Episode 87 - High and Low

[00:00:16] The movie is based on ethnic brains, pulp crime novel, Kings Ransom, and it explores a societal hierarchy in morality to pen.

[00:00:44] The movie starts to share with me one of our current South-Westfaired actors having started in eight of his movies.

[00:00:50] It also starts to see a neck and die, another one of the director's favorite actors.

[00:00:56] The movie was released to a critical acclaim, with the New York Times calling it one of the best detective furloughs ever filmed.

[00:01:01] In 2009 it was voted 13th among the greatest Japanese films of all time.

[00:01:06] Before you put on a high quality, morality infused high heels, I have to ask you how are you doing today?

[00:01:16] Oh nice! They don't say the Japanese, but we're not going there today.

[00:01:22] Yes, especially after all many times you missed a misstep, I'm not even thinking about it.

[00:01:29] How am I doing to... I'm doing well, I'm doing well.

[00:01:35] After having survived a rough week at work with Lea also and everything, I'm doing good.

[00:01:43] I'm still in the thick of it and all that good stuff, right?

[00:01:50] But yeah, now it's good. I'm looking forward to some time off.

[00:01:55] So that's coming very soon. I'm going to go to Europe and all that good stuff.

[00:02:01] So yeah, they'll be good. How are you?

[00:02:03] I'm doing okay. I'm sorry about the Lea's at your work.

[00:02:09] That's unfortunately what seems to be like the energy that's going around these days.

[00:02:15] Yeah, hopefully the people who are laid off can get good jobs and continuity alively who's as expected.

[00:02:24] For me, it's the beginning of the summer.

[00:02:28] It's getting closer to my daughter's birthday so we're beginning to think about all of those scenarios.

[00:02:33] She's three and she's talking about how birthday every day.

[00:02:38] My 79 more days and it's a little bit annoying. Every time I wake up she's like in my face.

[00:02:43] Is this a happy birthday?

[00:02:45] No, it's not. You have 39 more days to go my hair.

[00:02:50] Yeah, so yeah, I'm looking forward to it.

[00:02:54] Cool cool. What are the plans? What are you going to do?

[00:02:58] I don't know. We're initially thinking about going to Mexico earlier, but I think that we are thinking about other things.

[00:03:05] Not entirely sure nothing is in the bucket yet.

[00:03:09] But for her birthday, we're probably just going to go to the park and have a political friends.

[00:03:14] Yeah, great.

[00:03:16] Good. Keep it simple.

[00:03:18] Very, very much so. Yeah. Excellent. Yeah, sounds great.

[00:03:23] Sounds great.

[00:03:26] So high and low.

[00:03:29] Have you seen this before?

[00:03:30] No.

[00:03:31] How did it seem this before?

[00:03:34] Yeah, I first done watching it.

[00:03:36] Yeah, same. I've never even heard of this from.

[00:03:39] So it's kind of interesting. It seems like we're in a Japanese era right now, where we go through a lot of Japanese films.

[00:03:45] Yeah, a lot of classic ones. Well, not so classic in many senses, but we're definitely going to a lot of Japanese films.

[00:03:53] Yeah, which I think will change with the next one. Yep.

[00:03:59] But we'll get there at the end.

[00:04:01] So the, yeah, I've never heard of this even.

[00:04:04] I can hear of Kurosawa. We've covered one of this one.

[00:04:08] So, yeah, we've covered the seven samurai I believe.

[00:04:13] Mm-hmm. Yeah.

[00:04:15] Very different from. Yes.

[00:04:19] In a sense, yes, in a sense, no, the two main actors were in that film too.

[00:04:25] Even though Naka-Dai was not credited in that in the movie, but he was also featured in the seven samurai.

[00:04:33] But the shooting of the film is probably his number one face for a lot of his movies.

[00:04:40] Okay. Yeah.

[00:04:45] But, you know, he has, he has periods where he talks about ancient Japan and it does the samurai films.

