Lorelei: The Witch of the Pacific Ocean (2005) Lorelei (original title)

Directors:

Shinji Higuchi
Cellin Gluck

Writers:

Harutoshi Fukui (novel)
Satoshi Suzuki (screenplay)

Release Date:

5 March 2005 (Japan)

Genre:

Action | Drama | Sci-Fi | Thriller | War

Plot:

A drama set during World War II where a submarine carrying a secret weapon attempts to stop a planned third atomic bombing of Japan. Based on Harutoshi Fukui's novel Shuusen no Lorelei. |

Plot Keywords:

Weapon | Secret Weapon | Submarine | Japan | Suicide

Cast

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)

Production Companies

• Cine Bazar
• Fuji Television Network
• Kansai Telecasting Corporation
• King Record Co.
• Protean Image Group
• Toho Company

Distributors

• Toho Company (2005) (Japan) (theatrical)
• Atlantic Film (2007) (Sweden) (DVD)
• Cultmovies (2010) (Germany) (DVD)
• Future Film (2008) (Finland) (DVD)

Special Effects

• Skywalker Sound

Other Companies

• Kodak Japan  film stock supplied by
• Sanwa Cine Equipment  camera equipment supplied by

Also Known As:

"Lorelei" - Japan (original title)

Runtime:

Japan:128 min

Country:

Japan

Language:

Japanese | English

Color:

Color

Aspect Ratio:

2.35 : 1

Sound Mix:

Dolby Digital

Certification:

Taiwan:GP | Singapore:NC-16 | Finland:K-13 | Japan:G

Filming Locations:

Toho Studios, Tokyo, Japan

Company:

Cine Bazar

Trivia:

The design of the I-507 submarine is based upon a real one : the french submarine 'Surcouf', launched in 1929, was the biggest submarine ever launched at the time.

Soundtrack:

Wiegenlied (Cradle Song)

A somewhat new way to issue an old history will in Japanese war movie

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.