Because the bad impression of "Earth and Sea War" in 2006 was really too deep, at that time, Miyazaki Goro was very flawed in terms of the rhythm, the smoothness of the story, and even the storytelling, except for Ghibli's background painting Apart from the theme song of Gong and Teshima Aoi MM, the film is long and boring and has no point of view, and the logical relationship is chaotic. There is even a trace of morbid neuroticism, which completely contradicts the positive humanistic concern that Ghibli has always upheld. The angry Miyazaki strongly opposed him as a supervisor again, so that he left the preview halfway.
When this father-son co-produced film was about to be released in 2011, NHK also routinely launched a documentary about the film's production. It was not so much a co-production as it was made by Goro Miyazaki under the silent onlookers. Just like "Arrietty the Little Man Who Borrowed Things" produced by the newcomer Superintendent Maro in the previous step, the old man forbears the heart of complaining and doesn't give any comments. . This may be another way of training the old man, otherwise Ghibli will be difficult to grow by himself. Miyazaki Goro almost collapsed under the enormous mental pressure, and imagined that a god-like old bean gave birth to a mortal like him, and the audience had lost confidence in him. The fate of Ghibli's golden signboard was also entrusted to him, and he could not afford to fail again without talent and skills.
However, I, who was waiting to continue ranting about Goro Miyazaki last night, couldn't help but applaud him after watching the BD feature film I just released this morning. It's really not a casual thing to say that you can achieve results under pressure. The whole film, whether it is the plot, the atmosphere, or the fluency, is no longer the same as "Earth-Sea Battle". In some respects, it is even better than Maro-san's "Little Man".
Especially set in the background of the 1960s, a wind of zeitgeist is blowing. After the war, Japan was in shambles, and the upcoming Tokyo Olympics showed the optimism and diligence of people in that poor but hopeful era. As Japan's economy began to take off, the alternation of old and new was full of dramatic changes. The school was also turbulent. Miyazaki was actually a participant in the wave of this era, democratization, marches, protests, public speeches everywhere on campus, academic salons, and students discussing literature, philosophy, and politics at the dinner table. Everyone has their own ideal aspirations. Just like the scene at the beginning of our reform and opening up in the 1980s, a hundred wastes are waiting to be rebuilt and a hundred flowers are blooming at the same time. The Latin Building is where such a group of young people gather. They run their own newspapers and fight for the demolition issue. Not afraid of the powerful and stereotypes, and finally moved the school administrators. Of course, the budding relationship between the two young people is even more precious in this big era of movement. Unlike the standard dog-blood plots of Korean dramas, the male and female protagonists are not the kind of soft-smelling young masters who grind and chat with each other. The film well interprets the diligence, strength, kindness and other characteristics of the heroine, sister A Hai, through meticulous life details, but also bears the trauma of losing her father. Although the male protagonist almost developed into a half-sister plot, but in the context of the times, it is also reasonable and reasonable. When Ah Hai's mother said lightly, "This matter was countless at the time", it showed how many life and death in the world, and finally Uncle Captain Seeing that the children of my brothers grew up and burst into tears on the spot, I can only sigh that the times are tricking people.
In terms of plot setting and mirror design, Miyazaki Goro undoubtedly fought a beautiful turnaround and completely took off the hat that he couldn't tell a story. Thanks to the excellent teamwork of Ghibli talents, the background painting is as good as ever. The sound effect this time is also a highlight. Combined with the atmosphere of the scene well expressed by the picture, the creaking sound of the wooden floor has the background of the times. noise. It took people to the hustle and bustle of the early 1960s, and it seemed that one could even smell the fragrance of the breakfast made by Ah Hai. It can be said that this film is a mature production by the new director of Ghibli after "The Little Man". The style inherits the feminism, environmentalism, and humanism that Hayao Miyazaki has always advocated, without any particularly abrupt preaching. BGM's songbook mode starting from "The Little Man" has also achieved success. Aoi Teshima, who collaborated with Goro Miyazaki for the second time, interprets the theme of summer and the sea very well with her singing voice. Many points.
Ghibli has gradually matured in the era of Hayao Miyazaki, relying on newcomers and new works in recent years. Different supervisions have brought new creative modes to Ghibli, but they also adhere to the consistent characteristic tradition. It is a miracle that this kind of carefully selected materials and handmade production can persist and flourish. In such a fast age, the existence of Ghibli is like reminding us every year in another world that no matter how the times change, we should not forget the beauty in our hearts.
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