Pure love, fantasy, high school students save the world? Why should Makoto Shinkai be the "successor of Hayao Miyazaki"

Text | Ling Hu Boguang

Continue to write Makoto Shinkai's "Journey to the Bell Bud" today, the story plot will not be repeated, and it should be easier for audiences who have seen the movie to understand. First of all, my overall feeling: ten can only give four points and two points of picture quality, and two points of music. The rest of the plot, character shaping, and theme connotation are not inferior. But because it is not well explained, there is a big problem when combined.

I think this movie is too sloppy, the plot of "The Garden of Words" is missing, the love logic of "Your Name", the ability details of "Weather Child", and the shortness of the three families of "Suzuya Todi" is even worse.

I had great expectations before watching the movie, the success of "Your Name" before, I watched almost all of Makoto Shinkai's animated films, and wanted to find that special touch, but after watching this movie, I was only disappointed.

He wants to talk a lot, love, disasters, family, mythology, survival, death... But none of them were well told.

I don't care how much his novel is supplemented, and how much connotation and extension the details in the film have. In short, this film gives people a bad viewing experience, fragmented, the front hole is not completed, the back is followed by another push hole, the plot is inexplicable, and finally forcibly sublimates the theme.

What this movie wants to express is good, and the picture is in place, but there is a feeling that the plot is forcibly pushed. If you put it before, you may have held the plot with the mentality that since it is like this, then it is such a mentality, and do not study it in detail. But when I look at it now, I always wonder why this is the case.

When you look at it with thinking and scrutiny, you think you can see its deeper logic, but it brings disappointment.

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For ordinary audiences, I think the biggest problem with this film is the character character, and the unlikability caused by shaping is too obvious. As far as role shaping is concerned, the shaping of the male protagonist is without any center of gravity, and there is very little description of the male protagonist's feelings for the female protagonist, so the middle female protagonist said that the world without the male protagonist cannot survive, which will seem very abrupt.

Of course, I see that some viewers who like it think that Suzuya went to the ruins to find Kusanagi not just because he was handsome, but because Suzuya felt as if he had seen him somewhere (as mentioned later in the movie, Suzuya and Kusata on the grassland he saw before he went out from Changshi left a deep impression on Xiao Suzuya, so seeing Kusata twelve years later will feel very familiar, very curious, and want to follow him to find him).

In addition, the emotional line of the male and female protagonists, the female protagonist is more like the light caught in the confusion to the male protagonist. At the beginning of the first meeting, the heroine said "so beautiful", with a simple favorability, which is a bias for a beautiful thing; When the male and female protagonists cooperate to close the first door, the female protagonist can detect that the things inside the door have something to do with the earthquake.

And she herself unintentionally let go of the stone to complicate things, if the door is not closed in time, many people will be killed. As a survivor of the big earthquake, the heroine's disappearance of her mother because of the tsunami has always been a hurdle in her heart.

After the male protagonist became a stool, the two of them worked hard to close the door together, the female protagonist on the Ferris wheel male protagonist gave up catching the minister to save the female protagonist, picking up the tacit understanding of oranges, the playful joy of the two of them when the female protagonist stepped on the stool, passers-by told the female protagonist to wake up a small assist that a person needs to kiss, the female protagonist impulsively sits on the stool for some reason, and the male protagonist takes the initiative to expose his own particularity to help the troubled female protagonist when the female protagonist takes the child.

After the male protagonist was rescued, he put on the female protagonist and many other small details, and there were many emotional lines, but they were all small details, lacking the description of the character's heart, and the audience's sense of substitution was insufficient. After Aunt Huan found her, she drove for 7 hours, and there was a large blank space in the middle, which made people think of Aunt Huan's attitude towards the female protagonist looking for the male protagonist, as well as the change in attitude towards the male protagonist's friend.

But due to the limitation of the time of the movie, the plot seems to be very fast. The same is true of this cat line that has changed from a stone to a "minister", and the aunt line who raised the heroine.

I believe that most Chinese audiences are a little unable to accept this "Virgin" value of "digging holes by themselves, filling in by themselves, and then being touched by themselves and forgiving everyone".

The motives of the characters in this film are not well shown, but they incorporate a lot of deliberate comedy elements, and I can only feel a sense of mission that comes from nowhere, and this separation between the emotions of the characters and the audience's understanding makes me feel a puzzle, just as I can't understand that many of the second creation clips are purely mixed and cut, which can move a group of people.

This movie is exactly such a look, without enough motivation to present the plot is difficult to substitute and convince, all say that good movies are pouring out rather than preaching, I was embarrassed to scratch the ground with my toes.

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The main problem of this movie is that there are too many commercial elements, the love of other heroines and male protagonists, the family relationship between the heroine and the aunt can be said to be not enough space, there are small details to show but the progress is too fast, so that the intention of the film is not shown.

But who pulled out Minister Zuo? If not, what the minister did, should there be a picture mentioning? If the minister did it, then this contradicts the fact that the minister has always been there to guide this.

The heroine Lingya is really too bearish paper, you say salvation, do I really prevent any disaster on my own except for the last paragraph and my own dialogue? No, it can be said that it all depends on the male protagonist Kusanagi. The final intention of the movie is very good, and the people I meet when I see the ruins and travel in the middle are still very feeling, but it is far from the extent of supporting a movie.

This film does have reflections on the aftermath of the disaster, but the whole drama is not obvious under this awkward love description and boring plot, in my opinion, it would be much better for my senses if Makoto Shinkai focused not on his love and changed the focus.