[00:04:52] And then he has movies where he talks about contemporary Japan like Ikeu and this one.

[00:04:59] And we talked about, you know, different things of morality, societal differences and things like that.

[00:05:09] So this is the first time I've seen this one.

[00:05:12] But I, I think, I still think there's a lot of interesting nuance in how he describes his movies.

[00:05:19] To be fair, I'm a bit of a Akira Kurosawa fan.

[00:05:23] Okay. Good to know what we're going to,

[00:05:28] the, the flipping of going.

[00:05:33] So yeah, I mean, to me it just feels like a very different from the seven samurai.

[00:05:39] Obviously, like part of that is just a setting at the time.

[00:05:42] Right? But so yeah, okay. Interesting to see that it's almost like you see,

[00:05:50] it's kind of really scottal something right away of Gladiator and then I don't know alien.

[00:05:56] Right. Like very, very different which is good.

[00:06:00] Show some range in actors and direction.

[00:06:05] Well, you know the interesting thing about is, and I think we probably should start thinking about flipping the course soon because we're already talking about the movie.

[00:06:12] Is that this movie has a totally subdued acting from the movie.

[00:06:20] The actors, sort of subdued directing to the everything's feel subdued, especially when compared to like the action pack scenes in seven samurai.

[00:06:31] Yeah. Yeah. Well, you mentioned flipping a coin but before we go there, let's hear some answers.

[00:06:38] Hi and low is a gripping crime thriller directed by Akira Kurosawa based on Edmig Bains novel King Ransom.

[00:06:44] The film follows King Gondo, a wealthy executive whose life has turned upside down when a stripper's son is mistakenly kidnapped and set up his own.

[00:06:52] Faced with a moral dilemma, Gondo must decide whether to pay the ransom and risk his financial ruin or ignore the kidnapped instruments.

[00:07:00] As the police worked tirelessly to track down the culprit, the film devs into themes of class disparity, morality and the pressures of social responsibility.

[00:07:09] High and low is praise for its intense story of you telling masterful direction and its exploration of human nature and justice.

[00:07:19] Okay, so with this naps of stun we should go straight into flipping a coin because it's burning on the roofing on the else it feels like.

[00:07:28] Yes, we're getting close. I can fill it burning. I'm going to go in my typical heads for this one.

[00:07:37] I'm going to go for this one.

[00:07:41] I just I like to film something and go.

[00:07:47] Ratti's is doing these in a today.

[00:07:50] That's cool, that's cool.

[00:07:54] Okay, let me gather my thoughts and here we go.

[00:07:58] The witness will address this court as judge or your own.

[00:08:00] Ladies and gentlemen, you're on there.

[00:08:04] High and low.

[00:08:06] Very surprising film to be honest because nobody's ever heard of this one apparently.

[00:08:11] Neither of us have and we are on movie so long.

[00:08:18] Main criticisms I have for this film are around a slug incredibly slow and tedious third act that takes forever together resolve.

[00:08:36] That's that's my main problem with this film.

[00:08:38] I think the structure, this one weird things happening here because it's basically two different films on one.

[00:08:46] We start off with the first act where we get the the kidnapping.

[00:08:52] Well, basically it's like three films because one of them is this this corporate overtake storyline that gets completely derailed.

[00:09:04] By a kidnapping that's two films and one.

[00:09:09] And then once we kind of settle the kidnapping, it morphs into this third film which is finding the kidnapper.

[00:09:17] At the last from the third film finding the kidnapper.

[00:09:22] Jigs forever that could be its own film that is like a tight 90 minute story that would be perfect.

[00:09:30] It would be great because the police were going to this is really good.

[00:09:33] I think we learn clues and all that kind of stuff and then we can get to the place we need to be.

[00:09:39] But the problem is that we have an hour before that with distractions and winding babies and kids.

[00:09:47] And drama that is such a waste of time and distraction because it's ultimately.

