There are two main plot clues in the story: the main clue is the encounter between ponyo and Sousuke, the confession, the separation, the reunion after breaking through the resistance, and finally the right to live together; the secondary clue is the relationship between ponyo and his father conflict and reconciliation. Secondary clues promote the development of the main clue, and the main clue in turn provides the stage for the performance of the secondary clue. The structure is not complicated, but obviously nothing new. When there is no novelty in the theme and plot structure, concrete expression is the only key to decide the outcome.
But before that, let's take a look at the theme. It is widely rumored on the Internet that Hayao Miyazaki made this film to restore the father-son relationship with Goro Miyazaki. Sousuke was created based on Goro when he was 5 years old. Is it mixed with the news that this film is a children's day gift for grandson), when Miyazaki Goro was young, Miyazaki had a hard time meeting his son because of work, just like Sousuke Kazuo in the film Like his sailor father. However, although the situation of Sosuke and his father is very similar to that of Hayao Miyazaki and his son, the parent-child relationship in the film is not borne by the Sosuke and his son, but mainly by the Ponyo father and daughter. The lamp language exchange between Sosuke and his son is certainly unforgettable, but even if there is a hint of repair through this move, it will not be the creative purpose of this film. It seems that the parent-child relationship may not be what Hayao Miyazaki wants to express the most. Although it is indeed discussed as a sub-line, it is not in-depth, and perhaps it should not be regarded as the focus of this film. Although if you want to find any depth, you can only find it from this sub-line.
In fact, Hayao Miyazaki himself once said that the effect that the film wants to achieve is to let the audience say after watching it, ah, ponyo is so cute. And then it would be even better if Sousuke was really brave. Therefore, Hayao Miyazaki's original intention of creation may also be to make a simple and lovely image and work, without other too deep meaning.
The following two reports may also prove that the two statements are justified, and perhaps the combination of the two is closer to the true idea of Hayao Miyazaki's creation.
Quote:
In an interview last year (2005 or 2006), Toshio Suzuki recounted that "Disney wanted to create a character beyond Mickey Mouse, but couldn't. Miyazaki also couldn't create a character beyond Totoro, when I When I told Hayao Miyazaki about this idea, he was very angry and said: "I will create it!"
Quote:
Regarding the original planning idea for the theatrical version of "Ponyo on the Cliff", Director Hayao Miyazaki was accepted by the director on March 20. During the interview, I once said that this is the hope that parents can pay more attention to their children in the growing stage of their children, so as to avoid the helpless ending of an antagonistic relationship like Hayao Miyazaki and Goro Miyazaki
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Personally, I think that this work is generally considered to be in the middle and slightly lower position in the palace films, and it is the best among the several films after Spirited Away, but there is still some gap compared with most of the films before Princess Mononoke. .
Success: The excellent shaping of Sosuke and Ponyo is the most successful part of this film, which highlights the children's true colors of Sosuke and Ponyo, and highlights Hayao Miyazaki's excellent ability to grasp children's psychology and characteristics, which is popular in the entire animation industry. Very few people can surpass it. The hand-painted watercolor images and Yoshinori Hisaishi's genius music are also the highlights of the film.
Where it fails: Where it fails needs to be discussed in a little more detail. I think Miyazaki's biggest mistake this time is the incongruity of the style of the work, specifically the conflict between Miyazaki's fantasy style and the daily narrative imagery. The style of the animation at the beginning is very reminiscent of Nausicaa and Mononokee, and even the theme song has a Nausicaa-like length. However, the subsequent stories focus on pictures of everyday life, which creates a conflict of styles. In fact, the Miyazaki-esque fantasy style is pessimistic and eschatological, in any way inconsistent with the picture of everyday life, and it is basically impossible to reconcile the two styles. So when we watch this film, we always feel a strange sense of incongruity. There is no way that the two skins of the underwater world and the human world can be perfectly integrated. The only successful integration is the return of ponyo to ride the wind and waves. Scenes. Why does this scene blend? Because in this scene, ponyo's personality controls the audience. At this time, the Miyazaki-style fantasy style is gone. At this time, ponyo is talking to us instead of the underwater world, not the Miyazaki-style fantasy style. If we look back at "My Neighbor Totoro", perhaps we can feel the contradiction between the two styles of this film even more. The fantasy of "My Neighbor Totoro" is not a Miyazaki-style fantasy represented by Nausicaa and Mononokee, but a simpler fantasy, so it can be so perfectly combined with the daily life picture, so seamless, this is the child's perspective. It's a pity that "Princess Goldfish on the Cliff" didn't do that. I really don't really understand Miyazaki's adoption of this fantasy style.
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