/April Story
Master Jin Min is a very humorous person. In the lecture on the 10th anniversary of the film's release, he and his female assistant briefly exchanged about the film's plot and metaphors some problems. In the lecture, Jin Min was chatting and laughing, and also made some humorous jokes about the inevitable topic in the film-erotica. Because the original production of this film is not for the purpose of public release, it is just an OVA (Original Video Animation), that is, an original animation video. This way of birth also indirectly created multiple eye-catching elements in the film: violence, eroticism, horror, etc. As far as Jin Min said, OVA is only placed in the video rental store for rental and sale, and it cannot carry out large-scale publicity, so it must attract people's attention.
In this way, in the rape scene of the heroine Wuyue Mima in the film, there have been "multiple repeated movements" that exceed the censorship system. This affected the film's huge response after its release, and hoped to have a smooth passage on the big screen. Therefore, it must be constructed as "one repeated movement", or at most "two repeated movements". After the review of the electrical inspection part, it still passed smoothly, and then caused great repercussions in the industry. However, the nude picture that Wei Ma showed in the photo shoot in the film is still preserved (picture 1), Jin Min said with a smile, over 15 years old should be able to watch it. It can be seen that the "adult" degree of the film.
"The House of Weima" has also had an impact on some filmmakers. For example, American director Darren Aronofsky, directed the film "Requiem for a Dream", which has many similarities to Jin Min. The first work to imitate. In Aronofsky's words, it's called a tribute. In "Requiem for a Dream", the heroine Jennifer Connelly has a scene in the bathroom, which is exactly the same as the scene in "Weima's Ministry" where Weima is squatting in the bathtub. This was also confirmed in the later conversation between Aronofsky and Jin Min. It can be seen that Jin Min's debut novel has a strong influence. See Figure 2.
When Jin Min talked about the meaning of some pictures in the film, he mentioned the meaning of the cover of the laser disc of "The House of Weima", which was published before, see Figure 3.
It should be noted that this cover is not the cover referred to in the interview. The original laser disc cover does not have the figure in the lower left corner of the picture, and there are only two tropical fish (except the bottom one). This picture was set by Jin Min himself. The two tropical fish mean the dual personalities in Weima's heart, and the chasing shape shows the inseparability and inseparability of the two personalities. To put it simply, we can also regard one as the idol singer Weima, and the other as Weima, who has transformed into an actor. Of course, viewers who watch the film will not easily distinguish Wei Ma's hallucinations from reality, because Wei Ma's manager Liu Mei and the star-chasing fans who are psychologically distorted are also disturbing their sight.
In the opening screen of the film (Figure 4), Jin Min used an opening that made the audience think that the film was wrong: three heroes who only appear in children's cartoons against a villainous BOSS. Jin Min used red, green, and blue on the clothes of the three characters, that is, the three primary colors, and the corresponding three-person team name is: RGB. This kind of opening is confusing, which is exactly what Jin Min's intention is, to break the previous model of cartoons following the rules, which is also the charm of Jin Min's animation. The audience will also faintly feel that this cartoon will bring unprecedented feelings.
Referring to the end of the film, Jin Min still did not leave a clear and clear answer for the audience. As he said, every time the audience (including fans and film critics) interprets the film, it is a gain for themselves and others. Everyone has an answer in their hearts, so it doesn't matter whether Jin Min's own answer exists or not, his simple interpretation just provides a reference for finding the truth.
At the end, Wei Ma came to the mental hospital to visit Liu Mei, who could no longer distinguish herself. At this time, Liu Mei was muttering to herself while holding a bunch of roses in the ward, while Wei Ma and the doctor stood outside the glass window of the ward. The glass window is intended to refer to objective observation, not subjective intimacy. Later, when Wei Ma walked out of the hospital, she was seen by several nurses. From the nurse's words, it could be judged that Wei Ma's career as an actor had been successful. But the nurses have questions about whether the people they see are actually numb, which is also the question that the film has been unresolved. Next, Wei Ma returned to the car and took off his sunglasses from the rearview mirror. We can clearly see that this is really Wei Ma. But Wei Ma's next words created a virtual continuity for the film. Weima emphasized to himself in the rearview mirror that "I am myself", which also shows that from the beginning of the film, the hallucination that Weima has been with us when he was preparing to leave the CHAM idol group is still bothering Weima. Mima has been and is still struggling with the alter ego in her heart.
Graphic version: http://hi.baidu.com/%CE%D2%CB%F9%D0%E9%B9%B9%B5%C4%D3%B0%CF%F1%C9%FA%BB%EE /blog/item/8c9e0d014a8e24011d9583f1.html
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