[00:09:53] It's not like neither of the other two stories I said us at up be it the the corporate overtaking or the kidnapping have any consequence right because it's like.

[00:10:07] We find the kidnapper but he.

[00:10:11] He ends up killing somebody right so so he's like that's what he's getting being.

[00:10:18] Being trial for at the end so so none of the rest really matters so I think like the main problems of this film is that it's structurally it's very confused and we don't like it could really use some focus and some strength in the meantime.

[00:10:38] It's it's very uneven in the ways it's like I said the last third just to rags on and it's it's quite a bore at some point because it's like.

[00:10:49] You know we've already endured an hour of completely unimportant story at that point because the important story is what's happening but you know we're already like.

[00:11:01] What are we doing here like and like I say overall.

[00:11:05] The thing that this from lacks is a little more cohesion a little more focus on the story they're actually telling because it's not a corporate overtake and it's not really a kidnapping.

[00:11:17] And with that over to you.

[00:11:19] Thank you very much ladies and gentlemen I want to draw your attention to a movie that is a technical masterpiece.

[00:11:30] Showcase of what a subdued director can do with a typical storyline that ends up having an atypical solution.

[00:11:41] Now this movie feels like it should be a class film you're giving all the troops that says hey high and low.

[00:11:51] You're living up there in your rich house and I'm down here scoring squaltering heat burning similar similar similar.

[00:12:03] Descriptions as they use in the great Gatsby where people talked about how the sun is scratching.

[00:12:10] And they use that as it means to show the class divide between the people who live at the bottom and the people who live at the top right but this movie is not about that.

[00:12:20] It is it has some elements of that but it's not about that and that's where the nuance of accurate.

[00:12:26] So always comes into play you know because the movie then delves into a question of morality in a typical movie and we just saw the Joker recently to the Joker.

[00:12:38] The movie where we saw Bruce Wayne's dad who was being a punk to our the Joker character.

[00:12:48] In typical movie like this you would expect that the rich person always makes the bad decisions and makes the small person feel bad about who they are.

[00:13:00] But this movie is a typical in this sense that the rich person is making all the moral morally right decisions even if he had to be poked.

[00:13:09] I'm prone to make that to go in that direction he sacrificed this world to save the poor family and it's the poor guy who is making all the moral degenerative decisions.

[00:13:22] He testing his drugs on withdrawal victims tempting them with pure heroin injected them and watching them die getting pleasure from that kidnap in the little kid.

[00:13:35] And in a sense this guy was somewhat like the Joker before the Joker was portrayed by Heath Ledger and you can see that the Batman movie.

[00:13:51] Took some inspiration from this film especially when you consider the fact that they seen where the Batman and the Joker sat in the cell room in the second Batman film is exactly taking from this film.

[00:14:06] The cages separating them Batman becoming emotive I mean the some of it was flipped but generally idea of two people sitting in front of each other.

[00:14:19] The scene was a trait that was taken from this film.

[00:14:25] So the one of the things I also found quite impressive in this movie was how the director used space and blocking to tell a story.

[00:14:37] So the acting was precise and in some sense it's first like a stage play right where people would be exiting left coming in from the right walk into the middle of the screen walking away.

[00:14:52] It felt very rehearsed and very like a play in some places.

[00:14:59] And I think that those things were very deliberately done because at the final scene on the first night after the boy was kidnapped and we had to be funny and his right hand man sitting across each other on opposite sides of the room with the cousin of space between them.

[00:15:19] The pondering on what they would do where they would get the money and buy the shares or save the money to get a kid back.

[00:15:30] You can see that the director expertly put his wife the kid.

[00:15:36] The driver in between the two of them creating a chasm of guilt which eventually pushed the main character to decide to save the kid.

[00:15:48] So it's like there's a lot of technical interesting things that I happen to film.

[00:15:54] On the left maybe could be shorter I can see that but we also got to see the whole.

