WeChat public account: moviesss first published on MOViE
The systematic review of Studio Ghibli's works began almost at the same time as the review of the Heisei film selection. Starting from the node almost thirty years ago, Japanese animation quickly entered the cinema, tying it with live-action movies, and even surpassing it strongly. This is a unique phenomenon in the world.
The evaluation of cartoons and the evaluation of live-action movies are two completely different businesses. The movie star or actor in a live-action movie is an individual, so you can talk about it. The most unhelpful, you can still pull some lace gossip.
Only the cartoon, take "Spirited Away" as an example, you can't say that Spirited Away plays well and that Bai Long is handsome. These things, behind the paintings and the collective efforts of animators, are not the charm of a character itself. So there are always people who want to say, at least in the script story, the routine is similar.
Still different.
It is difficult for us to imagine the characters of cartoons as real people one by one, and to substitute and restore them. Just as it is difficult for us to turn many LGBT-themed movies into heterosexuality (it is bound to be disgusting). The logic of animation has parts that cannot be achieved in live-action movies, but more importantly, they come from nothing, and the impulse to create a world is so strong and closer to art.
This is a big explanation, to get into the topic: what are the advantages of Hayao Miyazaki and Ghibli animation?
Mamoru Oshii scolded Ghibli inside and out, spurring Miyazaki's work, from partner Takahata Toshio Suzuki, who had to exclaim: Miyazaki is a genius for painting.
According to Oshii Mamoru, the most powerful thing about Hayao Miyazaki's animation is the reproduction of human feelings. In "Spirited Away", you will notice that this place is so beautiful (the sea train), that place is moving (fear or moved), the rice balls that Chihiro ate is delicious, and the feeling of stepping down the stairs is so real. wait wait wait.
Give an example that is easier to understand. I also recently re-watched "Toy Story 3" (I was in tears when I watched it in Hong Kong cinemas). At the end of the movie, the toys will be given to other children by Andy. At the bottom of the box is Cowdy the Cowboy. Andy picked up Hu Di, but subconsciously, withdrew his hand. He is still reluctant. This detail is difficult to grasp if it is performed by a real-life actor (Korea actor Song Kanghao is simple and unpretentious, and he is best at small movements and expression changes). It’s a bit fake when it’s slow, and it’s going on again when it’s fast. Animations and animators have enough pictures and frames to adjust the speed of this action to be real, which is completely close to people’s current feelings. This is the mystery of cartoons.
Oshii Mamoru believes that Hayao Miyazaki is a genius, which is reflected in his incomparable talent for drawing flying. The effect is that even at the peak of his creation, "Killer in the Air," is less than half of Hayao Miyazaki.
Flying itself is Hayao Miyazaki's dream. On the other hand, it is also where cartoons can challenge the unparalleled meaning of live-action movies. Even though Hollywood special effects have been so superb, with fake and real, they still don't have the freedom of depiction on drawing paper as cartoons. And in the final analysis, flying is not a random flight, like the slingshot flying method of "Batman vs. Superman" and "Avengers 4" battles, it is always not real enough. This is the same as mentioned earlier, flying should be close to the human feeling-even when dreaming.
Because no one really flew in the sky.
Outside of flying is eating. This topic can be discussed from Ozu Yasujiro's table to Edema Hiroka's cooking. And skip it.
Miyazaki’s films have many sources of inspiration, such as "Howl's Moving Castle", which borrows scenes from small French towns. "Princess Mononoke", take the legend of Japanese folk culture. "Porco Rosso" is completely an Italian fan. He himself is an avid fan of flying machines (military), and on the outside, he is a hard-working and endlessly painting father. From time to time, I pull up a bunch of people and go to Europe for research trips (the western hut in "My Neighbor Totoro"). In short, he is a very contradictory Japanese who has left Asia and entered Europe.
So Mamoru Oshii can’t understand that Hayao Miyazaki obviously loves pigs (Hayao Miyazaki has two incarnations in his own work, one is "Porco" and the other is Jiro Horikoshi in "The Wind Is Rising"), why In Spirited Away, the pig is drawn so hideously and terribly.
Look, the three views are really contradictory, isn't it?
As for not only the Japanese, but everyone is confused, why Miyazaki's movies are so popular all over the world. The reason is that Hayao Miyazaki and Studio Ghibli behind them sat in the chair after Akira Kurosawa abdicated. Criticism is not allowed, and it is useless to criticize. The ceiling of the emperor is there.
Oshii Mamoru also said that the audience commented on the cartoons by watching the excitement completely, just like enjoying figure skating. I also make a summary: cartoons seem to be provided for children to watch, but as an art, it is farther away from the general public than movies due to the restriction of painting threshold. The barriers to entry in this industry are too high, resulting in very few people who are proficient, and it will not lead to bad reviews. Criticism is not on the spot, everyone naturally laughed off. In the end, we can only make a fuss about the evaluation of "beautiful" and "moving", but cannot arrange the rhythm and structure of a work like a live-action movie.
Specifically in "Spirited Away", if you analyze it from the perspective of a live-action movie, the male second white dragon suddenly disappeared (I don't know how much it is because of the change of form), and there is a very popular faceless man. It would be a disaster. And Chihiro's labor growth is too fast.
When I first watched Spirited Away, I was still a teenager. I remembered the impression of the movie, but the faceless man, the building of the soup house, the sea train, and afterwards Bailong was flying with Qianxun... it was all pictures and impressions.
Watching it in the cinema again, the feeling is still much better than that of "Howl's Moving Castle", and the process of re-awakening is also very magical.
I will shine in front of a certain movie. Originally, the false rumor that Miyazaki borrowed Jiufen to view the scene came from this place. The giant baby hidden in a pile of toys (the term became wildly popular in China more than ten years later), the slime monster that Miyazaki loves, and even the beating lamp (parody Pixar?)... the kindness to relive , Familiar, visual sense, greater than all others.
What did Spirited Away say? It seems to be all-encompassing, like a bath in the bath, you can wash away everything, and finally come out, a clean person.
When I was a teenager, I was most impressed by the name of the white dragon called Amber River, and the river god who was full of filthy garbage and smelly. Somehow, I probably saw many Ghibli in one breath, and I think it is environmentally conscious. To the effect of human beings, don’t forget that you are from mountains, rivers, lakes and seas. Naturally, please stop making changes.
A theme that is easier to see is the end of money and desire in moderation. Especially Chihiro confronts the faceless man, what does the faceless man symbolize so that he can eat everything and make money, but forget where his name comes from.
One more thing is that the urban human beings are muddled, and always go back to the countryside to receive re-education (recurring in Ghibli works), whether it comes from divine dissuasion or labor reform. Unfortunately, Qianxun’s parents, who became the opposite of desire, were too curious, and only wanted food to eat. They acted as the fuse. They were forgotten in the middle of the process. Later, they were forced to reverse and appeared quickly. The whole story is like Nan Ke Yimeng persuading Shige.
When Hayao Miyazaki and Ghibli became box office giants, they also carried a greater burden, and had to repeatedly make a fuss about some big words about love and growth. The girl's heart from "Spirited Away" to "Howl's Moving Castle" finally became a mess, and then, it was Miyazaki who repeatedly asked for retirement and was not available. Even if he surrendered "Wind Up" like Kurosawa's "Dream", saying that he was old and could not distinguish the boundary between reality and dream, and his wish to return to his hometown, he still could not be satisfied.
No, the crew of Studio Ghibli have been called up again, and the new work is called: What kind of life do you want to live?
View more about Spirited Away reviews
