The return of the great sage of Journey to the West is a new attempt. It borrows the story core of Journey to the West and adds a new foreshadowing to spread a new story. This story has no Tang monks, no scriptures, no ninety-eighty-one difficulties. In short, it is a story of a monkey king defeating an old demon in the mountains. It is not difficult to see from the ranking of this film that it is aimed at the summer vacation, aiming at "real children" and "pseudo children" like me who can't graduate from animation for a lifetime.
The relatively simple script that doesn't take the curious route is a solid bone for this successful film. On this basis, the narrative is combined, the jokes and jokes are one after another, and the entertainment is strong enough without the education of chicken soup for the soul that is often criticized in domestic movies. Today, the first day of the show, is a working day. The cinema where I am is about one-third of the children's audience and two-thirds of the adult audience. During the one and a half hours, everyone's overall investment is very high, which is quite rare. .
The smoothness of script and narrative is only one aspect of the success of the animated film, and the other aspect has to praise the painting of this film. The fluency and delicacy are simply jaw-dropping, the colors are gorgeous and full of classical charm, the fight scenes are quite compact and coherent, and the details are handled with sincerity. From the perspective of painting, it is definitely a domestic super-first-class level and a world-leading level. The visual shock that you can feel when watching Pixar's animated films is no more than that. For the first time in so many years, I have seen the image of a domineering, realistic and powerful Chinese dragon on the screen. The production is so good and praised. How can a domestic animation director who plagiarized from the title to the content in the same period feel the best Just jump into the Yellow River.
The character design draws on a lot of traditional elements, which closely echoes the OST of this film. The extensive use of folk musical instruments, including the integration of Peking Opera itself, complements the world's mainstream film soundtrack mode in the past two decades.
In this sense, the excavation of traditional elements is definitely a way for domestic animation to start for a long period of time. We have a vast history to dig, and countless classics like Journey to the West that everyone can draw from. This is a labor-saving and troublesome thing for the screenwriter. The effort is that you don’t have to create a whole new worldview to present to the audience in just two hours, and the effort is to get the audience to pay for and love a story they’ve known since childhood.
why not? Disney can have the Mulan in the eyes of Americans, and DreamWorks can have the Kung Fu Panda in their hearts. Who in this world can tell the history, classics and legends of our nation better than us? The hope brought to me by a good domestic film can always extinguish the decadence brought by ten bad domestic films, because we can believe that even if the market is fucked again, even if the circle is not saved, there are still so many caring people. People are making movies seriously, and even more rare is making animation movies seriously.
Always salute the dream catcher.
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