[00:16:06] The whole structure of Japanese life in the 60s it was very interesting to watch you know even the army soldiers because they were pretty sure they were close to a naval base.

[00:16:18] There were way navy hats you had characters who were dancing in the bar all from the west.

[00:16:27] And we went from the very rich to the middle class to the platinum class all the way down to the methods or the heroine heads who were locked up in clusters suffering the consequences of taking the drugs.

[00:16:47] And unable to escape the plight there and so it was I felt like technically it's a masterpiece.

[00:16:56] The acting was really good and we gained a lot from this film even if we have to even if the argument is that the movie is quite long.

[00:17:07] I think technically there are some some oddities one of the clunkyest.

[00:17:15] Expositions in the beginning.

[00:17:19] That's did I see that a long time when all the big wigs of the company sit around and it's like well you know this person is the treasure of this and this person is doing this in this company and this person is this right it's like.

[00:17:32] Really we're doing this position here like that for something that doesn't matter like none of this matters right so it's like why why are we even doing this clunky thing.

[00:17:47] That's just real and then like I did praise the police work but at the same time it's also kind of weird that they let him.

[00:17:57] Try to figure out okay how do I get the money because it's like.

[00:18:02] I would think if you involve the police like they come up with strategies to to kind of do the money thing right I would think like you like if somebody is just putting rent some up I don't know if you're expected to actually provide the money.

[00:18:17] I don't know how to work but it seems like the police would.

[00:18:23] At least have some kind of strategy to be like okay you know he's he's like fake money kind of money whatever.

[00:18:29] We'll play along but then you know we'll see what happens I don't know that wasn't even discussed I think that's that's kind of the problem it's just kind of acknowledged that yeah you're it should pay it.

[00:18:40] You know do it whatever we don't care right even if you lose everything that seems odd to me and and then I guess.

[00:18:56] Like the self policing of the of the chauffeur you know at the end is also just kind of tedious because it's.

[00:19:07] It's not adding a lot because the police already wanted to take the kid and kind of drive around to refresh the memories to get a better idea of what he went through.

[00:19:18] But we're basically kind of getting that double we get the the kids experience the chauffeur's experience and then the police is experience trying to catch.

[00:19:28] Catch up with them and it's it's like this weird.

[00:19:32] Like triple thing that doesn't add a lot the kid disappears twice out of nowhere and nobody bothers to look at them which is weird he was already you can have once.

[00:19:45] So there's a lot of like little things where I'm like okay it's a little clunky it's a little like and that's what I mean that what I mean that's what I mean when I say it could use a little tightening up because it's.

[00:20:00] It's a little unfocused you could focus it a little more.

[00:20:05] And and focus on the strengths of this because there are some strengths.

[00:20:09] But at the end of the day, it's also a lot of weaknesses that you could edit out.

[00:20:16] Yeah I mean.

[00:20:19] I'm not going to argue on whether this movie can be tightened.

[00:20:24] I think that I just particular point in this career here done a lot of good films so you had a little bit more leeway to kind of tell the story he wanted to tell.

[00:20:36] And with leeway comes a little bit of excess.

[00:20:40] So I can't I can't deny I can deny that specific argument but I can say that.

[00:20:46] The we introduced them all the characters in the scene at the very beginning of the film.

[00:20:56] In conversation already.

[00:20:59] And I think that one of the things that the wanted to establish very quickly rather than having you decide for exactly what it was going on.

[00:21:08] Was the motivations of all the characters in the room.

[00:21:14] And I think that.

[00:21:16] I mentioned that it felt like a play and in the sense they wanted to establish it somewhat like a play.

[00:21:23] And instead of the character said that everybody knows what their motivations are and who is talking and why they want something.

[00:21:30] We see that those characters want to reduce the quality of the shoes to increase their profit.

[00:21:35] I will see that the go the wants to increase maintain the quality of the shoes and find other ways to improve profits without reducing the quality.

