Weathering With Children has mixed reviews. People who like it like it very much, and people who don't like it very much dislike it. There may even be some confusion. Some people can't understand the key point that the director wants to express, and they don't know where the moving point is. There are also people who question whether Xin Haicheng is not working this time. Whether or not Makoto Shinkai's films look good or not depends largely on whether you can resonate with the emotions conveyed in the film. Take "Five Centimeters Per Second", which has the most divergent evaluations, as an example. People who like it like it very much, and people who don't like it also don't like it very much. But I think he did a good job this time.
Some people have questioned that this animation is an advocacy of juvenile delinquency, which I think is not the case.
First of all, you should not talk about the three views in literary and artistic works. If this animation is all wrong with the three views, then movies like "The Thief Family" should not exist at all.
Secondly, the three perspectives of watching a movie should not be to see what the characters in it did, but to see what the outcome of what he did.
(spoiler alert)
In this animation, the male protagonist Fan Gao, as a minor, illegally holds guns and speaks to others. Although there are no casualties, it is also a crime. He was even arrested, did not cooperate with the police investigation, and even everyone around him helped him escape. But what about his end? In the end, he returned to his hometown to spend the observation period in a proper manner, and finished high school well. After graduating from high school, he went to Tokyo to find the heroine Yangna again. This is his ending. So, in the end, this is not advocating juvenile delinquency.
Furthermore, this work was originally based on "The Thief's Family", aiming at the bottom of the society, a rebellious teenager who ran away from home, a girl who almost slipped into the custom industry because she couldn't support her younger brother, and could only live in a semi-basement. A middle-aged man who earns a living on manuscript fees and tries his best to see his daughter a few more times, and a female college student in his early twenties who has run into a wall. This story is the same as the essence of "The Thief's Family", it is a story about people at the bottom of the society getting together to support and warm each other.
And this animation is also very interesting in terms of character depiction. First of all, the portrayal of the male protagonist, Hodaka, is full of the vigor and blood of young people, and the foreshadowing of this animation is also deeply buried. At the beginning, Hodaka arrived at Keisuke. When he was at home, Natsumi said a word to Hodaka, complaining that he was really like a "boring adult", and this foreshadowing also made the later portrayal of Keisuke deeper.
I saw that many people said that the change of Keisuke's attitude was too abrupt at the end. In fact, I think it is not. The change of Keisuke's attitude is divided into three stages.
The first stage is that after the police visited Keisuke's house for the first time, Keisuke asked the male protagonist to leave. The reason is very simple. He was trying to win his daughter recently. Now is a sensitive period, and he hopes Hodaka will leave. At this time, Keisuke seemed to be cold, rational, and restrained. Although it could be seen that he had an uneasy conscience and guilt, as a "boring adult", he still put his own interests in the first place. Foremost.
The second stage was when Keisuke was crying expressionlessly at home. At that time, his psychology had begun to change subtly. He was shaken, he was tangled, but after reaching the abandoned building, he still continued to stop Hodaka's actions.
The third stage is after seeing the police completely control Hodaka, for a moment, he saw the blood and his youth. The story has also been told before. Keisuke was also a young man who ran away from home at first. He came to Tokyo alone to wander, and later met his wife, fell in love and got married. So that is to say, he has experienced everything the male protagonist is going through now. He knows how difficult it is for a person to run away from home and come to Tokyo, so he immediately extended a helping hand to Fan Gao. He also worked with People have been in love with each other, so he understands Fangao's mood at the moment, so he resonates with Fangao to a great extent, and at the last moment, emotion overcomes reason.
So to sum up, Keisuke's change is not abrupt, but gradually, little by little, slowly.
Some people also say that the emotional progression of the male and female protagonists is also a little abrupt, and it is really not as good as "Your Name". In this animation, Hodaka and Yangna are the same age as Taki and Mitsuha in "Your Name", but they did not go to school. These are two completely marginalized people, who do not even have a legal identity, and are two black households without legal protection. But such similar experiences and the same identities are also the opportunity for both the male and female protagonists to empathize with each other's situation, and even trigger emotional resonance, so this feeling is not empty.
In addition, this animation is also very eye-catching in the shaping of the world view, choosing a very special angle to illustrate the relationship between people and the world. For example, in the section about abnormal weather, the old grandfather said, "The news says that this is the largest rainstorm in the history of observation, but how long is the history of human observation? A hundred years? But this painting is 800 years old. "So what humans think of as "abnormalities" is only for human beings themselves. For nature, this may be a part of them. These so-called "abnormalities" are actually normal. Likewise, don't be afraid to change the world, because the world has always been like this, and what never changes is "always changing." And this movie's definition of "the world is crazy" is also very eye-catching. "Crazy World" is not just the world in the animation, it should be our world.
Regarding the rain in Tokyo, when the male protagonist first arrived in Tokyo, the rain in Tokyo was a dreary light rain, which seemed to be just in time for the rainy season in Tokyo. even the magnitude of the catastrophe. So when did the rain begin to gradually evolve into the torrential rain of the century? It started when people prayed to "Sunny Girl" to get that brief sunny day. This animation is all about "price", and the rain in Tokyo began to get heavier and heavier with the increase in the number of prayers for sunny days, and finally developed into a catastrophe. So I don't agree with the fact that the cauldron of Tokyo's flooding in the end should be blamed on the male protagonist to save the female protagonist. For this matter, everyone as a citizen of Tokyo should take responsibility. There is nothing in this world that does not need to pay a price. thing.
Finally, what I particularly like about this movie is that the protagonist is no longer the great hero who can only save the world, but the child saves the child and saves himself. People at the bottom of the society support each other and warm each other. I I think this is much higher than the high school boy Long Aotian's intention to save the world.
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