It's just that the characters made in animation are thinner after all, especially in such a grand background environment, both in meaning and reality... I haven't seen the original German "Metropolis" or the original comic book, but I can still feel it. Otomo Keyang's in-depth thinking on its theme - but if you only look at the shaping and expressiveness of the characters in the film itself, it is not enough to arouse the general resonance of the audience, unless you cross the film and do it yourself in its extension. Some other associations, or do not feel boring and distant from this type of grand narrative.
Of course, maybe this is exactly what the editor-director wants to create: a grand scene, small and light-moving human beings. Their voices were even soft. The lens is mostly observational from a distance, and there is less immersive confrontation. This effect is. . . Yep. . . Really post-industrial. . . . laugh.
In addition, the soundtrack of the movie is very worthy of attention. In the climax, when the desperate desperate person pulled down the handbrake that let everything else perish with him, the next scene of the city explosion was the jazz that sounded cheerful and loose at first, the jazz of New Orleans - so , the sinful metropolis is like this, as if peacefully, quietly, slowly exploded and destroyed. The music is cynical lightness from start to finish. This wonderful and exciting contrast made me smile in amazement.
The song by the jazz actress at the end of the film is also very beautiful, but unfortunately I don't know the creator and singer... I don't
know jazz, but I said so much. Sound off.
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