[00:21:48] And one could see it as a form of critique for capitalism.

[00:21:54] But I also don't think it's that simple because at the end of the film go to continued with his capitalistic ways.

[00:22:02] There was no like solution saying that capitalism is not the solution to the problem.

[00:22:07] It's just a question of how greedy I use.

[00:22:11] So I think that one of the things that the movie does capture is the sense of earnestness that comes with making a very difficult decision.

[00:22:23] Like the driver bending down saying that he's going to whatever money they get his general use it as a.

[00:22:31] As a loan and he would pay him back despite knowing the fact that he would never in his life make that to million yen to pay him back for the son just life of his son was so important that he would make that sacrifice.

[00:22:44] And even said that he would put his son into into the service of of of his boss if he's able to rescue him.

[00:22:58] The fact that the woman in the only woman well not only should not be on the woman but all the women in this movie.

[00:23:07] Unlike Western films, we're not playing to love.

[00:23:13] The all had different complex motivations. For example, the wife had no criticised the husband for his is actions against the his co workers criticised the husband for not a for thinking about money, but in the life of the son co worst a husband interpane for the ransom.

[00:23:39] In a sense by convincing him we had women standing up once they go into the harrowing world people who motivated by drugs.

[00:23:53] So it felt like the characters felt lived in that world and no one felt forced or seen anything in authentic giving the scenes.

[00:24:08] The police work was amazing even though I didn't feel like we needed to see every single step.

[00:24:16] Every single way they tried to solve the problem but it was quite good insight to see how they brought good they brought expertise into the table like once they heard the trolley.

[00:24:29] They just went into the train drivers and found somebody could tell them like this is the exact station where we saw this trolley.

[00:24:37] It was very interesting, very insightful to listen to.

[00:24:41] But it's a movie that is I said very technically as to it could be cut down a little for sure but I felt like we got.

[00:24:55] I mean it's a movie of three three thirds right the first third was mefunes are played.

[00:25:03] And he's fight for his money the second side was the police work and the third was in my opinion the the escalipates or the adventures of the bad guy the who are called the Joker in this film because all his decisions were morally.

[00:25:30] but he was driven by envy.

[00:25:36] So yeah that's that's what I'll say for me.

[00:25:39] Hi Bob guilty back in my case.

[00:25:42] Like a totally loyal.

[00:25:45] Yeah, you, you, you, you, you,

[00:25:48] lot of the depiction of the women here.

[00:25:50] Uh, like, they, one of the first things I noticed was like,

[00:25:54] this is like, massage it in the film.

[00:25:57] Right? Like, uh, the way they talk about,

[00:26:01] you know, women in the beginning of like,

[00:26:05] well, women, they only want like pretty shoes, like,

[00:26:08] you know, they're just accessories, um,

[00:26:15] all the, just accessories, you know, women, little things.

[00:26:18] And then the wife comes in and the way he dismisses her constantly is quite amazing.

[00:26:25] Uh, and kind of gross, but, you know,

[00:26:27] I understand it's a depiction of the times and all that kind of stuff.

[00:26:30] So it's like, it's a reflection of, of these,

[00:26:33] the society. I suppose at that time.

[00:26:36] So it's not, it's not, it's not even a critique, I guess, right?

[00:26:41] But it's like, uh, if you see a key with this point of view nowadays.

[00:26:45] Can I ask you, especially with all this men's right movement going on?

[00:26:51] How is it, is it, is it to different from the world we live in today?

[00:26:57] I mean, it depends on the quarters that you're working in.

[00:27:02] In some quarters, women as to treated extremely poorly.

[00:27:07] And in some quarters, they're not.

[00:27:09] So it felt societally correct for them, especially given the time.

[00:27:17] But unfortunately, I don't think we have seen.

[00:27:21] We've seen some progress, but I don't think all quarters are acquiesce to those changes.

[00:27:27] I think we still have pockets of people who think stupidly about women,

[00:27:33] who react poorly to women and who think women are just there for there.

