G C/g
G
Whether there was a murder
D Em
I don't know, I can't say,
C G C/g G C/g
I was visiting a friend in jail.
G
There were only two women
D
at the scene at the time
Em C
Neither one of them saw a thing,
G C/g G
both of them were wearing veils
C Csus4
They said it was a natural situation
C
that he reached too high,
Csus4 C |: Csus4 C :|
tumbled back to the ground
D
You know what they say about
Dsus4 D
being nice to people on the way up,
G Am
sooner or later you might meet them coming down.
G Em
Well, it's too late to bring him back
C
Too late, too late, too late,
D G C/g G C/g
Too late, too late to bring him back
G
He had a brother named Paul
D Em
hangin' out at the Café Royal
C G
where all the company is mixed
G
Pretty to look at,
D
he wants someone to throw the book at
Em
but you know he drinks,
C G
and drinks can be fixed.
C
Sing me one more song
Csus4
about your summer romance
C
Or maybe that one about your
Csus4 |: C Csus4 :|
one-night stand with Errol Flynn
D
In these times of compassion
Dsus4
when conformity's in fashion
D
Say one more stupid thing to me
G Am
before the final nail's driven in
G Em
You know it's too late to bring him back
C D G
Too late, Too late, Too late to bring him back
G
Dr. Silverspoon
D
from the Ecstasy Ballroom
Em C
He's a retired businessman
G
who feeds off everyone he's touched
G
He gives money to the church,
E
to foundations of research
Em
He's not someone you can
C G
play around with too much
C
There's a Rosetta Blake
Csus4 C
who's been to both sides of the lake
Csu4 C
she's rough to look at but she's fit
D Dsus4
She'll feed you coconut bread and spiced buns in bed
D
and you won't have to worry about
D7 Am
sleepin' with you head face down in the plate.
G Em
But it's too late to bring him back
C D
Too late, Too late, Too late,
G
it's too late to bring him back
G D
Gonna arrange to see a man tonight
Em C
He'll tell you some secret things
G
that you think might open some doors
G D
How to enter in the gates of paradise?
Em
No, not really.
C G
More like going crazy from carrying
C/g G C/g
a burden never meant to be yours
C Csus4 C
From the stage they'll be doing the bumps and the grinds
A whore will pass the hat, collect a hundred grand
say "Well, boys - thanks!"
D Dsus4
They like to take all this money from sin,
D
build big castles to study in,
D7 Am D7
They'll sing Amazing Grace all the way to the Swiss bank
G Em
Well, it's too late to bring him back
C D
Too late, Too late, Too late,
G C/g G C/g
it's too late to bring him back
G Em C D
G C/g G
Extra verse in the so called “Band Version”:
They got some serious people out there, man they can ring your bell and show you how to hold your tongue.
They don’t come to party, man, they kill babies in the crib and say: “Only the good die young.”
They don’t believe in mercy, and judgement on them is something you’ll never see.
They can put your face on a postage stamp, turn your home into an armed camp, any way they want you, that’s the way you’ll be
Yes, I guess I loved him too, I still see him in my mind, climbin’ that hill Or was it a wall? I don’t recall, It don’t matter all all, honey, and it never will. Ain’t nothin’ left here, partner, just the dust of fools that have left their mark in spades. From now on, this’ll be where you’re from Let the dead bury the dead. Your time will come Feel that hot iron glowing now as you raise the shade
A gender-swapped variation on Hamlet written and directed by the Oscar-nominated Mamoru Hosoda, Scarlet offers proof that you need more than pretty artwork to captivate an audience. Having just reviewed Sony Pictures' animated sports comedy GOAT (a similarly style-over-substance production, and one that I really didn't think I'd be mentioning here), I'd rather watch that move again right now than pop Scarlet back in. As beautifully rendered and occasionally moving as this fantasy drama is, it's dull and perplexing during several stretches, and it doesn't seem concerned with keeping the audience involved as we follow a tough young princess out to avenge her father's death.
Scarlet opens in 16th century Denmark, where King Amleth (Masachika Ichimura in the original Japanese, and Fred Tatasciore in the English dub) has been accused of treason by his wretched brother, Claudius (Koji Yakusho and David Kaye), who seeks to usurp the throne with help from Amleth's wife, Queen Gertrude (Yuki Saito and Michelle Wong). What's more is that Amleth is eventually sentenced to a public execution which is witnessed by his loving daughter, Princess Scarlet (Mana Ashida, Erin Yvette), who can't even hear her father's final words over the bloodthirsty roar of the crowd. Training in secret to avenge Ameth's death, Scarlet hopes to confront Claudius at a ball but ultimately fails in her task, dropping into unconsciousness after drinking poisoned wine intended for the new king.
