If Jinmin is still alive, I believe he will be a great craftsman who really changes the world's views on animation.
Hayao Miyazaki's animation reveals the dream of simplicity and flying, but it is at best a fairy tale for adults. Hosoda Mamoru's work is good-looking and enjoyable, but after all, it is no different from Disney or Pixar's family animation. As for Xin Haicheng, under his extravagant paintings, he still has a young heart who doesn't know much about storytelling. But Jin Min is the existence of an anomalous number.
The other works of Tokyo Godfather Yu Jin Min are also anomalous: Jin Min extremely restrained his iconic lens conversion and the application of montage techniques, and only told everyone in a few shots that he was the same Jin Min, and then Focusing on the narrative, he made this masterpiece of laughter and tears. Jin Min's narrative ability is first-rate, and he is good at two-line narrative, combining virtual and real. But in Tokyo Godfather, he gave up dreams and illusions, and instead told a story that took place in the streets of Tokyo. What makes people surprised is no longer the leap and switching between dreams and reality in the red pepper, and no longer the montage of thousands of years of actresses in the millennium, but the deliberately created dramatic conflicts, the clues and clues that echo back and forth. Such a structure can be called exquisite and complete, but not a miracle. Jin Min throws out some magical touches in Tokyo Godfather: the assassination of the gang boss, the rush of an ambulance into the convenience store, the reversal of the abandoned baby's identity... You will not be satisfied with a happy but slightly tired face The yawn gave a beautiful five-star, but every step is surprising and startling. This is probably the charm of the works of Tokyo Godfather and even Jinmin. If you look at what works the Godfather of Tokyo can think of, the April Fool's Day in the past few years is worth recommending. It is quite similar.
This time Jin Min focused on a group of vagrants with practical significance, a group of so-called people who have "lost their qualifications to be human." People's depravity or falling into the abyss of life, in addition to one's own indulgence, there are also a series of misfortunes in it. For such a group of people, if there is no help from outside society, they can only lie in the abyss and never stand up. Jin Min's lens depicts the real situation of the wanderers: they are discriminated against, excluded, humiliated and even looted. This is the sad state of existence of the wanderers in reality. But in this contrast, the behavior of the trio is more simple and kind. I think if you guess what the director means, it's probably that kindness is universal, and love and family affection are universal.
This is also why Tokyo Godfather will be the best Konto: it lets us know that Konto is not just a wizard in the animation industry.
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