[00:27:40] Yeah, yeah, for sure. But I think like we cannot grow as a society if we don't call this up.

[00:27:45] Right? No, fair enough.

[00:27:47] Like, if you don't talk about it, if you just ignore it,

[00:27:52] I think there's a fundamental problem there. So, you know, calling it out.

[00:27:57] And again, like it's probably a depiction of the time since probably pretty accurate too.

[00:28:01] Because, you know, I've seen.

[00:28:05] I've had a talk at work that I organized this month where somebody came in and kind of shared.

[00:28:13] It was about kind of walk washing, pride washing and all that kind of stuff, right?

[00:28:16] And it's interesting to see a commercial from the 60s I believe from Virginia's limbs cigarette maker.

[00:28:24] Right? And it's like you can too smoke cigarettes.

[00:28:29] And these are Virginia's limbs and they're smaller. They're thinner for you and lady like hands, right?

[00:28:34] It's like because your the manly cigarettes are too big for you.

[00:28:37] And it's like, that is so wild, right?

[00:28:40] Like I do degree is like, look how far we've come being able to point us out with like, hey, this is kind of a crazy time, right?

[00:28:48] Like that there's something that a cigarette maker can use the the feminist kind of

[00:29:01] times and kind of and capitalize on that by exploiting that.

[00:29:08] And it's happening time and time again, like it's not like you need to that time.

[00:29:12] It's still happening. Like I said, like that came up in the kind of a talk about

[00:29:19] In general like, well, washing right with just kind of like everybody and their mom on LinkedIn has a rainbow local currently.

[00:29:25] And it's true. Right? Right? Or like George Floyd, like everybody had tweets every company had tweets we stand with black lives matters.

[00:29:35] But but then they only talk to talk about don't walk away.

[00:29:39] So so it's you know, it's good to have the conversation in the first place.

[00:29:43] It just, you know, when I saw it, it was like, oh, this is this is so frustrating because and it's just frustrating because I kind of feel like having seen

[00:29:53] a showroom like very different time, but to a degree, there's like there was a lot of kind of progressive ideas in that time Japan.

[00:30:03] In a way, there's this more divide even right, but there's also kind of a weird progressiveness happening.

[00:30:09] It was like, huh, interesting how how that culture can move to that, like you can see a lot of you can see a lot of the.

[00:30:19] The foundations lay there, but then like a lot of the the I don't know kind of norms and like sexual revolution kind of stuff like that has gone way away from from kind of the super depiction anyway.

[00:30:37] So just point that out I found it interesting, but in terms of this movie, like I said, it's it felt very like, okay, there are some really misogynistic things that play here.

[00:30:48] But like I said, at the end of the day, it doesn't matter because none of the first two kind of story arts matter and this really the only thing that is actually mastering is finding the the childhood doctor.

[00:31:06] And you know, by that time when we get there, it's it's already a little frustrating to me.

[00:31:14] I have been in the show when you say, I mean, I would say that festival.

[00:31:19] The reason why the time change between the sugar period and the one and well, that 60s Japan was because of religion.

[00:31:29] Religion and it's wonderful troops infusing itself into other cultures and forcing people to rethink how they think about gender roles, but it is what it is.

[00:31:41] Yeah, the second thing was that I think that the first part of the film matters because the consequences exist at the very end.

[00:31:51] At the very end of the film, he had auctioned he had to auction all his property. He had to move out of that house at the top of the mountain overlooking everyone where he got great weather and he had to move down.

[00:32:07] During the new company and start all over again, so the consequences to what happened at the very beginning decisions he made to save the son led to his emotion in.

[00:32:21] In status wealth status, but it also led to his elevation in morality status because the papers gave him a lot of respect.

[00:32:34] The papers talked about how he was there for the people.

[00:32:37] The papers remained all the other executives saying that they were there for themselves and for the profits and the national shoe company reduced.

