"Frankenstein" has been released overseas for some time, but the domestic response has not been great. I think this is purely natural. Tim Burton’s films belong to a relatively alternative film author no matter where they are judged. On the one hand, his film has such a strong personal touch, weird conception, and weird power. On the other hand, it can be called the king of high, box office poison, paranoia, and nothing else, you see that water is gothic, dark and infiltrating, whether it is in the field of cartoons or the entire movie field, it is absolutely alternative. .
one. The indissoluble bond
between the director and animation Before talking about "Frankenstein", let's talk about director Tim Burton. He has an indissoluble bond with animation. In fact, he is a very rare creator of Hollywood masters, (although it is a little weak to be called a master, just barely raise his tongue, stick out his tongue) extremely rare across animation and real movies. In terms of movie content, his live-action movie swords go slanting, and Wonderland takes the path of legends and fairy tales, and his animation works repeatedly revolve around alternative, deformed and terrifying things. The visual effects of art in his video works are so eye-catching, as long as you take a look at the figures, you can be sure that it is Tim Burton's work.
If you are a little familiar with the surrounding gossip, you will find that Tim Burton himself has a very deep artistic background, dressing and dressing like half a living dead, and his own oil painting is also magical. Therefore, from this perspective, Tim Burton's creation is extremely personal, consistent with the outside and the inside. Although mixed in Hollywood, but with the style of a typical film author.
two. Abnormal animation situation
It must be admitted that Tim Burton is also a box office poison in a certain sense. Although his movies are interesting, they are still far from common conceptual delights. Take "Frankenstein" as an example. The visual style of Gothic style alone is incompatible with the mainstream of the industry. "Don't the cinema animations be colorful?" "Don't the animated characters should be cute and lively? Do you? Look at this movie, the pile of dead bodies is terrible." For example, the characters in the film, in addition to the protagonist, the hideous natural teacher, and all kinds of weird classmates, are simply a collection of "ugly appraisal" images. From this point of view, "Frankenstein Dog" undoubtedly does not meet the standard of the animation industry in the usual sense. At least the content of the feudal superstition can be wiped out by the Celestial Broadcasting System. Being able to shoot such a weird material still looks good, and I can see that the director is different.
three. Simple stories are slightly weaker. The
artistic talent is Tim Burton's strength, but his ability to tell stories is slightly weaker. Perhaps weak is too derogatory, but procrastination is more accurate. Procrastination is almost always the norm in the director's creation, just look at "Batman" in the 1980s.
Unfortunately, the story of "Frankenstein" is really not ideal. The original story material is good. A little boy tries to rescue the pet dog by scientific means. The crowd reacts differently. The protagonist is misunderstood and sorted out by the crowd, and he can play the unique taste of small animals and supernatural concept elements. From the background, the situation is outstanding, and the story is still interesting. For example, zombie puppies are misunderstood in a small town, and it is easy to think of Edward Scissorhands.
However, from the perspective of the film, the movie script of "Frankenstein" is too simple, with only 79 minutes of feature time, so that the conceptual "second act" of the script did not have too many twists and turns. The advancement of the plot was not done enough, making the second half of the film take a sharp turn, feeling that the meaning is still incomplete, and the story is superficial, creating an anticlimactic feeling. The outstanding problem is that the confrontational force in the back part of the film is not the internal conflict between the characters, but only the failed experiments of other children, which makes the whole film lack of coherence in the plot. The scene of saving people on the fire scene is also limited by the entire setting, and it feels that it has not achieved the effect expected by the audience.
So from the perspective of the story alone, the author thinks that there are actually some directions for improvement. The easiest thing is to add 20 minutes of content to make the four little monsters resurrect and toss a little bit more, which makes the protagonist and others worse, both increase The plot twists and turns, and it also deepens the conflict between the culprit protagonist and the puppy. Or, like most stories, adding a real Frankenstein-like resistance to the villain will also increase the charm of the story by giving the villain enough time to express it. There is also a way to enrich the story of the protagonist and the puppy. Similar to "How to Train Your Dragon", the relationship may be more progressive, and it may be beautiful. Oh, yes, compared to other works, the town of "Frankenstein" seems to be too flat. If you can put more effort into the town If you enrich it, it might look more beautiful.
Four. The meaning of "Frankenstein" outside of the monolithic
Tim Burton's film, although focusing on dark death and mutilated material, does not mean that the director is a dark and mean person. On the contrary, in terms of the movie theme, Tim Burton Burton is also a mainstream director who reflects justice, kindness and love. To be more hypocritical, he extols the light by showing the darkness. For example, in "Frankenstein Dog", the blamed and dismissed science teacher, is the behavior of the parents more terrifying than his face? This feeling of paying attention to the dark for the light, runs through almost all of Tim Burton's works, and is also the reason why his films can be accepted by people.
So Tim Burton is like a local dish, you can like it or not, but you can't say it's worthless. If he and his Gothic world were really gone, we would feel sorry.
The significance of "Frankenstein Dog" does not stop there, whether it is its personal significance for the early works of director Tim Burton's villain, or its tribute to the classic silent films throughout the history of film. Well, people talked about the tribute issue very carefully, so I won't make trouble.
In fact, what I value more is some of its inspiration for animation creation. In a Hollywood with unprecedented stylization, or in a commercial film system that does not respect national boundaries, I can continue to shoot what I want to film. It is a very meaningful thing in itself, not to mention the filming is not bad. As far as the Tianchao animation industry is concerned, when the number of cinema animations each year reaches dozens and the TV animation is 320,000 minutes today, is it a comprehensive clone of the Japanese and American animation production system and the large-scale industrial chain structure, or respect the relative creativity and inspiration of animation creation? Independence and the courage to support different normal voices are undoubtedly a good direction for discussion.
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