I have never hesitated to add praise words such as master and master to Hayao Miyazaki, but in fact, I am afraid that the adjective that is more suitable for him is a sticker of hand-drawn animation full of childlike interest, and never gives up thinking. old urchin.
Luc Besson has already broken his promise to make only ten films in his life, while Hayao Miyazaki's entire film career has actually handed over only ten directorial works. And all the classics, without a single failure. Looking back on his artistic history, he gradually established his personal style from "Nausicaa" and "Castle in the Sky", and co-founded Studio Ghibli with Isao Takahata; "Witch's Delivery Service" and "Porcupine" have tried various styles, further expanding the field of work, and gradually revealing more grand themes; ”, a generation of masters showed their temperament, and achieved the only great achievement that won the highest honor at the Berlin Film Festival with the theme of animated films, and has been regarded as a model by countless people. In the later stage of "Howl's Moving Castle", "Ponyo on the Cliff" and the final work "The Wind Rises", although some people commented that the old man was not at his peak, but I saw a more unruly thoughts and a larger pattern. Hayao Miyazaki, his meticulous creative attitude and old and firm artistic life, not only won the respect of movie fans all over the world, but also deserved to be learned by every film worker in the world.
Although it is a little late, I still hope to bid farewell to the old man with a film review.
My choice is Totoro.
Although it is not as famous as the peak of "Spirited Away", and it is not as powerful as "Princess Mononoke", "My Neighbor Totoro" is not only for Hayao Miyazaki himself, Studio Ghibli, and even the whole of Japan Animation can be regarded as a milestone work. So that the chubby chinchilla image has become the LOGO of Ghibli, and it has also become the doll companion of countless children around the world. For me, the reason for choosing this film is that behind the seemingly childish story, this film hides Hayao Miyazaki's consistent ultimate theme - the power of innocence.
Yue and Mei's cuteness is innocent, Xiao Kai's shyness when meeting a girl is innocent, Caobi couple's optimism and open-mindedness are also innocent, and even the simple villagers mobilized for Xiaomei's disappearance, and everyone tried their best to find them. Isn't human indifference in real life also a kind of innocence? It is this kind of innocence that becomes the greatest force in the story that changes everything.
The film is like a bedtime story read to a child, simple but captivating. There is no villain in this film at all, not even a bad person, which is very rare even in Hayao Miyazaki's films. Without the binary opposition of dramatic conflict, what drives the plot forward is only the repeated mother's illness and the child's little emotional upset, but in such a trivial story, the beauty of our lingering is deeply buried.
Watching such a movie, the corners of your mouth will be upturned unconsciously, and then your heart will be filled with a slow sense of happiness, just like the most beautiful fairy tale we heard when we were children.
Whether it is a fairy or a monster, only pure children can see it, which is enough to explain the director's intention. This is the power that we once had in our hearts, but gradually lost as we grow up. It is the childhood past that we miss when we sigh, "I will never regret this body, when will I forget about it". When we were children, seeing an ant crawling and a seedling sprouting was the purest joy.
The film was shot in 1988, but the background of the story was chosen in Japan in the 1950s. In my opinion, that was the most beautiful era in Japan in Hayao Miyazaki's mind. Abandoned the fanaticism of militarism, and the pace of industrialization has not yet rushed everyone. The Caobi family in the film moved from the city to the countryside, which also symbolized people's escape from the ubiquitous modern economic society. The neighborly relationship and the lush countryside scenery look beautiful and heartwarming under the lens of Hayao Miyazaki. This is also a manifestation of the power of innocence at the social level. It's hard for you to imagine Chinchillas appearing in the reinforced concrete of the city. Even if you have to arrange it like this, it will become a strange atmosphere like "Heisei Tanuki War", and it will not be able to win over this refreshing and beautiful force in any case. When the development of history and the progress of society have made human beings more closely connected than any other period, but more alienated than any other period, the golden age that passed away in Hayao Miyazaki's film has another role. anti-modern meaning.
There is also the theme of environmental protection that he has always paid attention to. Although it is not mentioned clearly in this film, it is indeed unnecessary to mention it. The colorful green in the mountains, the gurgling stream of the stream, accompanied by the melodious soundtrack of Joe Hisaishi, wraps every audience with different sensory experiences and sweet beauty. Then you stand up and leave the computer or TV, and take a look at the foggy and blurred city outside the window. Which one is more desirable and worthy of our protection? Need more words?
The greatness of Hayao Miyazaki lies in the fact that he has always maintained a childlike splendid imagination, and turned this pure power into beautiful dreams on the silver screen, arousing countless people's admiration for the past. When we grow up, we no longer have the ability to walk through the bushes to find tree holes for chinchillas to live in, and we can no longer get on the chinchilla bus and fly in the sky. But if the movie can bring you back a little simple touch, and put the trivial things on the side for a while, isn't it already a very laudable thing?
There may be a Jeepry movie in the future, but there will never be a Miyazaki movie again. May the old man live a long and healthy life, and may Ghibli have successors.
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