[00:32:51] We got embroiled in unsuccessful campaign to try to update their image. So the consequences to what happened at the very beginning of the film, so it does matter and I think that.

[00:33:08] Those consequences carried on till the very end of the film where he sat with the guy who kidnapped the kid.

[00:33:16] Who was going through it? Who was going through withdrawals? It seems right because his hands were shaking, he was seen that he was because he was a solitary confinement.

[00:33:30] But he was also crying even though he said that he was not going to cry. So we can't really take his words for it. He definitely tried to be stoic, but you know the fact that the guy was living at the top of the mountain was what drew his eye.

[00:33:48] And that happened at the very beginning of the film. And the moment where he opened the window, I mean you noticed the way they did the sound effect.

[00:33:57] Whenever he stood by the window open it, you felt the breeze rushing into the house. So much breeze that even had to close the windows sometimes.

[00:34:08] Meanwhile the guys at the bottom were sweltering and heat. So yes in a sense this is I thought the consequences were quite direct in this movie.

[00:34:25] Okay, but that's when you kind of there they are when you accept that the focus of this movie is the downfall of this rich person right, but I think the focus I think the focus of this movie is on the the kidnapper.

[00:34:42] Right, and then by that it's it doesn't matter. Like the intricacies of his business dealings don't necessarily matter because the only thing that matters there is that he's responsible for the downfall.

[00:34:56] I would look at it as the thing that is the go through point is the question of morality and I think if we look at it from the perspective of morality and.

[00:35:08] The highs and lows we are seeing the effects of morality and financial success permeate truck to film.

[00:35:18] You brought up Joker right so my argument is this film is essentially like the the part of the way enterprises.

[00:35:29] Like a attempt at hostile takeover to get way enterprises.

[00:35:36] Done and then halfway through is switches into Joker.

[00:35:40] In a way right so it's like and then we see the downfall because of the Joker storyline that the hostile takeover doesn't happen.

[00:35:48] But it's it's two different two different things and it's not it's not focusing enough on either one of them.

[00:35:57] And that's my my main argument.

[00:36:00] What's even a quiet interconnected.

[00:36:02] He sold all his all mortgages house all of those stuff to buy shares right for the company.

[00:36:12] So that he can have ownership and have over 47% of the company so he can make decisions solely.

[00:36:23] But then the kidnapping happens and he has to take that money and give it to the kidnapper which blows is opportunity to own the company.

[00:36:31] But by making that decision he loses in money wealth but gains in morality.

[00:36:39] So he goes from high in wealth to low in wealth but high from low in morality to high morality.

[00:36:48] But I think the math is also not working out.

[00:36:51] So if you think about it right so I think he starts out with what it's something like 13% or something and then he mentioned that it like in the background he already acquired like 90% more.

[00:37:05] And and then he's in the final push to get the last to get to 47% and the final push is 50 million yen for a down payment so that's a third.

[00:37:17] And then he's in the final push to get those last.

[00:37:20] Percent straight.

[00:37:23] However that is like another 1315 one of our right so so it's like 50,000 50 million yen for let's say like 5% right.

[00:37:36] So.

[00:37:38] 30 million of that.

[00:37:42] Okay, it's a setback but even even when I pushed him out there had to buy him out right like that like they put him out he still holds a significant amount of shares.

[00:37:54] So he still has a crap to have money yes he may have put the lot like may have put that house on the line but I would think with the amount of money that you already had and.

[00:38:06] And the national shoe company.

[00:38:11] Like he's not poor right so so what is what does he learning nothing really like okay he's on his high horse and like publicly the media treats him as is a moral white night because he put the kid that's not even his.

[00:38:27] In front of his personal riches but do to still rich.

[00:38:32] I mean it was a established that he has a little credit is and what it seems to be happening was that once the news of.

[00:38:43] The kid not been happened all of those creditors came to try to get them money at the same time so he had to auction off.

