The girl's fairy tales transplanted from the United Kingdom were grafted onto the land of Japan, and the production committee took great pains. The idyllic scenery of Hokkaido, the bustling and noisy summer temple fairs, and the girls in yukatas carrying lanterns can all smell the real taste of Japanese summer. The background drawing of the film refers to Kushiro and Nemuro, the easternmost cities of Hokkaido. I saw pictures of the Kushiro Marsh on the Internet. I couldn’t help but sigh at the film’s god-based setting. In front of my eyes, I saw a young and sensitive girl stepping into the wetland. Going to the dream foreign mansion is only for a foreknowledge of friendship. The drenching humidity, the salty wind from the Pacific Ocean, and the feeble figure of the girl who longs for friendship are about to fill the screen. Ghibli’s work of collecting wind is always so meticulous that no one can match it.
When the movie began, Anna stood at the door of the limited express train bound for Kushiro and looked at the adoptive mother who came to see off. I can appreciate the loneliness of being unknown to the people and things that a person will encounter during the recuperation journey. I like Ghibli to create a beautiful picture that is infinitely close to reality, but higher than reality, magnifying life infinitely. From this point of view, "Marnie in Memories" is worthy of the label produced by Ghibli.
The story of Anna and Marnie satisfies all my fantasies about secret friends and the secret mood. Many people have a longing for a secret friend in their childhood. Only that friend knows what is on your mind, and only you can possess this friend and enjoy the special happiness that this friend brings to you that is different from that of others. This friend can be fictitious, or it can be an anthropomorphic flower, bird, fish, and insect in fantasy, as an emotional outlet to make up for a wish that cannot be achieved in reality. In this respect, "Marnie" and the famous American children's story "Secret Garden" have the same effect: the exploration of closely related different worlds and new friends, the excavation of the inner world, the joy of returning to nature, and the inexplicable mysticism. Like the orphan Mary in "Secret Garden", the heroine Anna finally found the key to open the knot, and experienced a poetic resurrection with the wetland mansion/garden.
However, this unkind mysticism of the comers also made my evaluation of the plot arrangement of the film unstable like riding a roller coaster. I was worried that the story would be unfinished several times during the watching process. The first half of the film is like a psychological suspense drama. Marnie, a blonde girl with unparalleled appearance, is like a gathering in a foreign mansion in golden years, and Aunt Jiuzi, who often paints not far from the mysterious wetlands, is full of differences. The symbols of the world factor all show that what we see from Anna's perspective is not the truth. Is there really a friend of Marnie? I didn't know the plot of the original book. I guessed that this story would become a small fresh version of Kojima Terror. It would be bad if Anna was just a hysterical person. So I, who like to watch reasoning, understood the story of Anna and Marnie as "cognitive scientific reasoning." Because of her tragic childhood memories and psychological setbacks during her growth, the heroine fell into chaos after returning to the small town in fate. Status, on the one hand, her perspective deceives and guides the audience, on the other hand, she is also setting herself up.
I had two tears during the movie. At the first tear point, Anna said to Caixiang, the daughter of the new owner of the mansion,: Marnie is a friend of my fantasy. The camera switches to the appearance of Mani dancing with the flower-selling child in another real time and space, making her debut at the dance party where her parents have been reunited for a long time, and interpreting what Annana had in her fantasy as a substitute role. In the superimposed world, Anana takes over the role of Marnie's childhood friend and childhood sweetheart, experiencing the vicissitudes of possession, loss, and the vicissitudes of being a human being, and the diversified joys sometimes unfold and close towards Anna in a dizzying posture. And Marnie in Anna's world is not the weak orphan who was bullied by the employer, but the little naughty who can fool the servant together with her friends.
The second tear point is the climax of the film revealing the truth: At the end, Anna took the photo of the old house she held in her hands when she was a child, and the back was written by her grandmother: My favorite home. ——Marnie. Marnie, who has become a grandmother, must know that someone will see the same scenery in the same mood at some time and place, and hope that her granddaughter Anna will not feel alone in the future, the grudge of the parent-child relationship, and destiny. The reincarnation can have an end in Anna. Although the ending is not difficult to guess, tears still flowed from the eyes here.
The truth has been revealed, the story should have ended here, and then some overtones have to be talked about. As a real character, Marnie appears in the story as a fantasy, which is not much different from a virtual character. Although Anna had the ultimate joy and happiness with her, she also experienced the pain of loss. When Anna was interacting with a virtual character like Marnie, her world shrank step by step and became narrow, so when the fantasy Marnie disappeared, pain could not help but come oncoming. Then it is the new friend Caixiang in the mansion that acts as the healer, a real girl in real life with a sense of curiosity and sense of justice. It has to be said that this is also a thin metaphor: even the most incomparable spiritual friendship, the most beautiful virtual lovesickness, can not bear long-term fruits without being separated from reality. And the reality of waking up from a dream may have a more cherished friendship.
The mysterious Marnie, when Anna was 12 years old, acted as a pilot to help her sail back from the fog to reality. She will stay behind the small window of the fantasy mansion forever, and make a farewell gesture to Anana who is leaving this summer, and she will be indefinitely thereafter. And the ones who stayed in the wetland to accompany the soul of the girl Marnie are the childhood partner painter Hisako, and the silent rowing old man Eleven, who may have been the flower seller who danced with her.
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If the only shortcoming to complain about, I am afraid it is to deliberately add to Anna's cheeks when the two heroines are playing against each other. The blush that represents the ambiguous, obviously, is it really good to engage in lily?
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