In the 2013 Ghibli documentary "The Kingdom of Dreams and Rhapsody," the producer of "Kaguya Hime Monogatari", Takahata's young deputy Yoshiaki Nishimura teased himself: In the eight years of making this animation, I He advanced from a bachelor to a husband, and now even has children. There seemed to be teasing about the master's slow work, but he seriously expressed that this would be Takahata's final and highest masterpiece. Whether it can survive forever, I am afraid that only in the long-term future can it be confirmed, but the vitality that Takahata gave this elegant line drawing cartoon has been sublimated again after its first anniversary.
I knew Takahata's name later than Miyazaki Hayao, but when I learned that "Tomb of Fireflies", "The Fairy Tale of the Years" and "Heisei Tanuki Battle", my favorite supervisor of Ghibli was Mr. Takahata, Only in hindsight. Takahata and Hayao Miyazaki are both diligent talents and geniuses in the field of Japanese two-dimensional hand-drawn animation. The so-called genius is to get rid of the craftsmanship and pass on their own outlook on life, likes, dislikes, and wishes to the audience through their works. Admittedly, this is also a kind of self-willedness of creators. In his works, Hayao Miyazaki makes no secret of his love for flying machines, robots, monsters and gods. Compared with his wild horses, Takahata seldom involves fantasy big scene animations, except for one implied anthropomorphic technique. Apart from the Huantuo civet cat story mocking the urbanization process in Japan, his vision is still above the real soil of life.
Unlike ordinary two-dimensional animation, the background and characters are drawn separately, "Kaguya Ji Monogatari" is drawn from the characters and the background all the way. No wonder that the depth of field change effect will be produced step by step during the viewing process. At the beginning of the article, the pastoral style of the Japanese farmhouse is blowing, and the blooming mountain flowers put a layer of clothing on the spring, just like the song "Four seasons alternate, the life of the earth wakes up in sequence." Each frame of screenshots is elegant flower and bird meticulous brushwork. painting. The past 8 years must have been to sculpt such a pleasing and dynamic treasure. The characters are drawn directly with lines, retaining the original strokes of the brushstrokes, and they are very refreshing because they are painted in light colors. Although he uses Western watercolors, Takahata does not deny that he was influenced by the charm of Chinese ink and wash animation.
Because Hui Yeji witnessed the deep love for the world of the fairy in the Moon Capital, she couldn't help but feel the feeling of fan. This is the reason why she finally woke up and thought that she was punished. The role of Kaguya Ji has inherited the characteristics of the Ghibli animated heroine: close to nature, free and unruly, kind and sensitive. This is undoubtedly the Ghibli-like character that Takahata has given Kaguya Ji in addition to the traditional Japanese folk tale in "Taketori Monogatari". If a baby is born and walks in the world, I am a little bamboo, and I am not Kaguya Ji. The values of adoptive parents imprisoned the little bamboo who would rather be "born as a human". Seeing the colorful neon clothes flying out of the bamboo tube, the old man Taketori determined that it was God's will to make him raise the little bamboo as a princess. Some people regard the relationship between the old man Taketori and the princess as a metaphor for the modern parent-child relationship. Although they dare not completely agree, it is also an interpretation of the movie. It is not so much to make her happy by God's will, but it is also a wayward love of being a parent. The so-called "Apocalypse" of the old man is precisely the nature of many parents in the world.
The old man and the princess are not close to each other, but the love for the princess is burning for no reason. Watching the little princess learn to walk with her small arms and legs shaking like a lotus root, the old man shouted hoarse, and tears came out of the corners of his eyes. This is a very moving moment in the movie. The audience in front of the screen also experienced the joy of life growth with the old man. But the emotional conflict between individuals also starts with love. Love is the most beautiful gift that Kaguya Ji is born. She loves birds, bugs and beasts, grass and flowers, loves the world and everything, and also loves to raise her father, mother, even if they don’t do the way she wants. Love her, even if the happiness of a woman as they understand it is not what she wants.
When she set off to return to the Moon Capital, she refuted the fairy in the sky: There is no filth here, whether it is joy or sorrow, all creatures on this land exude brilliance, fish, insects, plants, and human touch. The Buddhas and fairies who came from the Moon Capital, which is much clearer than the earth, are sculptures with six pure roots and dull language. This is the supervisor's affirmation of the world in which he exists. Kaguya understands the love of her predecessors for this land, and the audience understands it too. The so-called days on the cloud are aimed at Kaguya Ji’s willful punishment of her parents and the people around her, or a step towards saving her from secular ethics, I think there are both.
Kaguya Ji is an interesting character. She is reborn as a mortal, but she retains her self-awareness and is not guided by other values in the fostering process of her adoptive parents. She was born as a human, but she is a person who has no desire for material; therefore, she is not exactly the epitome of being a child in modern life, but a more perfect image, more like a firm-willed person with the values of her previous life. The independent individual who broke into the world still retained a trace of immortality, although she was touched by the courtship of Prince Shizuo who wandered to the ends of the world, and she was only one step away from answering. There is no end to a banquet in the world. The relationship between parent and child ends here. Kaguya ran away from the part of human life that she didn't like, but most of the idiots and women who were still rooted in the earth could not escape. This is the difference between her and our destiny.
The film uses dreams to illustrate Kaguya Ji's psychological activities several times. One time was on the night of her coming-of-age ceremony, all the way back to the small mountain village, the same scene, but lost its color because of the different moods; the last time she and brother Shiwan reunite for a long time, and the two sleepwalking side by side in the world. The mirror method is beautiful, from the white clouds and blue sky that are infinitely close to the sun, to the grass where small yellow flowers bloom, and then across the mirror water, the supervisor is like a flying camera to capture their whereabouts, as if with naked eyes Picture scroll 3D, beyond the realm of expression of the two-dimensional animation. This kind of work, I don't want to simply call it "animation", it is a film that truly expresses beauty.
When I saw the end, it was the first time I was upset by Ghibli’s work. The fairies greeted Hui Ye Ji’s return to the moon capital were blowing and playing humorous tunes, but my eyes were red with the old man and the old woman. . Dependent origination is a happy event, and fate death is also a happy event that is easy to gather and disperse. Gong Lao commented on Takahata Hoon like a joke: "Kaguya Hime Monogatari" may not be finished in the summer. Although he is working on it, he is also trying not to finish it. This kind of ambivalence is probably only a master such as Takahata Hoon who can see the end of his artistic life. Takahata Hoon is the Kaguya Ji who doesn't want to leave the beauty of the world, and the father of Kaguya Ji who has worked hard to give birth to "Kaguya Ji".
It has become a swan song before it has been revived, and there is no Takahata Hoon in the world.
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