[00:38:54] His home is chairs is clock all these riches to keep everybody happy and the idea is that he owes more than.

[00:39:06] Then the total amount that is talked about here.

[00:39:11] So he owes more and that's the reason why we're talking about how it would be his financial.

[00:39:16] To make to for him to pay the 30 million because it gives everyone.

[00:39:23] I mean you saw what happened with the national service.

[00:39:25] We don't want to the interest just give us our money back so just imagine all our whole bunch of people who.

[00:39:33] I now ask him for their money at the same time because in the news article somebody's saying that hey this guy is poor.

[00:39:45] I don't know I would think only for leverage out of your.

[00:39:52] You know the view behind them all of that like none of this or I don't think any of this works right because like creditors at some points need to have.

[00:40:03] I mean to get the money back.

[00:40:05] Right and so it's and then it's like okay if if you're misleading to get the money right what's the morality of that.

[00:40:15] So so I think it's just if he it's it's a distraction like the defect that we have a conversation about like this does the money even work.

[00:40:23] It shows me that it's a huge distraction from the film because the film is in at its core is about a kidnapping and finding the kidnapper and not about the financial play right so so yeah that's all I have.

[00:40:38] Okay, I don't really have much to add on the sidebar.

[00:40:44] I think that the length is probably the only thing that I have a problem with I think it was interesting to see Jeff and at the time.

[00:40:56] But if anything I would say that they should have caught the movie down just a little bit there were some excess when it comes to length.

[00:41:06] But other than that I think the movie is quite good.

[00:41:10] I enjoyed this film I thought it was great but I really did think the last third drag like that's a way to home finding him following him yes we see like proper police technique of switching people that follow him you know like all the intricacies of that and that was kind of cool to see.

[00:41:28] So you never kind of suspect sees being followed and all that stuff right like I know that's what happens to in real life but I have like multiple people from different directions just going to look at the avenue.

[00:41:40] And all that so that's like the policing is really cool but until we get there it just takes too long and it's it's like.

[00:41:48] Like you said it's it's like a cool play in the beginning that has lots of promise and then we're done with the train stuff and then it's a completely different from.

[00:42:00] And like visually it's a completely different film because we're getting out of the claustrophobia of that house and like the claustrophobia of a train.

[00:42:09] But we go into the streets and it's it's just the vibe is completely different the focus of the story is completely different.

[00:42:18] And I think that's that's kind of the main problem for me because it's like it's like three different films and one.

[00:42:26] And the problem with those kind of structures usually is that some of the ideas that you have that you'll try to establish are not established enough because you don't have the time because if you had the time this film would be even longer.

[00:42:41] So yeah that's this kind of fundamentally you'll be probably performance is not at our great like structured that there's this a lot fundamentally really good but it needed a long typing up.

[00:42:57] I think that's the least criticism that we've given the movie in a while.

[00:43:02] Yeah, yeah.

[00:43:05] Speaking of a long film the next one is very long three hours and 49 minutes once upon a time in America.

[00:43:16] Okay.

[00:43:19] Cool.

[00:43:20] That's another good film but man that's that's four hours been yeah.

[00:43:25] But we did this for you guys.

[00:43:27] We did this for you.

[00:43:28] We're trying to keep the pockets on there an hour so you know.

[00:43:34] So like if you want to support the channel, don't support the podcast.

[00:43:40] Make sure we reach out to us on Twitter, Facebook and Instagram and have movie and the style as we ponder how we're going to get to this for our film.

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[00:43:57] It's been a good pleasure.

[00:43:59] I should say it's been a pleasure. Good pleasure.

[00:44:02] Photology.

[00:44:03] It's been a pleasure talking to you about this movie and it gives me even more time to ponder about the genius of a character or a sour.

[00:44:15] Hope you guys have a good weekend.

[00:44:16] Have a good rest of your week.

[00:44:18] Have a good weekend.

[00:44:19] Thank you.