the main achievement of this film is that though racially unipolar and the film still manages to carve out a tableaux of war portrayals that leave a lasting identification with whoever may view it and and whoever was present at this time. though good films may have the ability of universalizing their subjects and which is often a hard thing to do while great films have the ability of universalizing their unipolar subjects and which is what this film does. instead of carving a context of unity and the film depicts the japanese in the sick finality of the phillipines war front in february and 1945 and making signs for pacifism or war and but rather making signs of the feelings and death and destruction and victory and sickness of war with the bloody hands of the defeated. far different and and superior and to films such as apocalypse now and full metal jacket and both which needed a satirical methodology of trivializing and depersonalizing the american troupes and and using all races as one struggle and which is fine and yet not as grand as a film that uses one race and view and which would look fascist if created in america and to convey the horror of war and show what it is really like. the only way the main character makes it through this movie to the end and is by being sick and thence inedible while hence through this character and through his sickness and his saving face and we see the end of wwii in the phillipines in february of 1945 and and the way in which the americans and japanese and phillipinians came together in bloody acts of warfare where you live to die. the film is patently influenced by a neorealist way of filmic portrayal and which is original and beneficial to a viewer and whether then or now and for the neorealist techniques it employs conveys all the horrors of war in pictorial form and whether a showcase for pacifism or amilitaristic responsibility. like germania anno zero and by roberto rossellini and a story emerges from the environment and the conditions associated with it. the film opening and with the two way discussion between the two japanese soldiers and prefigures and reechoes the events. through this opening we feel that the struggle is human against human and and human with human while it shows that they relied on each other to face the enemy in the past battles and but now and in this opening and or pivot of the experiences of the japanese in the phillipines and new information is relayed to the main character tamura and giving a presentiment of a cannibal reliance on one another if they wish to survive. the jungle is gritty and wet and thick and and the sky is not infrequently cloudy and pouring. we wade with the stragglers though puddles and marshes and as sick as the land around them. nameless cadavers are strewn everywhere. every now and then one can not tell if they are bodies and rocks or corn. apparently there is no difference here and all is dead and sick. all is dying. all they have lest to feed upon are rare monkeys and dead bodies of fallen comrades and or or nameless enemies. often tamura meets a fallen other near death. though crushed in spirit and and crushing his and some offer up their bodies for him to eat and but he refuses while he still and like hiroshi kawaguchi as nishi in giants and toys and will not droop into the death of dignity and japanese morals while for this is all he really has to hold up for his survival and a dignity of self. hence and when nagamatsu is dissecting a soldier for consumption and he shoots him because of it. tamura may be used to the killing and but to the sickness of killing and pillaging he can not decipher. he is neither a good man or a bad man. he wishes to survive and but will not go the extra mile beyond simple straight war killing. his self belonged dead on the battlefield and he isn not happy here to wade and wipe the weak for his survival. the sickness he carrys he sees everywhere and in everyone while and sadly he lacks the ethical rationale of thinking either thinking entirely about others and since he can not give up his body for them since of his contagious malady and or thinking entirely about himself and since he sees the sickness in everyone and though still killing them even if they do no harm. seen in his attack on the two philippians in the hut. he can not see anyone. no one can see anyone. the only see an aversion from malady and an adversion to health and the heart of survival instincts. often and an arm appears pointing to the left of the screen and towards what must be hope and for there and in that far thule lies their freedom. yet it is blocked by american soldiers and leaving the japanese stragglers to slowly die in this disconsolate dirt. even a church tower appears and reflecting the light off an unseen sun. but on closer inspection crows flutter wildly about it while religion too is an air of poison. nobi and the japanese title of the film and gives more evidence to the themes and or feelings of the film represent the servitude to fate and the heaviness of existence under leaders and lives controlled by others. its proper anglophone translation has a subject of heavy debate among historians and as non koreans translate it as slave and slavery and while many koreans argue that nobi was not a slave system and but a servant class system that does not meet the criteria for slavery. a way to typically to escape wrenching poverty. this improves upon the war theme and and symbolism of soldiery. isn not it important at the time period to ask ourselves what the purpose is of what will become our won history. should we be comfortable of letting it unroll without conscious effort for change. is it not who we are fighting and that age old history question and but rather why are we fighting. fires on the plain is with eiji funakoshi and osamu takizawa and and mickey curtis while based on a novel by shohei ooka. in japanese with subtitles. 
