The box office on the first day was 200 million, but the reputation was polarized? This time, Shinkai Makoto really "played badly"

Text | Ling Hu Boguang

On March 24, the latest animation "Suzuya Journey" by Makoto Shinkai, a well-known Japanese animation director, was released in China, with a box office of more than 200 million on the first day of release, and the latest platform predicts that the final box office may reach 700 million, which has broken the box office record of Japanese animation in China.

Before that, the highest box office of Japanese anime in China was 575 million for "Your Name", or Shinkai Makoto did it himself, and it was not in vain that Shinkai Makoto worked hard to come to China to promote it. At the same time, China is also the largest overseas box office of this anime, with a local box office of 104 million US dollars in Japan and a cumulative global box office of nearly 200 million US dollars.

Now China's final box office also has more than $100 million, perhaps even higher than the Japanese domestic box office, accounting for almost one-third.

However, Bo Guangjun's mood is a little complicated after watching "Suzu Bud Journey", this anime is probably Makoto Shinkai's "disaster trilogy", although the previous work "Weather Child" has been pulled, but I prefer "Weather Child" more, so the ranking is "Your Name"> "Weather Child" > "Suzuya Journey".

I think this animation and the Spring Festival domestic animation "Deep Sea" are two sides of the same coin. The style and technology of "Deep Sea" are better and more breakthrough. The opening and ending plots are more delicate, the logic is better, and the emotional impact is stronger; But the section on the middle boat was particularly awkward, making people feel uncomfortable.

"Journey to the Bell Buds" is that the overall plot is like the middle of "Deep Sea", but the rhythm and narrative are handled better. Japanese landscapes and small jokes are also more natural. But the logic of the beginning and end is relatively poor, the impact of emotional and dramatic conflicts is not as good, and the soundtrack is quite noisy.

PS: This article has certain spoilers, I haven't seen the movie and want to watch the movie, please watch it carefully.

The third part of Makoto Shinkai's "Disaster Trilogy" is coming? You rate "Journey to the Bell Buds" a few points

The plot of this anime is probably that the heroine Suzuya lives in a 17-year-old high school girl living in a quiet town in Kyushu, and one day when she goes to school, she rides her bicycle and meets Kusata, a traveling young man who is "looking for the door". Ling Ya is a Yan dog, and when he saw that the male protagonist was handsome, he finally followed him.

As a result, I saw a door in the ruins of my house, and the bell bud was no different from the bear paper of those film and television dramas. Seeing something unusual inside the door, then opening the door and finding that he couldn't get in, he accidentally pulled out the stone used to suppress "Changshi", and as a result, he caused trouble.

In ordinary times, something called earthworm will rush out of the door, and people in this world cannot see it, but when it falls to the ground, it will cause a strong earthquake, killing and injuring countless people.

For the first time, although the heroine and Kusanagi closed the door with difficulty, it still caused an earthquake, and at the same time, the cat "minister" who wanted to turn into a stone ran away, and the male protagonist Kusanagi was turned into a stool by the minister. Suzuya took the stool to chase the minister, and the minister ran all the way, opening the door all the way to release the earthworm.

The female protagonist and the male protagonist met many people and things on the road, and then worked hard to close the door.

At the same time, the heroine Suzuya lives in her aunt's house, because Suzuya's mother died when she was a child, and her life reason buried her thread related to that world. The aunt has always been at ease with Ling Ya, called, sent messages, and finally chased them all out herself, and the minister was very close to Ling Ya.

When their group came to Tokyo, they released the most powerful earthworm, and before the fall, the original male protagonist had turned into a key stone and suppressed it at the most critical moment, at which time the first half was over.

The second half is the heroine through the male protagonist's grandfather, as well as the male protagonist's good friend and aunt who came over. Go to Sendai, where the heroine was when she was a child, to see why the heroine can enter the ordinary world, while she has to find a way to rescue the male protagonist, on the other hand, she must dig deep into the secrets of her childhood life.

There are no spoilers here in the second half of the key plot, anyway, there are one or two reversals but not very well done.

A good disaster movie, ruined for the love scene? This time, Shinkai Makoto is "smart but smart and mistaken

The film's expressive focus is very obvious, it is deeper than "Your Name" and "Weather Child", and the page where Suzuya's diary is smeared is March 11, which coincides with the 9.1 magnitude East Japan earthquake.

Suzuya's hometown happens to be Sendai, and the site of the Great East Japan Earthquake happened to be the sea next to Sendai. In the movie, it was also this earthquake that Ling Bud's mother died, and then she strayed into the ordinary world to see the starry sky, and then encountered the plot that was reversed at the end of the movie.

Therefore, Suzuya lost relatives in the Great East Japan Earthquake, and the biggest highlight of Suzuya's trip is that Suzuya returned to his hometown, and finally told himself that Suzuya when he was a child had to live well, and the future must be bright, and at the same time, he was telling the loss of relatives in the Great East Japan Earthquake, and the children who were unfortunate because of the disaster around the world must live well.

The expression of "Journey to the Bell Buds" is indeed higher than the other two, but it is a pity that its story is not well told.

The road movie mode in the early stage of this movie has a good look, the narrative rhythm of the Japanese director, the display of the Japanese scenery, and the details of Japanese life and culture used to adjust the atmosphere.

But after arriving in Tokyo, it seems quite abrupt to start taking the direction of love, and it is very outrageous to pull out a chair and exchange one life for another. In the end, it does not end with a love scene, but uses the heroine who grows up to talk to the heroine of her childhood to complete the closed loop, which is still good and raises the perception a little.

