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Dororo - édition simple [Édition Simple]
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Description du produit
Description du produit
Pour conquérir le Japon, le seigneur Daigo vend la vie de son fils à 48 démons. Privé de 48 parties de son corps, l'enfant ne doit la vie sauve qu'à un vieux médecin qui le recueille et le nomme Hyakkimaru. Ce dernier n aura de cesse de mener une chasse intense contre les 48 démons pour récupérer son corps. Son chemin croise celui d un jeune voleur, Dororo, qui va l aider par des moyens détournés dans sa quête... Premier long métrage d une trilogie, cette adaptation cinématographique d une des uvres les plus inclassable de Ozamu Tezuka, regorge de suspense et de chorégraphies martiales spectaculaires sur fond de questionnement mystique sur la nature de l humanité.
Pour conquérir le Japon, le seigneur Daigo fait un horrible pacte avec 48 démons : en échange d'une puissance sans égale il leur donne la vie de son nouveau-né. L'enfant se voit privé de 48 parties de son corps et abandonné par sa famille. Il est recueilli par un vieux médecin qui le nomme Hyakkimaru. L'enfant bénéficie des talents du vieil homme et parvient enfin à prendre vie. Désormais, armé de deux bras artificiels cachant des lames tranchantes, Hyakkimaru n'aura de cesse de mener une chasse intense contre les 48 démons pour récupérer son corps. Son chemin croise celui d'un jeune voleur, Dororo, qui va l'aider par des moyens détournés dans sa quête...
Meilleurs commentaires des clients
Il fallait s'attendre à du comique 2éme degré avec les combats de monstres si ridicules tous droit sortis de jeux vidéos anciens; Mais passé ces moments qui rappellent la vieille série Tv San ku kei par Minoru Yamada d'après le manga de Sh'tar' Ishinomori, le film prend l'aspect d'un western (la musique mêlant flamenco, rappels de musique de Moriccone,...)avec justicier solitaire, et grand méchant à retrouver.
vu comme une série, d'ailleurs il s'agit bien du premier tome d'une trilogie qui va s'étaler sur 2 ans, le spectacle est plaisant, c'est différent d'un Azumi 1& 2, mais je retrouve la même tendance à ne pas se prendre au sérieux, à jouer avec un gore sauce tomate mi-ado mi-auto dérision.
En aparte, on peut se demander comment la nation nippone s'est forgée, avec autant de tueries, puisque qu'au pays du soleil levant tout semble se régler par la mort (régulation des naissances et des vieux, conflits, intérêts divergents,ou simple coup de sang).
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The original concept behind the film 'Dororo' came from the hyper-brilliant creative-mind of Legendary Osamu Tezuka (who of course was the father of modern Japanese manga & anime first in the 1950's and early 1960's 'Astro-Boy' 'Kimba the white Lion' 'Princess Knight' et al) Tezuka's original manga & TV-anime 'Dororo' was also popular in the late-1960's telling the tale of 'Hyakkimaru' (little-monster) who must reclaim his individual genuine body-parts (e.g. his real eyes, ears, heart, etc.) stolen by 48 Demons (when he was first-born due to an unholy alliance-deal-pact his father-warlord Daigo Kagemitsu made with the 48 warrior-demons, to gain brutal-power used to wage endlessly-bloody battle on the hapless citizenry during the relentlessly brutal Sengoku Jidai 'Warring-States' period in Japan, circa1400-1600)
It was quite an endeavor for director Akihiko Shiota to attempt to film (and recreate thru CGI) Tezuka's army of bizarrely-colorful (though still quite terrifying, and in many cases eccentric) Demons!
Of course Japanese films don't have the mega-million budgets to spend on state-of-art SFX, but I think you can honestly say that a number of the demonic-visions captured on screen (that often match Hyakkimaru 'blade-for-blade') were overall quite effective (and always hyper-imaginative =akin to some of the far-out fantasy creatures in 'Pan's Labyrinth')
'Hyakkimaru' has to fight (and kill) each of the warrior-Demons to regain-restore his authentic 'body' (and become fully human again) - fortunately, Hyakkimaru is nearly invincible due to the artificial-regenerating limbs and 'magic-healing' power endowed him by his mystical stepfather (and also thanks to that handy 'demon-killing' blade/sword permanently grafted to his Left arm)
But what adds immeasurable dramatics to this fantastic Story is that along the way Hyakkimaru meets (and in a sense 'teams-up') with a rough-and-tumble, disheveled (and quite belligerent) young thief who eventually takes on the namesake 'Dororo' (which in this film is explained to be another term for 'little-monster' or perhaps even 'little-monster-thief') - but as the film/Story also shows in flashback = 'Dororo' had no choice but to become a thief simply to survive after her parents had both been killed as a result of Daigo Kagemitsu's ruthlessly-bloodthirsty army-rampage, thru her beloved village.
I think actress Kou Shibasaki (who was also in cult-classic "Battle Royale" and even the American-version "47-Ronin" from a few years-back) is fantastically-feisty, indomitable and otherwise perfect as 'Dororo' (who will never back-down from a fight, or opportunity to pocket-pick) and Satoshi Tsumabuki is both other-Worldly-eerie in nature but also fiercely samurai-battle-ready as the outsider trying to reclaim his 'humanity' (both literally & figuratively!)