Waking up in some sort of limbo, Scarlet is now a place where the living and dead are both present. Time and space blur in this "otherworld", and a wide variety of people from different eras coexist. It's here where Scarlet meets Hijiri (Masaki Okada and Chris Hackney), a compassionate young man from the modern world who works (worked?) as a paramedic, a concept that the young princess struggles to comprehend. Unlike the stubbornly vengeful Scarlet, Hijiri has made it his goal to save lives rather than take them, a mindset that will hopefully counterbalance her own. It'll be slow going, though: Scarlet doggedly pursues revenge across shifting realities, facing symbolic challenges and visions that force her to examine the consequences of hatred and violence. Meanwhile, the otherworld itself functions almost like a purgatory of sorts, where actions carry immediate moral weight and characters are confronted with the outcomes of their choices. Through her interactions with Hijiri and several others (including a few men that participated in her father's execution), Scarlet eventually begins to question whether vengeance will truly bring peace to her life... or simply continue a potentially endless cycle of suffering, violence, and permanent death.
Scarlet sounds like an ambitious and philosophically deep effort, the kind that we've regularly come to expect from Mamoru Hosoda in earlier works like The Girl Who Leapt Through Time and Wolf Children, although it's worth noting both of those films had scripts written (or at least co-written) by Satoko Okudera. And in some ways, it is ambitious, but more from a visual perspective. Story-wise, there's very little momentum or lasting interest generated here, as the script seems mostly content in naval-gazing ruminations that are further crippled by the limited amount of emotional chemistry between its two lead characters. The 16th century opening also gets things off on the wrong foot with badly-written dialogue that makes Scarlet's setup difficult to follow, but it thankfully gives way to a much-needed rush of intrigue once she awakens in the otherworld. This intrigue returns in spurts but rarely lasts very long, thanks in part to questionable "rules of the game" that feel more convenient to the story than logical. It finally builds to something that's partially satisfying from an emotional standpoint, but Scarlet takes its sweet time getting there.
The emotional effects of Scarlet may feel more potent on repeat viewings, but large portions of its doughy middle -- which is where that questionable script rears its head again -- don't make it feel like a film I'll revisit very often. The artwork partially salvages parts of its narrative shortcomings (a bit more on that below), and it's obviously rendered capably on Sony Pictures' separate 4K Steelbook and Blu-ray editions; both options offer proportionately solid visuals as well as dual Japanese and English language tracks, but the extras leave a bit to be desired. All things considered, Scarlet isn't the safest blind buy in recent memory and recommended more for established fans only.
スカーレットは野心的で哲学的に深い試みのように聞こえますが、これは細田真狋が『The Girl Who Leapt Through Time』や『Wolf Children』といった初期の作品で通常期待されるようなものです。ただし、これら両方の映画が脚本を書いた（少なくとも大寺里子が共同執筆）していたことは注目に値します。そして、ある意味では野心的ですが、むしろ視覚的な観点からです。ストーリー的には、ここでは勢いや持続的な関心がほとんど生まれません。脚本は主に海軍を見つめる熟考に満足しているように思われ、さらに二人の主人公間の感情的な化学反応が限られていることにより、さらに機能が損なわれています。16世紀のオープニングは、スカーレットの設定が追いにくいほど不適切に書かれた台詞で、事態を誤った方向から展開させますが、幸いにも彼女が異世界で目覚めた際に、必要不可欠な陰謀の高揚へと導かれます。この陰謀は断続的に再び登場しますが、長く続くことはほとんどありません。その一因は、論理的というより物語にとってより都合の、疑わしい「ゲームのルール」の要素が一因です。最終的に感情的観点から部分的に満足できるものへと構築されますが、スカーレットは甘い時間を要してそこにたどり着くのです。
![【あみあみ限定特典】【特典】BD 果てしなきスカーレット Blu-ray スペシャル・エディション[バップ]《０５月予約》](https://img.amiami.jp/images/product/main/261/MED-DVD2-60041.jpg)
