3 Idiots English Subtitles File Download
Kanisha Dezarn
Recently Helen Mirren stirred some controversy while discussing her latest film, The Hundred-Foot Journey. Mirren was hoping for the movie to be filmed in French, the native language of where the story is set. Sadly, that was not to be. As the lovely Ms. Mirren put it (courtesy of The Hollywood Reporter):
Americans hate work and despise a challenge. Not ALL Americans, mind you. There are those Type-A go-getters who found Microsoft and take home gold medals at the Olympics. But that represents a fraction of a percent. Most Americans would rather be beaten with a whiffle ball bat that sit through a two hour movie with subtitles. They would prefer to watch a game of Soccer to being forced to read while going to the movies. They would sooner perform twenty minutes of exercise than be forced to engage additional brain cells at the movies.
I could hardly control the laughter, which quickly turned to incredulity as half the audience had exited the theater within the first 20 minutes. This is not a rare experience in my part of the world. The American ticket buyer prefers to go into a theater and switch off their brain. To be lulled into a stupor by the magical computer wizardry and mind wiping sights and sounds.
There are exceptions. Crouching Tiger, Hidden Dragon managed to crack 100 million dollars here in the USA, but that accomplishment deserves an asterisk. Why, you ask? That movie had a lot of fighting. Americans will see a movie with subtitles if someone is punching, kicking, or involved in gravity defying sword fights.
So yes, Ms. Mirren, you are correct: Movies with subtitles in America tend to fail. Subtitles are enjoyed at the movies about as much as public sex acts in the row behind you and Aaron Eckhart in a leading role.
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Not having read The Idiot, I cannot pass judgment on the fidelity of this 1951 film version by Akira Kurosawa, but even if I someday find that he and his co-writer took no liberties with Dostoevski's plot beyond setting it in twentieth-century Japan I doubt that I shall have to revise my opinion of the film. An artist's failures, of course, should be examined for the light they throw on his successes; but so crude is the directorial technique in The Idiot, so flagrant is the absence of any sort of suspense, that there can be no doubt that the film is a failure, and one that only dedicated Kurosawa fans will want to see. One leaves the theatre feeling that he has gone through not a catharsis but just a two-hour-and-forty-eight-minute ordeal.
The idiot in the adaptation is a former prisoner-of-war who had been sentenced to death by his American captors and then, at the last possible minute, reprieved. As a result, he developed something that the subtitles call dementia epilepsia and a resolve to be as kind as possible to everyone and everything. On his return to Japan, he begins practicing total selflessness, with the result that one person is murdered, another goes mad, and several, including himself, are left with ruined lives.
As this unhappy story unravels, it becomes increasingly clear why The Idiot was not released in this country until Kurosawa had established a reputation with his samurai films. For one thing, many of the actors are prone to excess, in one way or another. Toshiro Mifune, as a rowdy, alternates between bug-eyed rage and glowering indignation; Masayuki Mori, as the idiot, plays everything in a kind of sad-eyed slow motion that conveys saintliness but also causes boredom; and several secondary characters engage in the snorting histrionics that seem peculiarly Japanese. Moreover--presumably because The Idiot originally ran more than six and a half hours and was cut to its present length over Kurosawa's objections--the exposition, though it lasts forever, is extremely unclear, and the editing, both within and between scenes, is awkward and unrhythmical.
I don't mean to suggest, however, that The Idiot is entirely devoid of pleasures, even though most of them are purely visual. Two sequences in particular stand out, one at the beginning, one at the end. When the idiot first returns to his native Hokkaido, some shots of people and horses in the snowy streets have a refreshing, newsreel-like quality. And in the final half hour of the film, the shadow cast by an ornately carved screen takes on the aspect of a patterned hallucination.
I understand that you are all inquiring about using closed captioning on the Peacock. Please be aware that some channel manages their own content programming, including closed captions on content. We suggest you send your feedback to the Peacock channel for them to update their channel.
Maybe it is a recent update to the Peacock app, but there is an option with the UP button on Roku remote while in the Peacock app during video playback that shows selection options for AUDIO and SUBTITLES. Select SUBTITLES and you have the option to select an available language or have them OFF. Selecting ENGLISH on a playing video instantly pulled up subtitles. Or, is there another request / option that is being asked for?