The reality is that Xinhai Makoto stuffed a lot of things into this movie, family affection, love, disaster, and the beauty of road encounters are added, and finally make the movie look very bloated, how to say that after watching it is not as much moving as blown on the Internet, as for watching crying, it is better to watch sleepy.

All in all, the plot logic of this movie is too chaotic, the emotional drama between men and women is sparse, the world view is too large, Shinkai Makoto wants to express too much, and the 120-minute movie carries too little, and most of those online interpretations are brain supplements. So when watching in the cinema, I believe that many people are confused after watching it, and they can't get the kernel at all.

Dispensable characters such as the girl who delivers oranges on the road, the mother with children, and the boy's friend are too informative, and the core characters of aunt, minister, and grandfather are written too hastily. Too much is written about the two girls' night talks, helping mother Sang bring the baby, and singing on the road, which do not promote the plot, and too little about the emotional development of the male and female protagonists.

I understand that Makoto Shinkai may just want to downplay the emotional drama, but don't suddenly kiss and get up: "I can't accept the world without Kusanagi"

This expression may be the pinnacle of Makoto Shinkai's film, but the delicate plot is far less than "Your Name". No matter how high the intention of a movie, a movie that the audience can understand, it is a good movie!

Pure love, fantasy, high school students save the world? Why should Makoto Shinkai be the "successor of Hayao Miyazaki"

Makoto Shinkai's number of animated films is 7, but the previous works are still relatively niche, after all, in the early days "Voice of the Star", "The Other Side of the Cloud, The Agreed Place", "Five Centimeters Per Second", "The Child Chasing the Stars" and "The Garden of Words". Three of them are short stories, and I guess many people still choose "Five Centimeters Per Second" at the peak of the early long story.

Later, the peak of the first commercial feature film was "Your Name", which not only broke the Japanese box office record, but also the world.

This is also the reason why Makoto Shinkai is known as the successor of Hayao Miyazaki, because the box office record of the previous generation of Japanese animated films is Hayao Miyazaki's "Spirited Away", this generation is Makoto Shinkai's "Your Name", this generation of other animation directors are much worse commercially, "Ghost Slayer Blade" This theatrical version of the animated film is not a track.

Although Makoto Shinkai's "Weather Child" and "Suzubud Journey" have not surpassed the monarch's name, they are still the best Japanese animated films of this generation of commercial achievements, whether local or the world. So, why did Makoto Shinkai become the king of the new generation of Japanese animated films?

Early short films and "Five Centimeters Per Second" are purer though. It is also the ability to make that kind of middle and romantic emotions moved, look at "The Other Side of the Cloud, the Agreed Place", the whole thing is the same as the QQ name and QQ space dynamics that are hypocritical in retrospect.

This is the same as niche literary and artistic works, with a unique painting style and pure expression. People who can't understand feel pretentious, and the audience who can get it loves to death.

But in the process of you bringing it to the masses, this balance between popularity and commercialization is very important.

I think "Your Name" is still Makoto Shinkai's pinnacle work, painting style, setting, character shaping, narrative structure, and fantasy world construction; Then to Makoto Shinkai, the Japanese high school students and men and women who save the world, but for various reasons have feelings for each other, as well as the display of Japanese scenery and Japanese cultural elements.

It may not be as pure as the previous works, but the level of comprehensiveness is indeed the highest. This is also the reason why "Your Name" has been a great success in Japan, the previous Chinese market, including the world market. But since "Weather Child", the commercial atmosphere of Shinkai Makoto animation has become more and more intense, with more and more settings, and more and more complex elements, which eventually leads to too redundant viewing experience in movies.

I feel that the evaluation of this "Journey to the Bell Bud" and "Weather Child" is seriously polarized, the biggest reason is that Shinkai Makoto is too greedy and does not guide the audience to understand, and the audience has no resonance and empathy, which leads to the audience who can experience things from it will be very moved, and the audience who cannot experience it will only be confused.

This is the same as the domestic animation "Deep Sea" in the Spring Festival file, and I think these two animations are similar.

I myself tend to be confused, and I see many fans say this: You can't experience "Suzuya Journey", because you are not Japanese, you have not experienced as many earthquakes as Japanese -

I thank you – I haven't experienced so many earthquakes, but I'm so grateful to be born in my country.

Then again, I have to kill people to experience crime movies? I haven't been in the space elevator to watch "The Wandering Earth 2", how is my blood boiling? I can understand the core of the film is good, but I think Shinkai Makoto is too greedy, or the creation has reached a bottleneck, and has not guided the audience to understand.

As long as you can't resonate, this film does have the feeling that it has just reached the passing line. In this way, as a commercial film based on all audiences, it is absolutely normal for the film's evaluation to be polarized. I really think that this film should be made as a serial animation, increase the description, so that everyone can understand it, it must be a great improvement over the current movie with a chaotic narrative rhythm and poor character creation.

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Finally, Makoto Shinkai don't worry about your pure love for Japanese high school students, the more things a commercial movie mixes, the better the movie. After "Your Name", the box office of the next two consecutive works, word of mouth and evaluation continued to decline.

This has proved that Shinkai Makoto is facing a bottleneck in creation, and he can still try to break through.

If he was the first stage in "The Court of Words", now the "Trilogy of Disasters" is the second stage of Makoto Shinkai. If Shinkai Makoto can still break through in the third stage of creation, and reach the peak in all aspects. He is also not Miyazaki's successor, but a new generation of Japanese animated film kings.

Although I think that at the artistic level of animation, Makoto Shinkai can't catch up with Miyazaki no matter how hard he tries.