The love elements of this movie are very chicken, if you focus on family love, it is definitely a more advanced approach, throwing all the settings such as the closed master to the deceased mother, changing the plot outline to the heroine and the aunt to create a gap, and by chance embarked on a journey to chase the closed door master's mother.

It is also the road of their own growth and the road of redemption with their aunt, and instead of scribbling about love, it is better to focus on growth and family affection in line with the theme.

There are several episodes in the middle, and I once wondered if the cat and cat were changed by her mother, and I felt that it would be more reasonable if there was a mother as a closed door master, and then split the plot into the highway line of Suzuya and Aunt, saying that their friction and happiness as a combined family must be more suitable than the abrupt love line.

Now that it's treated like this, I think the two plots will feel abrupt for ordinary audiences.

The first is the love scene between the heroine and the male protagonist, when the heroine shouts out the voice: "There is no grass too world, I am afraid", how many people almost can't stop Bengbu.

The heroine and the male protagonist met on two sides, and the female protagonist was at first full of color, and when she saw that the male protagonist was handsome, she followed, and the second side was to close the door together, but then the male protagonist was turned into a stool.

The divinity of the male protagonist as a "closed master" is shown well, but the charm of the male protagonist as "human nature" is very little. What clerk said he was attractive, and then his friend and his grandfather said a few words to the heroine, which made the heroine fall in love with the male protagonist, and it was really unconvincing to live or die.

Let's think about it, now the movie foreshadowing is that the heroine entered the "ordinary world" when she was a child, and then the lack of family affection in her mother's absence can be changed to her subconscious thinking that she hurt her mother (coinciding with the responsibility of saving the world), because the heroine pulled out the stone, and as a result, she also harmed the male protagonist.

In order to take responsibility, the heroine faces the same choice, and then goes to save the male protagonist will not be better.

The second is that Shinkai Makoto wanted to add some world view and science fiction settings on the basis of the previous soft science fiction, but did not hold it. Like the fantasy setting in this plot, it is also very abrupt and has no logical support.

That is, the minister's love for the heroine is inexplicable, and she turns the male protagonist into a stool, just to get rid of the identity of the stone. She likes the bell bud very much, the bell bud praises it and laughs at the flower, and the bell bud says that she hates it, and its meow is meaningless. There are two stones set in the movie, one white and one black and two meows, plus the male protagonist's grandfather said to the minister that he had worked hard, and when the black cat appeared, he said I want to become a human.

There are enough of this kind of foreshadowing——

I believe most people will think that the minister is the heroine's mother, and the black cat has something to do with the closed door, or the villain or something. As a result, the last two cats took the initiative to become stones, replacing the male protagonist to seal the earthworm.

I:?

Shinkai Makoto wanted to maintain the beautiful love of his previous works to attract the audience, but he wanted both ends and didn't get both, and the love line was very abrupt. The world view is not written well because of the love line, and the character portrayal has also collapsed, which is generally pulled up compared to the previous works.

A depression, a bear child? Makoto Shinkai filmed a Japanese version of "Deep Sea"

Finally, I think "Journey to the Bell Bud" and the domestic animation "Deep Sea" of the Spring Festival file are quite similar, and the two animations have a lot of similarities in many scenes, settings and plot progression.

For example, at the beginning, the scene where the heroine enters her childhood nightmare when she is a child is called: Mom.

For example, it was the heroine who released this world-destroying monster because of herself, and they also killed the male protagonist, and then found a way to overcome the nightmare and reconcile with herself.

To say that the only difference is the different personalities of the two heroines, the heroine of "Deep Sea" is gloomy and unpleasant because of depression, the heroine of "Journey to the Lingya" is not to mention the trouble, and the character of the bear child is not liked by the Chinese audience now. The key is that the heroine has a plot that makes the audience fire.

The heroine was 4 years old because her mother was gone unexpectedly, and she ran away from home during the snowstorm, her aunt cried and found her to adopt, she is almost 40 years old and has not yet married, because the heroine ran away from home and has been worried about her, looking for her, sending her dozens of messages every day, and asking others about their relationship is: "formed a mother-daughter family".

The aunt really raised the heroine as a daughter, but the heroine did not take her aunt to heart. When her aunt asked her what she was doing, she did not tell her that there was no strict requirement for secrecy in the plot of the suppression of the earthquake. And the male protagonist and the cat have been exposed to abnormal power, which I feel is known to Japanese society.

The heroine not only did not confess, but also quarreled with her aunt and roared viciously: The love you gave me is too heavy.

Her aunt's heartbroken and painful expression, her aunt had lost her youth in order to raise her children. This adopted heroine might as well raise a dog, really a white-eyed wolf.

Some people say that this represents the heroine's family background, so how to reflect.

How to say it? This goes back to the above character setting and plot expression problems, the male protagonist is absent in the second half, the female protagonist and aunt This scene is a strong dramatic conflict, and it is related to the secret of the heroine's life. In the end, it must be reconciled, and the logic of love with the male protagonist is not strong now.

The heroine who grew up reconciled with the heroine herself when she was a child, and she reconciled with her aunt, with the family, and with the reconciliation of responsibilities without any relationship.

This is like the heroine of the movie falling in love with the male protagonist is very abrupt, and the minister is unwilling to be a stone and is willing to become a stone is inexplicable.

This time, Shinkai Makoto really played a little smashed!