We all (or at least 99% of us) know that there is a closed caption button that shows up when you press the up button on the Roku remote. We have all gone there 1000 times. Our problem is that it doesn't work. Occasionally I will go into Peacock and the CC will be on but 9 out of 10 times it isn't. When I say it isn't on, I mean that it is set to on but the CC isn't working. This is NOT a case of just turning it on. This isn't mass hysteria that for several years now we are imagining that this isn't working. We are also not idiots that can't figure out how to turn on CC for several years. To me, if I saw this many people with the same problem and even some workarounds, I would assume there really is a problem that has been irritating people for several years. I figured out the workaround a long time ago so I didn't find this thread until recently when I just couldn't understand why this hasn't been fixed after several years. Nobody at Roku takes it seriously. They always assume all of these people are idiots who can figure out how to turn on CC. They never take the time to read all of the posts where users take the time to try and help. I can only assume that not everybody experiences this problem or there wouldn't be so many posts telling us to push the up button on the remote and then navigate to the CC menu.
The workaround: If you have read through this post you will have already seen it but here it is again... exit Peakcock and restart it. I have found this doesn't always work (but I haven't tested it in over a year) so when I exit Peacock I start up another app and load a show/movie. I then exit that app and restart Peakcock and the CC are magically working when I load the show/movie I want to watch.
September 12 Run Lola Run (Germany) 81 mins.aka Lola Rennt (English subtitles)Directed by Tom Tykwer
With Moritz Bleibtreu, Franka Potente, et al.
Hugelypopular as an immensely entertaining escape into Berlin, this movie is stillplaying on the mainland after months of sell-out crowds. The plot is assimple as it gets: Lola (Potente) runs (without Nikes) to save herboyfriend's life. But hot new director Tykwer plays fast and free with thelinear drive, opening us up to the way the smallest incidents can alter ourdestinies. In other words, all is never quite as straight-ahead as it seems.Call it fate, fortune, luck, or simply the director's editorial choices, theplot of this film is, in every way, the real subject of our interest. True,everybody loves the punk attitude of Lola: she easily embodies the newEurope, wild and passionate, youthful and driven to get what she wants. Butthis is no study in Euro-symbolism, no way. Run Loa Runs is a clever andengaging movie that celebrates all possibilities. Just do it.
September 19 The Dreamlife of Angels (France) 113 mins.aka La Vie Rve des Anges (English subtitles)Directed by Erick Zonca
With lodie Bouchez, Natacha Rgnier,Grgoire Colin, Jo Prestia, Patrick Mercado.
Look, it won all the Europeanprizes, including Cannes. It boasts an amazingly fresh cast. It's wonderful.It's about Isa, a twenty-something drifter in the new Europe (see above) wholives life just as it comes -- fully, with a backpack and constantaffirmation. When things get rough, Isa just goes somewhere else. Almostaccidentally, she makes a friend in the brooding young Marie. The two ofthem forge a life of compatible rhythms from the textured bits of existence,transforming their days into amusing dates with gentle bikers, pots of tea,and aimless conversations about uncertain futures, satisfied and unsatisfiedlives. Inevitably, the rhythms change, however. Dreamlife weaves a highlywatchable tale of random passages, taking us somewhere with patience andgood grace. Bouchez, who plays the sunny-smart waif of a lead role, iscompellingly unconventionally beautiful, a powerful screen presence whopersuades us the world is as charged as it looks in her eyes.
September 26 Three Seasons (USA/Viet Nam 1999) 113 mins.Sundance prize winnerDirected by Tony Bui
With Don Duong, Nguyen Ngoc Hiep, Tran Manh Cuong, Harvey Keitel,Zo Bui, Nguyen Huu Duo.
As the poster boasts, never before in the history ofthe Sundance Film Festival has one film won three of the top awards. You'vejust experienced the new Europe: here's the New Vietnam. The film centres onfour strangers in Saigon whose lives intersect in a shifting world. The realvictors of the war in Viet Nam seem to be the mutil-nationals: Saigon is litup with Coca Cola signs, the garish neon of global desire. The characters inthe film seek meaning beneath the glare of late capitalism, each finding itin his or her own way. One follows a traditional path, picking lotus flowersfor an old master; another falls in love with a prostitute and would doanything to redeem her life; a young boy hocks watches and junk in thebrightly lit underworld; finally another, an American, seeks the daughter heleft behind in the war. Past, present, and future tenses of a ravagedcountry are imaged lyrically and informatively in this superbly acted film.Frankly, can a movie with Harvey Keitel drinking whiskey in a Saigon barcalled 'Apocalypse Now' be anything but rich?