When Ghibli became popular in Middle-earth, Uncle Zha was almost past the age when he would be keen on animation. From the perspective of an adult with two or five eyes, Master Gong’s works are actually not good enough—behind the correct label of environmental protection, there is an aversion to large-scale industrial civilization. Mixed with a little bit of malice that "the vast land is really clean in the end". For a generation of bear kids who have grown up in a consumerist honeypot, such a theme seems refreshing, but in fact it is moving. However, the problem is that while the horses and horses are empty, the ending of the story is inevitably muddled: the fight is also fought, and the trouble is also caused. In the end, you have to regain the old mountains and rivers and continue to live as they are. The problem has not been, and it is impossible to get it. Solved, the contradiction is always there, slowly accumulating the equivalent required for the next outbreak.
For the greasy middle-aged who is tumbling in the social dye tank, this kind of story seems thin: you can roughly understand what you mean, but so what? What can be done?
Well, don't be too harsh. Considering the level of cartoons, the conception is pure, the pictures are beautiful, not making (first sound), not slick, it is enough, compared with a certain work that takes the life of the whole village as a gift for cross-species love (still the first sound), Like "Nausicaa" Rina Usica, who sacrifices themselves to save the village, or like the movie Asidaka, who wanders in the muddy water and is not pleased, and seeks a ceasefire for all parties (including non-humans). The middle-earth teenager is even more middle-earth than middle-earth.
Of course, there is a kind of good quality and spine, both at home and abroad. Zhongtu has never lacked such works (although there are as many as before), such as the phrase "Daddy, I won't bother you" thrown by classmate Nezha in the 79th edition at the head of Chentangguan. There is a kind, cruel enough, this lotus is blood-colored.
"Princess Mononoke" is somewhat similar to the revised and enhanced version of "Nausicaa". Although the latter quite shockingly portrayed the image of the apocalyptic giant soldier and taunted the two big self-righteous armed fighting gangs, the film itself is slightly more childish. Turning my head and watching "Princess Mononoke" again, it feels a bit of stepping into Rashomon from Disney: troubled times, the weak and the strong, the soldiers and bandits are not distinguished; if some money is exposed in public, a few delusions will follow behind; floods, landslides , Famines and wars, if you want to survive, you can only rely on strength and tricks. If there is any chicken soup world view that can be used for reference, it is completely based on the original Buddhist philosophy: from the traffickers to the temple officials, no one can escape the word impermanence, sooner or later. So, despite the troubled times, just get used to it.
In terms of the character setting, the image of Nausicaa, the female No.1 in Nausicaa, is too perfect, and the female No.2 is actually weak in character except for the tough style, so it is re-assigned in this film: Female Shan No. 1’s innocence is vigorous, mixed with impulsiveness, recklessness, and brainlessness; the female No. 2 black hat adult is more or less wearing a semi-warm version of realism outside of the iron-blooded wrist—she is leading the construction This iron smelting cottage includes a large number of people at the bottom of the world who are struggling in the world. They are certainly for their own use, but in the words of a leper, "only she (the black hat adult) does not despise us and treats us as humans." Destroying the forest is certainly not nice enough, but the time is turbulent. The strong have to survive. It is a question of whether they can keep their heads for tomorrow, and whether they are caring about hairstyles and trends? The people in Dadala city have to fight against the local warlords who cut old vegetables, fight against all kinds of beasts, and they can also be orderly, and they can exchange food for work, which can be regarded as a clean stream.
But having said that, the master who will play the strategy again will also play the time to let go. The queen fan of the black hat is not invulnerable. Overconfidence is the original sin, and it is easy to be fooled as a gunman. The black-hat lord came upon a knot made by the monk who was good at vertical and horizontal strokes, and it was inevitable by accident.
On the narrative level, the relatively divergent and detached narration style of Nausicaa is compressed in this film. Excluding a few threads that have to be confessed in advance, in most cases, "Mononoke Hime" weakens the omniscient bird's-eye view, and emphasizes more on what the male character sees and hears. Such a setting is subjective, but it is also beneficial. A bowl of water is flat, in line with the original intention of the film's so-called seeing the world clearly and not being confused by clinging.
From this point of view, the film seems to be more called the Asidaka War. The image of Asidaka is somewhat spliced, pure and passionate, but also mature and respectful, close to the combination of the middle-aged ranger and the second-year young man in "Nausicaa". He is the most idealized image in this film.
At the end of the film, the two sides of the fight turned their backs on the pigs, each with heavy casualties, unable to fix the moths; the pimple monk, who was fighting for fish in the muddy waters, failed to complete the mission of seeking the elixir (monkey blood buns?) for the boss. This kind of quieting is a bit ironic. However, there are two settings that are worthy of praise. One is that Asidaka and Shan did not come together in the end (no two or four), love wipes out the injustice of the world. Many of these are not grievances; the second is the position of the forest god in the whole dispute. No help, this may be the most helpless part of the film: the world doesn't care about benevolence, it doesn't care about righteousness, the mountains are high and the rivers are long, spring goes and autumn comes, that's it.
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