At first glance, the scene is not as delicate as the second speed, but more of a hand-painted heaviness. But it is understandable when you think about it. After all, such a level of delicate drawing is too expensive for commercial animation, and because of the influence of Ghibli itself, this style of painting is also widely recognized in the industry. After all, it still looks great.
In the first 40 minutes of the film, there is a fast and slow story, and the background of the heroine's life unfolds slowly. For a film, the rhythm is still very good, but the setting of "My Neighbor Totoro" is the same as rural life, and the hero and heroine are like "Haha." The feeling of infatuation with the same encounter as "Moving Castle" is really unreasonable, after all, this is not a Ghibli animation.
Later, when I went to the underground world, the familiar scene made me worry that the failure of "Earth-Sea Battle" would repeat itself. It was empty and devoid of people, and it would be difficult for all conflicts to unfold in a place without people. As for the Yi people who appeared in the middle, the villages were really stiff. As for the scene where the male protagonist cuts his long hair and leads a horse out, I completely collapsed. Is this a tribute to "Princess Mononoke"? Even so, when the male protagonist is about to leave after that, what does the girl in the temple mean by chasing him out to send the male protagonist away, I really can't see what this detail means to the whole film, except that it was imitated?
In fact, when I watched it, I kept thinking, why did the heroine take such risks without hesitation, for the boy who has met twice? For a newly formed friendship? For the deceased father? When I heard the boy's death, I thought of another movie - "Bridge to Wonderland", where the girl's death is a great loss for the male lead. After all, he has no friends in the film and is often bullied. His dream also not recognized. But what about "The Baby Chasing the Stars"? Although the father is dead, the family is still warm, and the people in the village have not isolated mother and daughter. Even if the "often first place" in school is used in many movies as a reason for being isolated by the whole class, it is not and there is no Well, someone else invited her home. I don't see anything in the heroine that is not understood and full of grievances. As for him sharing the radio with the boy, I can't understand it with the kind of sanctioned feeling in Kiki's Delivery Service. If I had to say there was deep affection, "Maybe the boy kissed the heroine, and the heroine fell in love with him instantly." I'd rather believe that explanation.
So another main line, the old wet road to find a wife, attracted me even more. It's a pity that I was expecting an Orphic story, and the old wet in the film is not romantic enough, not heroic enough, and even a bit mean. I can only say that the life memories of him and his wife are the same as "The Little Man Who Borrowed Things", which cannot touch me.
In the end, the ship of the gods turned into the same robot in "City in the Sky", and I was completely numb. But I still want to watch it, because I always want to know an answer to why the heroine does so much. The answer makes me laugh and cry, because "loneliness"? Have you watched too much "EVA", are you going to integrate it?
In fact, as a director, especially a commercial film, many things will be different from what I originally thought, and there are many places to make compromises. This is especially true after I made the film myself. But if the picture is Ghibli style acceptable, after all, the original is Makoto Shinkai, such a mindless setting, plot, center, is really not the Makoto Shinkai that I agree with. I agree with Makoto Shinkai who can write light novels like Second Speed, a narrative that is very indifferent but trembles every inch of soul, which can be heart-wrenching but unable to shed tears.
I hope Xin Haicheng will be Xin Haicheng, not Miyamoto Goro No. 2.
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