It is not easy to talk about Hayao Miyazaki's work, or to talk about legends in any field. From "Nausicaa of the Wind" to "The Wind Rises," Hayao Miyazaki has more than 30 works in his creative career, each of which is worthy of repeated taste. I once saw an interview where several film critics were appreciating Spirited Away. The host asked: We have been talking for so long, and we are talking about the advantages of this work. Are there any disadvantages? The guest asked the host back: "Then what shortcomings do you think it has?" Then everyone looked at each other and smiled, and the problem was over. Getting such an evaluation is inseparable from the character of Miyazaki himself. One is due to his dedication to diligence, from the high requirements for the soundtrack to the habit of insisting on the creation of manuscripts, he has created every fine product. So that every time a movie is released, there will be a large number of high-quality wallpapers, ringtones and surrounding dolls. The other is from the unique magnificent imagination of Hayao Miyazaki. It is said that when Hayao Miyazaki arrives at his studio every morning, he will bow to the empty studio and say good morning because he thinks this Within the space, there is also spirit living with humans. These details sound a bit creepy, but in the film they become Hayao Miyazaki's strong personal touch. For his animations, different people will always have different feelings when watching them. These movie works are not only created for children, or they may have completely different interpretations and experiences when they are watched in childhood and when they are grown up. . Take this "Spirited Away" as an example. Some people saw the love that the faceless man gave silently, some saw the friendship that Bailong insisted on, some saw the kindness of grandpa, and some saw the serious consequences of not losing weight... ...But what can be unified is that this must be a work about growth. From the perspective of character setting, "Spirited Away" is unique among all Miyazaki's works. Most of the protagonists in his works are women with short hair and capable skills. Even the thin, thin and cute girls like Po Niu in "Goldfish on the Cliff" are also guys with supernatural powers. However, Chihiro is completely different from them. At the beginning of the film, Chihiro is traveling with his parents. His big head is particularly thin and weak, and he has a stinky face during the whole process. She is an obviously adolescent girl with aspirations and incompetence. After passing through the tunnel, the film officially begins, and it also kicks off the journey of Chihiro's growth. Ten-year-old Chihiro is of course fragile, especially after seeing her parents become pigs by stealing food for the gods, the whole person becomes at a loss. This is a major blow that she cannot accept and deal with at her age. So when Bai Long was giving her rice balls later, Chihiro choked and cried while eating, because at this time Bai Long was the only person Chihiro could rely on. But relying on cannot solve the problem. When Chihiro realized that she had to work to save her parents, she insisted on getting a job. Faced with the troubles and insults of Granny Tang, Chihiro just lowered her head and repeated: I want to work here, this belief is the driving force that supports her growth. The whole film unfolds is the growth history of Qian (at this time she has been deprived of her name). She went to serve the rotten adults who were shunned by others, went to find Granny Tang’s sister, rescued Bailong and the faceless man, and finally gathered up the courage to run over the water pipe that she dared not touch at the beginning of the film, and jumped with her. Next, Qian had already broken through herself, she was no longer the ignorant, weak and weak Chihiro at first. There are not a few cartoons about the growth of teenage girls, but "Spirited Away" is different. It is not just a simple wolf and sheep fight like domestic animation; it is not a Hollywood-style family carnival. Reunion, there are no facialized characters in Spirited Away, which may also be pinned by Hayao Miyazaki's expectations for children to understand the world. Granny Tang is not merciful when facing Chihiro, but after Qian helps the rotten lord, she will also smile and hug Qian sincerely. When facing the big baby, Granny Tom's only way to make people can't help but laugh. Such examples are all admired in the film: the upright white dragon will also steal things; the parents who represent authority will also be unable to resist the temptation and become pigs; but in the traditional concept, the terrifying and majestic ghosts appear in the film. Full of human touch. They are also tired, and like ordinary people, they come to relax in a bath in their leisure time. When Qianxun went to Tangchi with the white silkworm god for the first time, many viewers couldn't help laughing when seeing the naive god. Of course, there is also the shaping of a faceless man. His attitude and behavior towards Chihiro, rich character emotions and three-dimensional character images are completely different from traditional ghosts, so I will not list them one by one here. In fact, in most of Miyazaki's works, you can see his portrayal of nature, gods, and the values conveyed by it. In "Spirited Away", Qian found a thorn on the body of the rotten lord, and after calling the crowd for help, he pulled out a bicycle, which was later a product of more industrial times. It turns out that Lord Decay is a river god, and it is because he is polluted that he has become a monster that everyone shuns. He left golden sand for the people in the bathhouse and gave a thousand pills, which directly promoted the development of the plot later. It can be said that Qian helped Lord River God through himself, and at the same time completed his own salvation, and what Miyazaki wants to express through this bridge is obvious. Isn't Qian trying to atone for mankind? Miyazaki has expressed this concept many times. For example, in the world behind the tree hole, the chinchillas that only pure children can see live, such as in "Howl's Moving Castle" (probably "Castle in the Sky") The protagonist who is willing to give his life to save the environment of the river valley, another example is the god who was frightened by human pollution in "Goldfish on the Cliff" and prevented Ponyo from approaching humans... But Miyazaki rarely uses nature's revenge Or the punishment of the gods to promote such a concept, but in his writing these gods of nature who have been betrayed by humans all reveal a kind of friendliness and tolerance. After being helped, the river god will leave mankind with the gold they want most. Poseidon will show mankind her magnificence and give mankind a chance to live with his daughter. What Miyazaki has been looking for is the reconciliation between man and nature, and the good wish of mankind to live in harmony with the world. In this sense, the transformation of the river god and the transformation of Spirited Away’s identity can be considered as a metaphor: when faced with the temptation of the world, we are often alienated and lose our original identity. . Only through growth and self-breakthrough can we complete our salvation and achieve reconciliation with the world. It is said that Hayao Miyazaki originally planned to use Chihiro to fight against the white dragon and the faceless man as the ending of the film, but then he changed it when he felt that it was not appropriate. This is really fortunate for the audience, because growth is a trip without a return journey. A train, a trip as the end of the film is much better than a vulgar duel. At the end of the film, Chihiro saves her parents and returns to the tunnel from the very beginning. Everything seems to have never happened, but the experience of being a Chihiro makes Chihiro no longer the little girl before. At this end of the tunnel, there were no rotten adults, no sinister struggles, only the fragrance of birds and flowers in front of him, and didn't human beings grow up with Qianxun?
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