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After its release in Japan last year, the theatrical version of "I Am Big Brother" quickly became the only new film that could support the market recovery, and eventually exceeded 5 billion yen at the box office, even in the absence of the epidemic, which was a good result, which was enough to make the theatrical version of this popular drama the most dazzling Japanese film last year - without the rewriting of the history of the film "Ghost Blade: Infinite Train".
"I Am Big Brother" movie version
But even if we come up with such achievements and become heroes in the epidemic, if we put down the filter to be fair, as an extension and expansion of the episodic version of this movie, not only can not go further in the surprises created by the series, the all-round simplification and shrinkage of the plot, jokes and romantic stories can only be said to be accurate fans will definitely pay to dare to act so boldly.
Of course, what's worse is that if the episodic version of "I Am Big Brother" is a time difference between Yuichi Fukuda's accurate vision of a 80s manga and the aesthetic habits of today's relaxed generation of young audiences, then as a movie version, how many eye-catching points can this year's sequel have in addition to standing still and responding to hot topics?
Almost zero.
The movie version of "I'm Big Brother" is a "standard" theatrical version of the work, and after more than 100 minutes of hilarious plot, you will find that all the characters are back to their original positions, there is no growth or transition, and the main story and character relationships do not advance anything - it is of no use except to make you happy.
But are you really happy?
We look back at the drama version of "I Am Big Brother", this Japanese drama in 2018 has a complex reason for its popularity in 2018, but purely from the quality of the work itself, the core is still two points: the exaggerated portrayal of Japanese pop culture and youth psychology in the 80s by the original work, and The successful choice of actors by Yuichi Fukuda.
"I Am Big Brother" TV series version
Yuichi Fukuda's team does not need to be repeated, just talk about the original work, "I am a big brother" manga was most serialized in the late 80s to the 90s, it is a generation of young people who released their energy and enthusiasm from nowhere to vent into motorcycles and violence in the non-mainstream era, after forty years on the screen to relive their secondary two is a teenager, why can this thing still attract people? The essence of it is that after the comic dissolves the youthful naughtiness of the bad boy in the form of comedy, all that is left is feelings.
Takashi Mitsuhashi and Shinji Ito, two protagonists who became bad boys halfway out of the house, in a subtle identity between good students and underworld groups, comics and comedies of violence, and the story of bad boys wrapped in "sand sculptures" becomes no longer unacceptable to the audience. Furthermore, whether it is mitsuhashi's meanness or Ito's love brain, their pure love side can touch the audience's heart more than the bloody side, and people who have experienced such youth can easily accept the "man's medal" like lyrics in such a self-review.
Just as Chinese audiences can suddenly shout "Kill Matt I love you", it is not that people are tolerant of secondary two teenagers, but that the middle two teenagers who have grown up are tolerant of themselves.
So the emotional resonance that "I Am Big Brother" relies on is very simple, that is, "I fight and fight and disobey discipline, but I am a good boy who is serious about righteousness." This bowl of chicken soup "Ancient Puzzle Boy" has been fed to us, "Hot Blood College" has fed us, and it is still not outdated to feed it now.
But the problem with the movie version of "I'm Big Brother" is that it doesn't even have the patience to boil chicken soup.
First of all, in the main story, the newly debuted duo in the movie version filled the gap after the defeat of the two classic characters of Kaijiu High School at the end of the series, and it was difficult to expand the new space in the relationship between the characters without changing the soup, and the new characters directly appeared as stereotypical and one-sided villains, which dragged the entire story into the vortex of boring routines from the beginning.
The former Kata kirito and Sagara Can still fight for Kaihisa's honor and dignity, and in the movie version, the Kitae bad duo who forced the sale of amulet keychains from the students undoubtedly dropped a lot.
This is not to mention the use of weapons such as the dagger by Yumi Yanagi, and the final bold statement that "I have to go to the juvenile detention center anyway", the idealized hero complex of the middle two falls to anti-bullying and punishment of evil in the real sense, the "harmless" violence slides into the gangster, and the thinness and flatness of the villain role are almost doomed to the film version of the story.
In terms of protagonists, Ken Helai and Kentaro Ito are almost entirely outside the core plot, even if the film uses the newly debuted characters to forcibly pull the two into the infighting of Kaiku High School, the sense of hardness of fighting for the sake of fighting can be seen everywhere, not to mention giving enough plot explanations like the episode to explain the life creed of the two protagonists to protect the weak and assert justice under the bad attitude.
The flattening and symbolization of both the villain and the protagonist directly disintegrate the entire story, and the three-way melee, which was known as the "biggest crisis" in the early propaganda, is nothing more than the sudden return of the Kaiku group and the bad cliché of Kitagan and the final harvest of the protagonist two, both chivalrous feelings and the boy's true colors are ignored - and at this time, Imai, the only person in the film who stands up to protect women, is being healed in the hospital.
Such perfunctory and stylized bridges abound throughout the film, if you want, you can almost clearly see the dramatic purpose of all the characters' actions, in addition to the protracted plot, and then do not forget to see the stitches and needles into all the "famous scenes" that fans are looking forward to revisiting.
Horai Ken's playing treasure, Ito's straight boy, Hashimoto Kana's Yan Yi, the cold humor of the college teachers' group, the rotten stem of "people are ghosts are on the show, only Imai is beating", sand sculptures, sugar, scrawled grass fights, between the empty main story, there is a lot of space to arrange these fragmented fan welfare.
This may be the only point of view of "I Am Big Brother", and it is also its weakness - in addition to satisfying the hot spots and stems in social topics, it is difficult to create new ideas, and even the tepid Yan Yi and the supporting characters who forced to appear are showing an awkward atmosphere in the chain reaction of the heat of the service topic. The film version of "I Am Big Brother" has become a "New Year's" film that is completely in response to the expectations of fans.
The return of the characters, the resurgence of classic lines, the official play and self-spitting have become the main lines in the film, and this intense entertainment is not difficult for Yuichi Fukuda, just as he does not care to let Yumi Yanagi, who plays the old version of the manga store in the series, become a bad teenager in the movie version, and this casting is only to continue to cooperate with the royal character again.
Catering to hot topics and entertaining eventually became the runner-up at the box office of the year, but apart from contributing a lot of sand sculpture material and couple avatars, the movie version of "I Am Big Brother" can hardly leave any traces.
It is not surprising that this kind of deterioration occurs, and compared with the other popular drama derivative theatrical version of "Cheating the World" in the same period last year, the shortcomings of this genre itself are more obvious. After reliving the second era of curiosity, it is a question of how long fans who chant "can still snort" can pursue the immutable character relationships and the constantly replicated sand sculpture plot.
But then again, for Yuichi Fukuda, this will never be a problem. In 2020 alone, in addition to the movie version of "I Am Big Brother", he has two other movies, a drama series and a stage play, will Fukuda, whose brain is constantly IP, be extra careful about "I Am Big Brother"?
At least from this film version, the answer is no — not to mention the negative reviews that followed Kentaro Ito's hit-and-run incident, and it may be better for the series to stop here.
Nostalgia for such a thing as youth, or nostalgia for once.