"All I remember are negative lines." The
protagonist Anna is probably the most gloomy heroine in Ghibli history. Compared to Chihiro, he looks more like a child who grew up in a city. Introverted, sensitive, vulnerable, low self-esteem, hates dealing with others, playing alone is happier than anyone else.
Although Ghibli's refreshing and retro design is still maintained (but it is obviously different from before), such a protagonist is closer to the current design in the spiritual core. As for who you are like, if you think about it, it should be Shinji Ikari.
It can be seen that there is a gap between the thinking of the two generations. Takahata Miyazaki cannot be copied, and they cannot be packaged in their era.
In the first half of the film, Anna's shaping reached the pinnacle level, yes, the pinnacle. Under the premise of being unpretentious and real, a real character—not a fantasy girl like Hayao Miyazaki—was established. I just want to jump up. If this kind of stable performance can be ensured, it is more than enough to reach the height of Anye.
But when the character of Mani appeared, I knew that this movie was going to go wrong.
Mani's debut was not stunning. Only Anna rowed to the mansion, and Mani skillfully fixed the boat. The camera shot from the bottom of Anna's angle and saw Mani smiling in the moonlight. This paragraph can only be said to be played at a normal level, and there is no deep impression.
The really serious problem is that the Mani characters are not portrayed or their ideas are not clear.
Before Anna Mani appeared on stage, the characterization was basically completed, mature and full of details. At this time, Mani appears as a "helper", which fits the model of Shinji + Nagisa Kaoru very much. The protagonist can be full of inner struggles (by the way, this film does not inherit the characteristics of Hayao Miyazaki's indirect psychological description), and the helper is a perfect existence for the protagonist. In this way, there is interaction between light and dark, which is very interesting in both the plot and the content of the screen.
If the above strategy is to be implemented thoroughly, then Mani must be imaginary and not ignorant of the world. In essence, she should be the opposition or expansion of the protagonist's character. This process is a kind of "introspection" in disguise. We can see that the director also consciously blurs the boundaries between the protagonist's daily life, dreams, and seeing Mani. There are a few pictures that are of little significance to the plot, but they are constantly reminding the audience that Mani does not exist in reality.
But at this time the original work was restrained. We know that Mani is actually Anna's grandmother. The story of seven emotions and six desires also happened to Mani. Especially the story of Mani told by Aunt Jiuzi at the end is full of human breath. At the same time, the director is also focusing on the clues of how two people in reality interact and help each other out of the predicament. In this way, Mani, who should have been imaginary, suddenly became the protagonist alongside Anna, and it was only after the mid-term that he began to shape the image of Mani in reality.
This is also the shackles of the old people on the young director. Mirin Hiroshi's solution was to switch the roles of the two when Mani confided to Anna. This scheme is good, but it also makes the story line and emotional line a bit too abstract. Anna ran away from the crowd and met Mani. Suddenly, he couldn't see Anna's problem. Naturally, the problem was not solved; the inability to meet involves Mani's sad experience, and the story turns again. Anna helps Mani. My personal feeling is that the article is "broken" all at once. There are filaments in the middle (Anna understands the process of helping Mani and makes herself brave). In order to create a climax, the scene of "I forgive you" makes the connection of anger like a gossamer very embarrassing.
So the plot is a bit vague in the middle and later stages, which is expected.
In addition, there are problems such as the ending part is a bit verbose, part of the connection is not natural, etc., but these flaws can be completely ignored. Yoshibayashi has boldly implemented his own ideas, if we say that Maro is still cautious during the period of "Arrietty", maintaining a balance between himself and the so-called "Miyazaki style". In "Mani", Milin has begun to abandon the increasingly symbolic Hayao Miyazaki characteristics, and think about the script more systematically and in-depth.
At the same time, it was observed that the production lineup has also undergone great changes. From the staff table, it can be found that Katsuya Kondo Katsuya Kosaka and other veterans have left, and the art supervisor color designates new faces. Masaji Ando returned after Kaguyahime Monogatari. In addition to being a supervisor, he also served as a scriptwriter in this game. According to Ghibli’s habit, it should mean that Masaji Ando also participated in the production of the storyboard. This move is imaginative.
Regardless of whether the film has achieved good box office results, it can be recognized by audiences of different levels. Mani are all landmark works of Ghibli. He broke through the inherent modes of expression, artistic style and even spiritual connotation, opening up a new era of Ghibli. I hope Milin Hongchang will get more opportunities to grow. The only thing we need to do is to look forward to the new year of Ghibli.
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