Movie Diary "The Revenge of the Wire-Pulling Prince Strings": Only unthinkable

 Tags: ripping marionettes

I said: How good gimmicks are misused.

I've seen a lot of animated films, all genres and styles, clay (Mary and Max in Australia, $9.99, Amanda's "Super Smash Bronker" series "Chicken Run"), puppets ("The Nightmare On Christmas Eve", "Zombie Bride"), glass paintings (Russia's "The Old Man and the Sea", "The Sound of Spring") (and a French "Frightened Town" do not know how to classify). The strange style of painting "Song of The Blues", "Beautiful Trio", the delicate and beautiful "The Secret of the Book of Kells", like the black and white copper engraving of "Czech Train conductor", "I grew up in Iran", like the pencil painting of "Underground Republic", "Fool and Angel", oil painting style "Painting Country", the picture drifting "Blind Walker", "Half Dream Half Awake Life".

But I'm really seeing a marionette for the first time, and for a certain period of time, it's definitely the only one. How much courage does the director have to make a Shakespeare with a marionette with no change of expression and a very rich body language, and how much courage does it have to be determined to be inspired by the fountain? Not to mention the war scenes! Many directors dare not touch the theme of war because of the complexity of the scene scheduling (of course, more importantly, the problem of funds), (a few years ago, some people criticized zhang Yimou's "Jinling Thirteen Chao" in the street battles are very fancy but too unprofessional) The director you actually used a large number of ropes and puppets to get on, the courage is commendable!!! And the theme is such a serious prince revenge, the character conflict is not ambiguous at all. The scene handling is also good.

That's all there is to it.

I can only say that the director's strengths are also your weaknesses. When a group of vaguely humanoid objects are seriously reciting the lines that can only be found in Shakespeare in the picture, I tried my best to force myself to integrate into the plot, but I was embarrassed, there was no sense of substitution. When the first few minutes of exclamation of sound waves dissipated in the air, a constant sense of drowsiness followed. To be honest, I really didn't pay much attention to the plot. And with all his toes, I can imagine that at last the prince will return to the palace to avenge himself and become a real king, and I can even guess that he will meet a beautiful woman on the way, and then his beloved princess will undoubtedly die. In any case, it is also a complete plot, the conflict is fierce, and what are the later and powerless fight scenes in the middle, in order to show the superb skills of the puppet master? All right. There was a war at the end?! Director, do you want to fully mobilize the imagination of the audience--- please imagine, this is a tall and mighty warrior, this is a powerful army, the war is very fierce, the corpses are piled up, the blood is flowing...

Anyway, director, your idea is wrong. You realize that the puppet animation is a unique subject, but you have not really discovered its uniqueness, except for the forced worldview setting, and the symbol of the unknown cloud at the end, I did not see which part of the whole film really has the necessity of using puppets, since you chose puppets, why do you want to try to treat them as real people? If you think about it, I think the necessity of the existence of cartoons is that it is absolutely better than the expressiveness of live-action movies (because of this, many animations often do not use people as protagonists). Bolton's puppet animation features eerie shapes and gray tones, which are in line with the protagonist's personality and absurd plot. Elliot's clay shape is also weird, which is the psychological portrayal of the protagonist who is not ordinary, and at the same time, it is simple and freehand, corresponding to the simplicity of the plot. Of course, not all animations can achieve the state of unity of form and god, but at least the expression should be clear and the plot develop smoothly.

If the carrier cannot better explain the theme but becomes a hindrance to the theme communication, then what is the meaning of the carrier's existence?

It is said that when can there be animation with good themes and good plots in China. It's just an attempt at the subject matter. Shadow puppets, paper cuts, terracotta warriors, what a great subject matter!

P.S. poster ok