As a Ghibli meal, first of all, I have to say: No matter what, this is better than Dihai (Puff)
as rice Lin Hongchang first supervision films, this is not a typical Ghibli movie, but everywhere reveals the shadow of the father's house, no matter determined mood, or he himself could not help but intervene Palace Daddy guide (laughs)
though There is no picture full of typical information, the background is still the same exquisite and full of details (thanks to Oga Kazuo’s background team:) ), the scene is not always brilliant, the story is still fascinating.
After all, this is not the work of Hayao Miyazaki personally supervised, but Milin. In Hongchang's debut work, it is difficult for the seniors to cross the ladder, and it is still so high that it is considered very good to be able to climb up.
As the first trial of Mi Lin Hongchang, for the sake of his own style, deducting the guidance of Gong Dad and the background blessing of Oga Kazuo, I will give 75 points.
In fact, I was a bit surprised when I was watching the borrowed items in the theater, because I had read the storyboard several times a few months ago, and I only had the comment of "the story is thin", and the story was too boring. I thought so at the time. , I really don’t want to see another tragedy of Earth Sea Legends~. The result is: It's actually pretty good, and there are many small orgasms, full of Ghibli feeling... Later, on a whim at night, I looked at the storyboard once more for memorizing, and found that it was still so thin! By comparison, I found that there are a lot of wonderful scenes, Gong Dad should have a lot of "guidance". For example, the scene where Ariaddy climbs from home to the bedroom was completed without any details, and the crow rushed into the bedroom. That scene was unremarkable at first (Ariati actually stood on the side using leaves to defend herself and watch a play), Grandma didn't have so many small movements, and Xiang didn't even climb out of the window... ....... The lines are even more so that I don’t understand the whole thing (a lot of small dialogues have been added when it was released...).
After this debut, they are all qualified or above. There is no big surprise, but there is a little personal style (but his personal style is too light overall), and there is still another pillar from the successor or Ghibli. It's a long way, and you can see it under the guidance of Papa Gong :)
Some people say that this work is a bit dull, a little disappointed, and it’s not fair to Mr. Gong. This time he is just a screenwriter or an adaptation. The publisher is just leading his banner to attract the audience. Mi Lin Hongchang is the supervisor, so it’s really true. You can’t use that set of criteria to evaluate, although even if you use rigorous criteria to evaluate this time, it’s still qualified.
In fact, Father Gong himself is old, and he should have retired long, long ago.
He just couldn't find a successor, so he personally got on the horse again and again and brought us surprises again and again. Yes, his standard has been maintained, but anyone who has watched Ponyo’s documentaries knows that his old man is almost unable to hold on, his arms are beginning to degenerate, and his weak hands have to use a 5B pencil to draw, and he can’t draw to death. He alone supports the banner and
wants to let the talented few in the studio try. I don't mention the early ones, and they just leave. Although the outside Jinmin is under the banner of Hayao Miyazaki's successor, it is only technical. Although they all have their own ideas, they still want to paint with the "dream" in the heart of Dad Miyazaki. unmanned........
There has been a slight improvement in recent years. Morita Hiroyuki’s cat’s return is good, but he is always from a commercial animation series and does not have what he wants; the legend of the earth sea will not be said (in fact, I think the reason for the failure of the earth sea is The complex of their father-son relationship~ How can the master want to watch his apprentice fail, and I am embarrassed to use his father’s identity to care about Wu Lang); it is really difficult to return to the peak of the Miyazaki Hayao + Takahata era, this time I will direct After a few Ghibli short films, Mi Lin Hongchang, I should be able to breathe a sigh of relief for the time being. It is not very exciting, and it has standard quality.
The most different from Gong Papa’s own works is that Mi Lin seems to be a pure romantic, especially to neutralize the common sense of stability of female characters in Ghibli, and to add several poems to Xiang. points
such as the hill full of flowers, the sun shines on him like shiny, to love (!?) at the expense of their own to run off like a heart attack, this is very personal style Millington, but not very Like Hayao Miyazaki, he insists on women's strong choreography.
When it comes to the image of Miyazaki’s heroine, there are still some borrowed things, and there are a lot of them. This is very "late-stage typical": at the beginning, he is curious about the world without knowing anything, and then he thinks he is independent to challenge what and what. After a fall, I found that I didn’t understand anything. At this time, I met fellows who were fighting hard and explored each other’s potential and ideas. Finally, holding this idea with the determined eyes of a classic Hayao Miyazaki heroine, with courage. To face all the challenges: This kind of direction should have been set when Gong Papa himself wrote the screenplay, and Mi Lin would be even more handy when supervising (at least not as Waterloo as the Earth Sea).