If you are looking for an imaginative, eccentric, fast-paced and highly-entertaining diversion (originally from the mind of creative-genius Osamu Tezuka) = this film is definitely for you! (And if you also can't get enough of Sengoku period Ronin rogue-samurai films + substantial-fantasy elements = watch this asap)!
I hoped for a sequel,l and received the same movie with an altered name. I'll probably give it to a friend with an appreciation for this kind of film. Caveat emptor.
The director's vision is chock full of issues surrounding abandonment, and the effect of warmongering on children, most specifically our two main characters. In the prelude to the first battle Hyakkimaru has in the movie with a demon, several caged sad-eyed children roll by in wagon. Later, we see the remains of an orphanage consumed by a fire that killed all the children. At the orphanage, Dororo berates a couple who abandoned their child to the orphanage.
The two lead characters are fully formed characters, and their personalities evolve plausibly in this highly implausible movie as their relationship morphs and changes. The interaction between the two lead characters, Hyakkimaru and Dororo is fascinating to watch. We learn as an old storyteller tells the brash and inquisitive Dororo, who claims status as a master thief, how Hyakkimaru has "lost heart" after his 3rd demon kill. Of course, as I suspect the old storyteller knew, with Dororo as his companion, his depressive state could not continue. She simply becomes a force of nature in his life as she voices honestly to him that once he's done with the sword given him by the old story teller, especially designed to kill demons, that she will steal it from him. There is no way she's going to let him ditch her and she is not phased at his oddly working body parts, and thing that cannot be said of certain of the villagers he's encountered in his quest, which is reminiscent of the Frankenstein story. Her first act of theft with him is to steal one of his names, Dororo. The two even have their own theme music to commemorate their "bumpy" first meeting and relationship. Music very different from the depressive dirge we hear when we first meet Hyakkimaru, the man. What Dororo doesn't know is that she's stolen a name that literally means, "Little Monster," so her theft was actually a comforting gift, because like Pinocchio, Hyakkimaru longs to be a real human.
The secondary characters are important also, especially the shaman, Jukai, who, like Dr. Frankenstein and Geppetto, create from something new from something imperfectly formed. Jukai adopts Hyakkimaru and the scenes show both his adoring affection and his firm hand. It's an odd miracle that the only person on earth that could help such a pitiful, limbless creature should be this man. An odd dichotomy in father figures in the story, as one tries to make whole what the other divided. One is a warmonger and the other abhors war.
It is because each character has such a rich emotional life that you can ignore the CGI creatures, though I found them wildly creative. I like the fast paces scenes as well as the slower paced ones. I found no scene boring, not even the ones where the two main characters "seem" to be idly looking at flowers. The deeper and longer you look, the more cinematic gems you'll find. The participation of Dororo in Hyakkimaru's battles with the demons is substantial and very interesting to watch. Both fierce and brave, she is his true and tenacious friend and while she can call him "lunkhead" and "fool", no one else better try it. During the film she sacrifices something of extreme emotional importance to her for the sake of Hyakkimaru, which is a act of great weight, because she is quite stubborn, willful and headstrong, but it is here where the emotional layering gets even more intriguing.
It's telling that Dororo should be on the scene when Hyakkimaru recovers his voice, hearing and sight. Before her he had no one with whom to celebrate his victories, but does rather boisterously with her. She starts off with him much like a bossy, bratty, annoying little sister and ends up being more. And yet this happens with no overt romantic acts, but rather in the way the two respond to one another during crises. Of course, as I've said, I believe the old story teller arranged this circumstance, and, of course, he appears on the scene again during a major rupture between the two of them.
The reason I keep watching it over and over again is because it's one of those films where with each reviewing you see something you missed the first, fifth, twentieth time. Check out how demon blood spatter is handled and the shaman's oddly sterile "laboratory." Check out the wonderful acting of the actors who play his biological parents. Those scenes are palpable. Because of these, though I can not condone what Hyakkimaru's father did, I completely understand his motivation.
As for how a baby could survive without a heart or other organs, it makes sense to me that for the demons to get actual "living" human body parts, they had to set in motion some kind of life-sustaining field around the body, else the baby would expire with each theft. I believe this is also the reason for his other other worldly abilities. Be sure to savor each time Hyakkimaru regains a body part, because with the same interest I had whenever the Highlander would receive power after a beheading, I also had each time Hyakkimaru regained one of his stolen body parts. Satoshi Tsumabuki can act his behind off.
And the soundtrack -- is awesome. It lays the foundation for the emotional resonance throughout the film, whether it's whimsical or dark.
To avoid expository dialogue, we see the two main characters' history in several flashback scenes. Oddly, several are without the traditional introduction, but while this takes some getting used to, it does not detract from the movie.
The only problem I had was with certain of the English subtitles. When Hyakkimaru "senses" danger, as he his both blind and deaf, the subtitles translate his saying what I interpret as "I sense danger" as "I feel murderous." It took seeing it a second time to get what was really meant. Spiderman's Peter Parker would have said his Spidey senses were tingling. If you end up watching it as many times as I've had, you won't need the subtitles, you'll actually begin to become fluent in understanding Japanese.
Can't wait for the sequels "Dororo 2" and "Dororo 3" so as to learn more about Dororo's own intriguing past and the wall she carefully keeps up between Hyakkimaru and herself while still keeping herself close.