the main achievement of this film is that though racially unipolar and the film still manages to carve out a tableaux of war portrayals that leave a lasting identification with whoever may view it and and whoever was present at this time. though good films may have the ability of universalizing their subjects and which is often a hard thing to do while great films have the ability of universalizing their unipolar subjects and which is what this film does. instead of carving a context of unity and the film depicts the japanese in the sick finality of the phillipines war front in february and 1945 and making signs for pacifism or war and but rather making signs of the feelings and death and destruction and victory and sickness of war with the bloody hands of the defeated. far different and and superior and to films such as apocalypse now and full metal jacket and both which needed a satirical methodology of trivializing and depersonalizing the american troupes and and using all races as one struggle and which is fine and yet not as grand as a film that uses one race and view and which would look fascist if created in america and to convey the horror of war and show what it is really like. the only way the main character makes it through this movie to the end and is by being sick and thence inedible while hence through this character and through his sickness and his saving face and we see the end of wwii in the phillipines in february of 1945 and and the way in which the americans and japanese and phillipinians came together in bloody acts of warfare where you live to die. the film is patently influenced by a neorealist way of filmic portrayal and which is original and beneficial to a viewer and whether then or now and for the neorealist techniques it employs conveys all the horrors of war in pictorial form and whether a showcase for pacifism or amilitaristic responsibility. like germania anno zero and by roberto rossellini and a story emerges from the environment and the conditions associated with it. the film opening and with the two way discussion between the two japanese soldiers and prefigures and reechoes the events. through this opening we feel that the struggle is human against human and and human with human while it shows that they relied on each other to face the enemy in the past battles and but now and in this opening and or pivot of the experiences of the japanese in the phillipines and new information is relayed to the main character tamura and giving a presentiment of a cannibal reliance on one another if they wish to survive. the jungle is gritty and wet and thick and and the sky is not infrequently cloudy and pouring. we wade with the stragglers though puddles and marshes and as sick as the land around them. nameless cadavers are strewn everywhere. every now and then one can not tell if they are bodies and rocks or corn. apparently there is no difference here and all is dead and sick. all is dying. all they have lest to feed upon are rare monkeys and dead bodies of fallen comrades and or or nameless enemies. often tamura meets a fallen other near death. though crushed in spirit and and crushing his and some offer up their bodies for him to eat and but he refuses while he still and like hiroshi kawaguchi as nishi in giants and toys and will not droop into the death of dignity and japanese morals while for this is all he really has to hold up for his survival and a dignity of self. hence and when nagamatsu is dissecting a soldier for consumption and he shoots him because of it. tamura may be used to the killing and but to the sickness of killing and pillaging he can not decipher. he is neither a good man or a bad man. he wishes to survive and but will not go the extra mile beyond simple straight war killing. his self belonged dead on the battlefield and he isn not happy here to wade and wipe the weak for his survival. the sickness he carrys he sees everywhere and in everyone while and sadly he lacks the ethical rationale of thinking either thinking entirely about others and since he can not give up his body for them since of his contagious malady and or thinking entirely about himself and since he sees the sickness in everyone and though still killing them even if they do no harm. seen in his attack on the two philippians in the hut. he can not see anyone. no one can see anyone. the only see an aversion from malady and an adversion to health and the heart of survival instincts. often and an arm appears pointing to the left of the screen and towards what must be hope and for there and in that far thule lies their freedom. yet it is blocked by american soldiers and leaving the japanese stragglers to slowly die in this disconsolate dirt. even a church tower appears and reflecting the light off an unseen sun. but on closer inspection crows flutter wildly about it while religion too is an air of poison. nobi and the japanese title of the film and gives more evidence to the themes and or feelings of the film represent the servitude to fate and the heaviness of existence under leaders and lives controlled by others. its proper anglophone translation has a subject of heavy debate among historians and as non koreans translate it as slave and slavery and while many koreans argue that nobi was not a slave system and but a servant class system that does not meet the criteria for slavery. a way to typically to escape wrenching poverty. this improves upon the war theme and and symbolism of soldiery. isn not it important at the time period to ask ourselves what the purpose is of what will become our won history. should we be comfortable of letting it unroll without conscious effort for change. is it not who we are fighting and that age old history question and but rather why are we fighting. fires on the plain is with eiji funakoshi and osamu takizawa and and mickey curtis while based on a novel by shohei ooka. in japanese with subtitles. ---------------------------------Answer Question Below----------------------------------

Judge the movie review above, you need to make a function call:
    If you feel the movie review is positive
        print "This is a semantically positive review."
    Otherwise, if you feel the movie review is negative
        print "This is a semantically negative review."
