"Mani in Memories" is Mi Lin Hongchang's second work. "Cure" is still the first adjective that pops up in people’s minds after watching the movie. Digging from the depths is more than just healing. The angle of "psychotherapy" has a heavy weight, coupled with the director's unique preference for mysticism, gradually formed the Mi Lin Hongchang style. The structure of the whole story is still very Ghibli: the heroine Anna, with a little psychological trauma, came to the countryside to recuperate, and wandered aimlessly in the sketching and found the mysterious European-style house on the opposite bank of the marsh by the sea. It felt like deja vu, Amidst dreams and illusions, a girl named Mani who lives in the house boats and meets Anna every night. They have picnics, talk, dance, and share secrets with each other. At the climax of the story, they leave quietly, and finally find out that Mani is Anna. His grandmother, and Anna also gradually discovered the beauty around him in the process, and healed the demons.
Standard Ghibli: the protagonist with some psychological problems (Anna here can be regarded as the awkward king, Ghibli deserves to be the first heroine with a twisted character), beautiful countryside, sudden encounters, and finally embarking on a new journey ...Mi Lin Hongchang included three themes that he wanted to express through this work: paying attention to inner growth; advocating returning to nature; and finally, a touch of mysticism.
Similar to "The Borrowing Little Man Arrietty", Mi Lin Hongchang has found another remote tender hometown through English children's literature novels. The last time it was Thumbelina hiding under the floor. She tied up her hair with a clothespin. She had a delicate body and a firm expression. She bounced among the flowers and secretly borrowed a sugar cube at night. This time it was a house girl on the other side of the swamp. During the day there was an old abandoned house. When the tide was high at night, the lights came on and the blond girl in pajamas came rowing. This kind of "secret garden" metaphor setting can not help but recall the resonance of childhood: the secret passage accidentally discovered when I was young, the small world behind the abandoned factory...the kind of "there is only me/(us) Knowing the secret of "the unbearable excitement in the bed at night is something everyone may have experienced." To some extent, it reflects the influence of childhood experiences on personality. Mani’s childhood was not happy. The mansion carried most of her memories. Pain was more than joy. However, she loved it deeply, the reappearance of lively dances, and the old scenery Infinitely beautiful, all of this reappears in Anna's encounter. Anna enters the short and beautiful scenes of Mani's life, and these scenes are fragile and fragile. When Anna gradually realizes the fullness and preciousness of reality, it becomes more and more ethereal.
"Dear Anana, among all the girls I know, I like you the most. "The intimacy between the girls, the sweetness of juice and cookies still remain on the lips, and Mani's blond hair is shining in the moonlight. At this point in the movie watching, leaving aside the evil thoughts "Is this a lily!" that constantly popped up, I almost thought that Mani was Anna's previous life or spiritual clone. Through Mani's mouth, he expressed his view of Anna's in ordinary people. The affirmation of a girl who is not so ordinary and unpleasant, "No matter what, you must like yourself." Salvation was completed between grandparents and grandchildren, and Anana combined this dreamlike experience with the real country life. Being treated tenderly in the middle, gradually relieved the knot of happiness.
I don’t know why, every time I see Mani rowing through the swamp mist, he thinks of "Celtic Twilight" and the legends of gods and monsters that happened in the coastal villages of Ireland. Mani is like the protagonist in one of the mysterious stories. With every twilight in the evening, she is undoubtedly objectified. She is Anna's close friend in dreams, a happy noble lady. She dances in the moonlight with bare feet, and bends down to gather mushrooms in the forest, but she is just a role. In terms of shaping, it is a pity that Mani is still not full enough, and is more like a symbolic existence. There is no sense of contradiction when carrying a few poems in the book here:
"Compared to theory, I prefer to listen to the sound of the ivory door turning on its hinges. I also believe that only those who pass through the rose-sprinkled threshold can see the faint light of the horns door in the distance. If we can not think about it. , To simply issue the call of the astrologer Li Li in the Windsor Forest, perhaps best for us-'Queen, queen of the fairies, come on.' We should also remember like him that God will visit him in a dream Child. The tall, gleaming queen, come closer; let me take another look at your thick and beautiful black
hair ." From another perspective, the story itself can actually be transformed into another creepy Ghost story: The childhood ghost of the grandmother who was not happy all her life repeatedly appeared in her childhood residence, lingering beside her granddaughter every night, crying out of her misfortune. Of course, this is Ghibli. We only feel the hearts of girls, a boat with two oars, a rope to hold the first encounter, a picnic to deepen the friendship, and a basket of flowers overflowing with fragrance. Compared with daytime and summer, the country life has also swept away the haze—triangular watermelon, ripe tomatoes, and wind chimes are all love. So our heroine finally walked through the inner quagmire, bid farewell to the favorite Mani, cleared the fog, of course, the next road still has to go on alone, like the ending song sings: "I never had that many friends growing up, So I learned to be okay with just me, Just me, Just me, Just me."
PS: Cunhua is really beautiful and sweet~~
View more about When Marnie Was There reviews
