan Greber | .... | digital sound transferer | |
| J.R. Grubbs | .... | sound effects editor | |
| Howie Hammerman | .... | engineering services (as Howard Hammerman) | |
| Ellen Heuer | .... | foley artist | |
| David Hunter | .... | digital editorial services | |
| Brian Magerkurth | .... | sound recordist (as Brian D. Magerkurth) | |
| Steve Morris | .... | engineering services | |
| Tom Myers | .... | sound re-recording mixer | |
| Al Nelson | .... | sound effects editor | |
| Timothy Nielsen | .... | sound effects editor | |
| Jonathan Null | .... | foley editor | |
| George Peterson Jr. | .... | foley recordist | |
| Brandon Proctor | .... | sound mix technician | |
| Ronald G. Roumas | .... | sound recordist | |
| Jurgen Scharpf | .... | sound mix technician | |
| Tony Sereno | .... | sound re-recording mixer | |
| Steve Slanec | .... | dialogue editor | |
| Dennie Thorpe | .... | foley artist | |
| Jana Vance | .... | foley artist | |
Visual Effects by | |||
| Tetsuo Ohya | .... | visual effects producer | |
Camera and Electrical Department | |||
| Shane Sato | .... | still photographer | |
| Garry Waller | .... | director of photography: second unit | |
Other crew | |||
| Edwin Dunkley | .... | video services (as Ed Dunkley) | |
| Harlan Glenn | .... | technical advisor | |
| Brian Kobo | .... | production coordinator: USA (as Masato Kobo) | |
| Kristina Konrad | .... | language instructor | |
| Mike Lane | .... | client services | |
| Gordon Ng | .... | client services | |
| Eva Porter | .... | client services | |
| Renee Russo | .... | client services | |
| John Torrijos | .... | video services (as John 'J.T.' Torrijos) | |
| Recent Posts (updated daily) | User |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Action section | IMDb Japan section |
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.