Showing off skills and selling cuteness is not a good sign

Devon 2021-10-18 09:30:28

This year's Oscar competition for the best animated feature presents the same pattern as last year: three in the United States, one in Europe, and one in Japan. However, compared to last year's "Frozen" + "Crazy Primitives" + "Despicable Me" 2 such a luxurious lineup, this year's three American films are downgraded overall. "How to Train Your Dragon" 2 and "Box Monsters" can only be said to be passing. This "Big Hero 6" is slightly better. In addition to the more modern and down-to-earth story, it also creates a cute and adorable story for countless audiences. Fat man image. However, the problem with this movie is also worth noting, because this problem is not a good sign.

Before pointing out this problem, we need to point out two factors that affect the style of the film. One is Marvel. This is the first movie between Marvel and Disney. Although the Marvel universe has nothing to do with the film, the influence of the Marvel superhero film routine on the film is still obvious. The second one is Japanese culture. Because the script was originally set to rebuild the city after the San Francisco earthquake in 1906, Japanese immigrants rebuilt the city, so the story of the film takes place in "Old Jingshan", called San Fransokyo (San Francisco + Tokyo) in English. In the film, the image of the white fat man armed with mechas, the Japanese plaques on the streets and so on, all show traces of Japanese culture.

Well, after pointing out the two formal characteristics of Marvel and Riman, let's look at the core of the movie. Undoubtedly, this is an animated blockbuster produced on a Hollywood standard assembly line. Like any movie of this kind, Big Hero 6 has an ups and downs plot and gorgeous visual effects, which can satisfy the pleasure that audiences of all ages hope to get before entering the theater. However, no matter how pleasing the film is, it is difficult to conceal some of its flaws in character setting and story logic. The protagonist Hiro is indeed very talented, but he is a kid after all. Neither intelligence nor financial resources can give him the creativity shown in the movie. If he really has this ability, and he himself is the creator of mega-bot, then he must have an easier way to kill the enemy, why bother so much? These questions can be left unanswered, because it is a cartoon after all, but from the viewer's point of view, the image of Hiro is too shallow and has no character. On the contrary, it really looks like a little hairy boy. Of course, we can think that the main focus of this film is on the white fat man Baymax, because Baymax is the character that attracts the audience the most. However, Baymax really has no personality besides being cute. On the one hand, it is a robot, its character is set by the owner, and there is no room for it to play. In this respect, the same robot's wall power has an advantage over it; on the other hand, because the routine of this film is too obvious, Baymax has played on its own. The post-character and destiny are basically expected by the audience. If the film makes a breakthrough in this area, it will definitely receive miraculous effects. Unfortunately, the film chose a conservative approach and let Baymax honestly play its role. The most surprising part of "Big Hero 6" in terms of script is the setting of the villain's identity. When everyone thought that a capitalist with only money in his eyes was a masked villain, the previously extremely decent professor played this role. This trick does make the story less plain and has some twists, but problems also follow. This setting is not only logically far-fetched, but also dilutes the audience's expectations for the final battle.

The shortcomings of "Big Hero 6" with empty characters and weak plot can actually be attributed to the same reason-as a product of the Hollywood industrial assembly line, the product attributes of the film are too strong, and the attributes of the work are too weak. In recent years, Hollywood has used the world's leading production technology to update and upgrade the entire film industry, and the same is true for cartoons. There is no problem with the quality and quantity of things on the assembly line. As far as the film is concerned, not only the scene design and animation effects are flawless, but the narrative rhythm is also very accurate. Where there is a climax and where there is relaxation, it is very in line with the aesthetic habits of the audience. It can be said that Hollywood assembly line products have long been perfected in this regard. However, turning an assembly line product into a work of art is as difficult as dancing in a yoke. Hiro’s image can be developed more, but the whole story progresses step by step, giving him no room to play; Baymax is set to sell cute in the early stage and sacrifice at the end, and there is nothing to develop; several fighting scenes are set according to the set. A good rhythm appears, and there is a degree of relaxation, but the problem is that the strength of the square is gradually upgraded, but the strength of the villain is constant. The excitement is not enough, and the audience is hard to be excited. As for the theme, brotherhood, revenge, sacrifice, and technological progress are double-edged. These concepts of the sword do not meet the audience's requirements for the humanistic connotation of an excellent cartoon, and the screenwriter is not even prepared to discuss some profound ethical propositions in a family carnival cartoon... In

recent years, a trend in the American film industry is business. Films are becoming more and more glamorous, and rarely pursue the connotation, and entrust this task to independent films; instead, independent films have received more and more attention, and capital and human investment have begun to match those of commercial films. It can be said that it is ushered in. A golden age. As a result, commercial films and independent films have their own delights, and different audiences have their own needs. But this trend mainly refers to live-action movies. In the field of animation, because there is no impact from independent movies, major studios must not only take advantage of the technical advantages of the superpowers, but also take into account the arts. Over time, everyone finds that it is still easy to show off their skills. After all, art is a personalized creation, it's anti-assembly, and it can't be done with money and technology. So we see that when European animation and Japanese animation are in a dead end on the surface and are stuck in a technical bottleneck, in fact, it is Hollywood animation that is really constrained by technology. "How to Train Your Dragon" 2 and "Big Hero 6" are indeed box office bombs and are indeed suitable for viewing, but if Hollywood can only hand over such answers every year, then this is not a good sign for movie fans in the long run.

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Extended Reading

Big Hero 6 quotes

  • Hiro: [feeling Baymax's exterior] Vinyl?

    Tadashi: Yeah. I'm going for a non-threatening... huggable kinda thing.

    Hiro: [amused] Looks like a walking marshmallow.

    [to Baymax]

    Hiro: No offense.

    Baymax: I am a robot. I cannot be offended.

  • Wasabi: [seeing 'quarantine' sign on fencepost] Quarantine? Do you guys know what quarantine means?

    Baymax: [defining] Quarantine: Enforced isolation to prevent contamination that could lead to injury, or in some cases, death.

    Wasabi: Oh, and uh, this one has a skull face on it. A SKULL FACE!