Le vent se lève, il faut tenter de vivre.
"Survival" is the motif that runs through Hayao Miyazaki's films. Whether it is the king bug clan and Nausicaa who were attacked by the rotten sea in "Nausicaa", or the destruction and rebirth of Laputa in "Castle in the Sky", or the heart-piercing human beasts in "Princess Mononoke", The battle between God and Man, or the living Bodhisattva Xiaoqian in "Spirited Away", who saves the suffering and saves himself and his relatives, actually starts from the issue of "survival". From this point of view, "The Wind Rises" is no different: it still focuses on survival, on every person and every plant in life; the only difference is the "form". This time, Hayao Miyazaki abandoned the usual story techniques and removed most of the surreal elements, leaving only the dream of the protagonist Jiro Horikita. However, this is really not worth making a fuss about, because after all, Studio Ghibli does not have only one style, and there is no need for anyone to hold on to a style; on the other hand, removing such unrealistic elements, Ghibli Still produced works of good quality, Takahata's "Grave of the Fireflies" is one of them. In any case, in fact, this time Miyazaki just turned "The Big Bad Wolf and Little Red Riding Hood" into a "little girl who sells matches". The method is indeed different, but there is nothing wrong with it.
"The Wind Rises" is undoubtedly a bold comeback. Finally, near the end of his film career, Hayao Miyazaki found that he could no longer pack the most heavy things in his heart into beautiful and bizarre, and those memories and recollections about ignorance, poverty, disease, and disaster could no longer be reminiscent of. A dreamy and beautiful face, because these things are so deep in his mind that when Miyazaki himself sees all this pouring out on the screen, the tears will roll down completely uncontrollably, like a movie Like the little ones in.
This is not to deny the fairy tale essence contained in the film. Rather, Miyazaki in the past let reality live in fairy tales, but this time it's just the opposite. Under Miyazaki's brush, the reality is not as ruthless as we imagined, but it still retains such beauty, real and hazy, cruel and moving. When Nahoko came dressed in a kimono, the door was gently pushed open, and the petals fluttered in the wind, no one would be indifferent to such beauty for a moment; When he was a matchmaker for him, and finally wept bitterly for the determination of the two to get married, we have no reason not to say that this is really one of the most boring and kind characters in all of Gong Lao's animations. All of these, combined with Jiro Horikoshi's own dreams, constitute a fairy tale in a world filled with sorrow and grief, adding a touch of moving color to a world that seems to be hopeless forever. Reality does not hinder lyricism either. The reason why "The Wind Rises" is "bland" is because it abandons the gripping plot, eliminates the suspense that is at stake in life, and devotes all its energy to the memory of the past, the persistence of dreams and the pursuit of life on the compliment. Miyazaki has a lyrical mind. If "Princess Mononoke" uses an entire ending to swallow the truth of the existence of all things, then "The Wind Rises" is to use an entire film to tell the shortness and difficulty of life, from beginning to end, including the ending song.
Although life is short, it is only because of its fragility that it has a meaning to exist. Whether it is Caproni's saying that "a designer only has ten years", or the marriage and love of Horikoshi and Nahoko, it proves that one day can be eternity; some people and some things are more than eternity one day. At some point, Horikoshi was a winner in his life - he fulfilled his dreams and harvested happiness. If a person can accomplish these two things, it seems that his trip is worthwhile. However, things are not so simple. A man could have been desperate for his dreams, and people could have praised a man for his desperate efforts for his dreams, but Horikoshi just caught up with such an era, a man who must put his guns on his dreams. Times; and Zero, either became an aerial executioner or an aerial lighter. The Zero fighter is destined to be a tragedy, because its thin and light fuselage is impossible to bear the dream of the individual and the destiny of the country. Under the powerful firepower and violent dive, the Zero can only become a joke, a portrayal of the tragic and ridiculous fate of a nation. It clearly shows how easy it is to destroy a country, and how difficult it is to get rid of poverty, disease, humiliation, and destiny.
Dreams, wife, country, plane, life... a series of relationships that are constantly cut and chaotic, so that when the word "wind" is mentioned, everything in life will emerge in front of you. In just two hours, in just three words, how much expectation and disappointment Miyazaki has been enshrined in Miyazaki, no one can tell clearly, I am afraid even he himself can't tell, so he had to make such a film to express the expression own state of mind. "Only by working hard to survive", a simple sentence, contains many emotions about dreams, life and the country, the meaning is too deep, and the connotation is too broad.
At the end of the film, the singing sounded, which made people feel familiar at first, and when they woke up, they felt familiar. The reason why Miyazaki can captivate audiences aged 0-99, in my opinion, is not just because of his superhuman imagination. The eternal world he created, the beautiful human nature prophesied, is still established after ten, fifty years, or even a hundred years, still classic, still expected, and still full of vitality. Finally, we cannot help but say that what is truly timeless is not stories, legends, or myths; what is truly timeless is history itself.
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