A file written a few years ago (2015-03-12 16:48:3)
If I want to use this vulgar sentence once, the master is worthy of being a master.
Jin Min said that one of the reasons for wanting to do animation is that animation can depict many exaggerated scenes that cannot be depicted in live-action movies, so he is good at describing dreams, the relationship between time and space, and then the viewer is confused between reality and illusion, until he gets himself Also lost. That's how Kim Min's work makes me feel.
Of course, except for some specific psychopaths, I think such sensory experience is something we don't get in ordinary life.
The Tokyo Godfather is probably the simpler and softer of his four animated films. But it is this simplicity and softness, some clever transitions and up and down echoes in the film are set off wonderfully.
I think I've forgotten most of:
Miyuki spit on the rooftop, overlapping with the tears of Nuyou Kanban (the director is so naughty); the key that the three of them saw when they picked up Kiyoko in the garbage dump was later taken out as a clue when they were looking for the child's mother; When the old homeless man died, the fan outside the shabby house stopped spinning. Grin found out that the fan started spinning when he was still alive, and finally changed to a non-overlapping perspective. The fan stopped spinning, indicating the death of the old man; Blue Devil After helping the Black Devil, he left alone, overlapping the back of the flowers on the flyover; it was obvious in the lottery ticket, it was great to respond to one call; another example was Grin in front of the phone booth, with bags and photos scattered all over the floor, a stranger thought Inside, Grin removes the bag, and the photo is illuminated to make it clearer;
Hua always said that Qingzi was a child who was favored by God, and the "miracle" did indeed run through, and finally the gust of wind convinced me;
Towards the end, Kiyoko's parents said at the door of the ward that they wanted to be their child's godfather, which was understated and handsome.
There are too many transitions like this, and every shot is full of meaning and neat, and I want to give the director a big gift.
Jin Min's works have always been rigorous with few loopholes and stable quality, but this gentleman who should be serious always gives me a feeling of playing. For example, he is probably the first person in history to use Fukuzawa Yukichi to convey emotions.
The Godfather of Tokyo is a seemingly realistic fairy tale, a story of surreal characters thrown into fairy tales to bathe in divine miracles. The trio of homeless people as the protagonists are upright and kind, as well as the lovely taxi driver, the helpful kidnapper mother and son, and the gentle proprietress. These are all surreal characters walking in the main line. And the people who serve as background tools are the types of people who usually meet ten people a minute on the road: the convenience store owner who is helpless, the drunkard who loses his temper, the passenger who covers his mouth and nose on the tram, I think I have a week The human beings that I met every day for seven days were directly put on the screen, but I will probably be more willing to observe the two homeless gentlemen who are resident at Mita Station in the future. One of them is probably going to the south for winter and has not returned yet. I hope He is happy.
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