Compared with many works supervised by Hayao Miyazaki, the film's sense of reality and the emotion of love itself may be even better. In other words, the worst sentence used by the Chinese film and television industry nowadays is called grounding.
Of course, Hayao Miyazaki's feelings are larger and more splendid, while Kondo is small and plain.
But how do people get this kind of atmosphere so well? It's not as vulgar as in Chinese film and television...
I noticed a few problems, let 's throw some ideas
first, the grasp of fairy tales and reality
From the bird's eye view of the city at the beginning of the film Night scenes to various streets, life scenes to home environments, all imply the creator's pursuit of realism, and this style is obvious throughout the film.
However, what cannot be ignored is the fairy tale component of the film: fully positive characters, a pair of boys and girls who secretly admire each other, a pair of real cats and fake cats, a mysterious and exotic antique shop and the poignant love legend of the old shopkeeper, plus The life goals of the male protagonist and the female protagonist are so beautiful that they can't eat human fireworks, as well as the Count Cat and the magnificent fantasy of the novel, all of which show the color of fairy tales and satisfy the audience's expectations and fantasies of beautiful love to the greatest extent. After all, love is the most beautiful of fairy tales.
However, this fairy tale love seems so real. In particular, the psychological performance of the hero and heroine's love is true, accurate and sufficient. This is the power of creators. In the film, Tsukishima Wen's admiration, admiration and follow-up for Tianze Shengji is more obvious, which constitutes the real relationship between the two of them, just like the scene of riding a bicycle uphill at the end. The reason why this kind of psychology is natural and true is not because of the most vulgar and mindless class-style character setting of Qiong Yao drama Korean puppet drama like the rich family Gao Lengzi vs infatuated innocent Cinderella. On the one hand, we see that Yuedao Wen's family lives in a civilian two-bedroom apartment. The adult sister and the younger sister share a room, and the husband and wife share the living room/dining room as a workplace, and they rely on the subway and legs to go out; Tian Ze and his grandfather live in an old-fashioned loft in the wealthy area on the top of the mountain, a basement workshop, and the best view of the mountains and small mountains. There are road trips and private vans, and BMW cars, private garages, garden houses, public houses, etc. Fountains live next to each other. The living environment and class composition of the two families are very different. But on the other hand, we can also see from many details that although the living environment of the extremely common people is permeated with harmonious, friendly, inclusive and orderly interpersonal relationships and social order, the rich areas are not arrogant and extravagant, but are full of tranquility and peace. The dialectical unity of these two aspects is the material and social foundation for the two teenagers to have a psychological gap in their love but not be tainted by the vulgarity. The creator also attaches great importance to the family's spiritual shaping of the two protagonists. Although Tsukishima's father is an ordinary staff member of the library, he is knowledgeable and literate, has a calm and prudent personality, is kind and generous, and is full of life experience. He can be called a spiritual engineer of Tsukishima. Tsukishima's mother is an intellectual woman who strives to make progress, and is also a thrifty housewife. Although she has a carefree personality, she is also generous and loving. Sister Yuedao's mother has excellent genes, her personality is more serious, she has a strong sense of responsibility for her family, and she is full of love for her family. From the age difference between her and her younger sister and the slightly polite attitude of Tsukishima's father towards her, I boldly guess that the older sister may have been born to her mother and others, which means that this is a rationally combined regenerating family. A rational and loving family - this is exactly where Tsukishima Wen's heart is. We can see that when she confronts her crush.
On Tianze's side, the grandfather who lives together is undoubtedly the most important family member to him. His grandfather's interest in music and violin making, as well as the old man's poignant love and life experience, are the key to Tianze's clear life direction and bold and accessible love at a young age. And speaking of Tian Ze's parents, I would like to put it in the next question and say-
Second, the creator of Tsukishima Wen's family, a combination of virtual and real Parents are completely fake. First, Tian Ze is the second protagonist, and he does not carry too many character relationships and narrative functions. Grandpa's role in shaping his character is enough. Second, the influence of parents on their children's future aspirations is basically similar to that of the Tsukishima family. They both oppose it first and then tolerate it, so fictitious writing can avoid redundant writing. Third, Tianze's parents have a special relationship with their children and grandfather. Why do three generations of a family not live together? One can be understood as Tianze's parents are wealthy and busy in their careers. The second guess is that Tian Ze prefers his grandfather, because of his interests related to music and piano making, even if his parents are the same people, after all, this family learning is inherited from his grandfather. Compared with his parents' attitude towards Tian Ze's future life path, his grandfather is also more supportive and open-minded. Three can conclude that the grandfather's persistent lover is not the child's grandmother, and the child's mother thinks, it is inevitable that there will be resentment in his heart. From Tian Ze talking about the origin of Earl Cat, it can be seen that the grandfather is probably a little self-aware and righteous about this.
It can be seen that the two families, the real and the virtual, are very intriguing, and the creators have made great efforts. The combination of virtual and real is also used in other elements of the film, such as the two cats who are also threading the needle: the real fat cat, the moon flickering, and the relationship with Tsukishima is very real: Tsukishima has always wanted to get close to him; But the relationship between them was false. We didn't know until Tian Ze revealed it later that this guy came when he wanted, ate when he wanted, and got on the bus when he wanted. "No one can keep him." This is more or less a metaphor for the two people's love psychology. The other earl cat is more interesting, it is obviously just a doll, but the film makes him come alive in Tsukishima Wen's pen and mind, becoming the heroine of the heroine, and he is matched with a spouse and knitted. A beautiful and true love story.
Finally, I want to say that it is the end of the film. When Tianzawa said that he would marry me, I really laughed six times. I believe that many viewers feel the same way, which is a little ridiculous, a little naive, and even a little absurd. But after laughing, people with a heart will realize that this seemingly unreasonable ending is the core theme of the film, and it is the finishing touch in the simple narrative of the film's simple characters. The sublimation is also the reason why we love this film. ——No matter how old or young, no matter the vicissitudes of life, our most simple love is the most precious treasure of the soul.
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