It is really difficult to evaluate the quality of a movie. After all, it is just a personal opinion, but all personal opinions must have more or less subjective bias, so I only use my limited movie viewing history and The poor writing technique wrote down my own views on "Letter to Peaches" when I watched it.
"Letter to Peaches" has a similar plot trend to "My Neighbor Totoro", with similar cognitive settings for monsters, and even the settings of supporting roles have a high similarity. So much so that when I watch this film, I always automatically think of another film.
The film begins with a letter left to him by Taozi's deceased father. There is only one sentence in the letter, "To Taozi". It can be clearly seen that it is an unfinished letter, or even an unstarted letter. This is an opening that is not hard to imagine but full of imagination. The film did not spend more shots on the death of the father, only from the letter and fragmented memories, let the unfinished letter represent Taozi's father, and in turn let the letter explain everything that happened before and after the main story. And the work finally ends with a reply letter from "heaven", from the father in the sky.
In the story, Momoko and her mother lost their home in Tokyo because of their father's death, so they came to live in the countryside. The "introverted" Momoko doesn't like this country city. Compared with many Japanese comics and movies, it is slightly different. , this film's painting style of the country architecture at that time (at least in my perception) is more prominent in a "countryside" rather than the simple or fresh in ordinary Japanese movies. Both are good.
The film's cognition of monsters is also set to be visible only to children? Not sure, but at least only the protagonist and Yota's sister are visible. It is worth mentioning that this film does not directly affirm the existence of "yokai", but sets up another kind of "heaven" creature existence, and they have a strict management system. For example, Taozi's father also returned to the sky after his death, but he would not go to heaven immediately. Before he went to heaven, the monster in the movie would temporarily replace Taozi's father to protect Taozi and mother.
It's a very warm setting.
Although the film is a healing (depressing) good film, there are many funny dialogues and situations in the development of the story. The meeting of Peach and the three monsters and many things that happened after that until the separation are full of laughter, although the monsters are full of laughter. The style of the painting is not satisfactory to many audiences, especially in the climax of the story, the huge monster portraits displayed by some monsters to help open the way are really difficult to satisfy many people's aesthetics, but I think that this kind of appearance setting is on the contrary. It also makes the details of the work (more in line with the style of the monster in the picture book that the attic peach saw in the film) reflected to the best.
"Letter to Peach" has two very obvious story lines, one is the letter from the father to Peach, which is also the most important line of the movie. All the development of the movie revolves around this letter. At the same time, the movie also There is another key element—diving. In the story, Peach came to the countryside, and the supporting role was the little boy from the country who led Peach to go diving, but Peach didn’t dare, so she understood how the story would end. This is also a very common element, whether it is self-breakthrough or open heart. Although difficult to get out of the way, the setting of this story line is difficult to extract from the film. On the contrary, diving and the letter are even related in a certain sense, that is, Taozi's father, Taozi's diving means that everything is on the right track, and Taozi's father can also be well guarded in "the sky".
All in all, it's a good movie, without too much rambling, and without such a strange psychological monologue.
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