![]() Shandong Jining Ruyi Woolen Textile Co Ltd Google has not performed a legal analysis and makes no representation or warranty as to the accuracy of the list.) ( en Inventor 王强 秦光 邵蕾 宇恒星 周强 刘素谋 韩田革 胡立峰 陈彦新 Current Assignee (The listed assignees may be inaccurate. Google has not performed a legal analysis and makes no representation as to the accuracy of the status listed.) Active Application number CN 201110165360 Other languages Chinese ( zh) ![]() Google Patents CN102230253B - Method for recycling false selvedges of rapier loom And the colors in the movie - steel grays, gloomy blues and wet concrete, occasionally illuminated by neon signs, showers of sparks and exploding automobiles - underline the general gloom.CN102230253B - Method for recycling false selvedges of rapier loom He plays it so cold and distant that the heartfelt scenes ring false. But this is a designer movie, all look and no heart, and the Douglas character is curiously unsympathetic. The movie ends with a scene where Douglas gives his Japanese partner a gift that, given the logic of the movie, he could not possibly have obtained.Įven given all of its inconsistencies, implausibilities and recycled cliches, "Black Rain" might have been entertaining if the filmmakers had found the right note for the material. In addition to the unlikely Capshaw character, however, "Black Rain" also asks us to believe 1) that a Japanese man who has murdered two top Mafioso and machinegunned a restaurant would be sent back to Osaka instead of being charged in New York 2) that a cop under investigation for graft by the Internal Affairs Division would be assigned to accompany the killer to Japan, and 3) that the Japanese police would be waiting at one door of an airplane while unaware that gangsters, disguised as police, were waiting at another. I doubt strongly, however, whether a blond from Chicago would know many Yakuza secrets, even after eight years of Osaka bartending.Īs a general rule, the logic in thrillers should be clear, and lean, so that we can understand the reasons for the action. ![]() I don't know whether to be annoyed by the implausible way in which an American woman has been slipped into a Japanese role or relieved that the movie spares us yet another set of geisha cliches. Other elements also seem shoe-horned into the movie for dubious reasons.įor example, the major supporting role for Kate Capshaw, as an Osaka bartender who apparently knows most of the secrets of the gangsters and feeds them to Douglas one at a time. (The opening motorcycle chase is the setup for another one at the end of the film, of course the screenplay seems to have been manufactured out of those Xeroxed outlines they pass out in film school.) I would probably have enjoyed the visuals if they served any purpose (I admired the look of "Blade Runner"), but they're just showoff virtuosity. After a motorcycle chase underneath a New York expressway, there's a foot chase through a meat locker, and then, in Japan, chases through underground parking garages and rain-swept plazas, before a gangster summit meeting is held in the fiery dungeon of a steel mill. The story of "Black Rain" is thin and prefabricated and doesn't stand up to much scrutiny, so Scott distracts us with overwrought visuals. ![]() Douglas and his partner ( Andy Garcia) are assigned to escort the killer (Yusaku Matsuda) back to Osaka, where they ineptly hand him over to his fellow gangsters, disguised as cops.ĭetermined to recapture the man, they team up with an Osaka cop ( Ken Takakura), after which the plot settles down into a predictable routine. The film stars Michael Douglas as a detective with questionable ethics who captures a Japanese gangster after he commits a bloody double murder in New York. The production design (by Norris Spencer) is so overwhelming that the characters seem lost and upstaged frequently the humans are not even the most interesting things on the scene. The difference is that in "Blade Runner" the characters inhabited their city, and in "Black Rain" they are crushed by it. The director, Ridley Scott, must have been bewitched by memories of the futuristic Los Angeles he created for " Blade Runner" (1982). I've seen Osaka in a lot of movies, but it's never looked quite like this before, not even in violent thrillers.
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