The later model I mentioned is that Qianxun is the beginning, and the subsequent works are probably to match the social atmosphere, and are no longer like the previous works: the protagonist already has his own established concept at the beginning, and will complete it regardless of everything, even if the plot is arranged. There will be some setbacks, and in the end, I can use my little power to change everyone’s views; this formula is based on the actual situation of society, just like most modern young people. I thought I was capable, I knew I was invincible when I encountered big setbacks (maybe Wu Lang is also one of the protagonists of the Ghibli story...), and finally met his companions to explore each other, and finally brought the found ideas with courage and courage. Love to discover a different life. Since the beginning of the Spirited Away God Hidden, the Cat’s Return, Howl’s Moving Castle, etc. (Ponyo won’t mention it, she’s just a kindergarten student), there have been such arrangements, which may seem to us young people. It's more happier.........
Applying this model to this story, Ariaty herself is just a curious and daring girl. Like other Ghibli works, she experiences powerful adventures in the story. Growth and independence are not alone in the end, but they understand a lot of things. They have also transformed from the world of their parents and established their own set of worldviews. There is no idea of changing the big world, but they have their own idea of survival. It is very similar to Chihiro), instead of using the same adventure model as commercial works, everyone has their own experience and path like real life. This is the true and wonderful part of Ghibli works.
Xiang can only be said to be a typical weak and sickly pessimistic boy. Depression is not enough. It is just that he often seems to see through the world but accepts the negative state. Of course, it is also related to his family background and his own illness. Ariati encouraged and stimulated the will to survive. Seeing that she would not give up even if her race was about to be extinct, and strive to survive for herself, why is it not good if she has a chance to cure the disease? Survive?
Looking back, the characters of Chihiro and Bailong turned out to be similarly matched: a beautiful man who accepts reality and is slightly pessimistic, meets a girl who has no idea and no sense of survival, and supports each other. This mutually stimulates each other. Love and courage caused them to change the original story, and finally saved themselves and each other. They face the real world with love and courage to survive, even if they all take different paths. After writing this, I found that Gong Dad has long since abandoned the form of the perfect protagonist, and told his life philosophy in a better way. With the characters close to the audience, each character presents a shortcoming in one aspect and complements each other to complete the whole story. Self-righteousness and negative pessimism are just the portrayal of modern young people. The original need is that everyone supports each other and will always find the way in life.
Xiang and Ariaty should be special existences to each other, just like Chihiro and White Dragon, Hal and Sophie, discovering what they lack in each other. Because a race facing oneself is about to disappear and a life facing oneself is about to disappear, in the same sense, Aliathi brings Xiang the motivation to survive, and Xiang brings Aliathi "It turns out that our survival in the human world is not entirely hostile." The only difference is that Papa Gong did not arrange too many characters this time. Unlike the supporting roles of Hal and Chihiro, it feels like It seems thin-in fact, he is only for the first time to supervise Mi Lin, so that he can show the best picture under the condition of fully understanding the story, it is better than a bunch of incomprehensible messages (bad I seem to have been fighting Wulang. ..)
As for Aliyaty's blush when borrowing tissues, girls who have never seen men of the same race will see men who are similar in appearance and age (and are dozens of times larger than themselves!). Will not face red ah ah ah ah ah
The music is also a bit of a surprise. Very few Ghibli works use this feeling as background music. It should be Mi Lin Hongchang’s personal preference, and it sounds very compatible with the whole. At first, I was a little uncomfortable but looked at it. I think it's OK, just match the plot.
But in terms of the overall story, some Douyou said before that even children can see that "borrowing things" is just a good name to steal the needs of life, even if it is compelling and harmless (anyway, dull humans will not I found out where the sugar cubes are missing), but for the Ghibli works, it’s a bit frustrating: how do you explain to the child next to you that "sometimes people do bad things to survive"?
The tanukis in the Heisei Tanuki fighting together, they blend into the human world to earn money and then buy what they need (at least those who steal are cast as bad role models);
the gods of Spirited Away can only endure silently in the real world until Revenge punishment is only given when humans break in; the little people have been closely related to human life from the beginning, and exist in the form of aliens? If it is interpreted in terms of the potential role of "Nature and Mankind", it seems to be too much. Maybe this is the shortcoming of the adaptation.
But this is probably just a question that Papa Gong didn't think of when he was writing the screenplay~ Maybe.
Or after so many years, Father Gong has allowed nature to faintly hide the human world in his stories, and he can't always fight back like the mountain beast god of Princess Mononoke. His elderly gradually disappeared. Impulse and
passion only hope that the only ones and those who love nature can gradually influence the world with great love like Ponyo, instead of resisting or war.
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