First of all, I want to explain the order in which I watched the films. First, the documentary, then the movie, and finally the trailer. Please don’t underestimate this order. The origin of all emotions is caused by this order.
Regarding the very long trailer (hereinafter referred to as the trailer), I gave it five stars. Gong Lao is not easy. As an animation master, at a young age, he finally began to think about the issue of his successor. This is by no means unfounded, thinking that when Jin Min passed away last year, everyone in the world sighed "there will be no Jin Min after Jin Min". As a Jin Min lover, I was also sad for a while. Although, I just said that after the passing of the old man, everyone will still say "there will be no Miyazaki after Hayao Miyazaki". Fans of Hayao Miyazaki and Ghibli still hope that the spirit of the old man can be passed on. In this sense, the successor must be cultivated. After all, the old man is gone (I mean one day, please forgive me I'm a childish person) Ghibli is still there after that. From this documentary, we can see the painstaking efforts of Gong Lao and the efforts of new directors. I don’t think Gong Lao is wrong. Although the documentary says that Milin Hongchang looks unreliable, I think he looks like a dedicated otaku. In fact, the painstaking effort he put into the film is the first time The nervousness of the director, the anxiety of the slow progress of the work, everything is reflected in the devastated face of acne. The documentary tells about the handling of some details about the film, and the director's own understanding and thinking made me full of curiosity about this film. Gong Lao shed a tear after watching the preview, which made my emotions reach a climax. Although the spoiler of the documentary only mentioned the separation of Arrietty and Xiang, I made up my mind that my eyes were full of tears. But the movie is not ready yet, so I can only wait impatiently.
Next, let's talk about the movie. It is rare to download such a high-definition version, with more than 4 G, and screenshots can be used as desktops. Maro (Mirin Hiroshi) is worthy of being the best painter of Ghibli (as the documentary says), and his extremely careful handling makes every static image as beautiful as a watercolor painting. While I was watching and taking screenshots, I carefully watched Maro's handling of Arrietty's movements in detail. These were all well done, as good as the documentary said. But there's one thing that was wrong, I didn't expect it at first, but then I found out, it was music. The female voice that Gong Lao uses every time is an aunt-level character with a bel canto. I heard it before, although I think it sounds good, but it seems to be a bit old-fashioned (especially if I listen to it separately from the film), and Ma Luyong is indeed like this. The voice of a girl as clear as a silver bell, although the painting style is the same, but the overall effect is completely different. I suddenly discovered that the voice that I thought was the old school was actually the most harmonious voice with Hayao Miyazaki, and this new voice belongs to the newcomer Maro. When I heard this voice and saw this picture, a word popped into my mind - Xiaoqingqing! The previous sound is thicker, and it is the kind of sound that can make people think and move; the new sound will be attracted and beautiful when it comes up, but whether it can be heard or not will stand the test of time.
Continue watching the film, I especially like the portrayal of the villain's home. The details of the picture are very delicate, no less than any previous film. As a successor, at least Maru can achieve the exquisiteness and delicacy of each of Gong Lao's films. Everyone It can also be more gratifying. But after watching the whole film, I was a little disappointed. Maro did a lot of details, but the most important part, the depiction of the emotions between the characters, was not as good as expected, and I didn't shed a single tear. In the previous documentary, it was mentioned that the theme of the film was mentioned. Gong always wanted to describe the friendship between humans and villains, while Maro wanted to become the love between humans and villains. The theme of love is always more tear-jerking. I have prepared tissues and waited, but it was completely useless. Is it the screenwriter's problem or the director's problem? I am a layman and have no right to speak, but from my personal point of view, Arrietty fell in love with Xiang at first sight, and the two fell in love with each other. This is simply an imposed, unreasonable feeling , it can only be said that there are too few transitions to give people a strong hint. In the end, the separation of the two will not make people feel sad, but they feel that they should be taken for granted. It is not a world, there is no possibility of being together, but dragging each other down, giving people this feeling. Looking back, Gong Lao wants to describe friendship, but it is actually better, and love may be the result of otaku Ma Lu's pure heart, which is understandable.
Here is another film to mention, which is "Listen to the Ear". It is said that this "Little Man Arrietty Borrowing Things" has the meaning of paying homage to "Inside the Ear". Miyagi's own guilt towards Kondo made him take the attitude of completely letting him play freely towards the rookie director, and try not to have direct contact with him; Lu himself also created this film with a tribute to Shu Er, and some viewers even marveled at the actor, "Isn't that Tian Ze Shengji?" It can be seen that Shu Er is inextricably linked with this film. "Listening to the Side" is also one of my favorite Gong Lao films, so it's especially easy for me to compare the two. In terms of the gradual change of the characters' emotions, the side ear is very natural, which can make people slowly enter that kind of situation, which is both realistic and dreamy. Our expectations and confusion for the future, there are still many, many more, it can be said that the film is explained in simple language, different ages can see different things, this is the thickness of Gong Lao's works, this point, young Ma. Lu couldn't do it yet. And what Maro described to us is a beautiful fairy tale world, with beautiful scenery, cute little people, and handsome teenagers. If you want to talk about love, he feels that the love is not deep enough; when it comes to the big truth, he didn't plan to say this, he always felt a little noncommittal. When it comes to characters, I think Auntie Xiaochun's character is too negative, completely annoying, not at all cute. Compared with the villains in the previous Gong Lao films, there is no level of hierarchy, but the cat is more interesting.
In general, Maro is very young and his ideas are relatively simple, which is also his cuteness. He is a serious and hard-working person. I believe that in the future, he can make good things. Therefore, the film was three stars, and Maru worked hard to add one star, for a total of four stars. Hayao Miyazaki is not a small freshman. Under the fresh appearance, he has a deep and rich connotation. This is why he can become a great god and is loved by thousands of fans and non-manga fans. It's far from enough. A good anime should have something that directly points to people's hearts, not just to feel comfortable, but also to stay in people's hearts. I also don't want Maro to be a copy of Hayao Miyazaki, but I hope he can make works that have depth, inherit the fine traditions of Ghibli and others, and have his own style.
I watched the trailer for "The Hillside of Poppy Bloom" today. It is a work by Hayao Miyazaki and his son. Let's look forward to the return of Mr. Shimiya.
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