Ah, friends who have seen or have not seen "Journey to the Bell Buds"
Before we start talking about film reviews, we have to digress a little
On the night of March 27, 2023, after watching the tour of Lingya, I decided to write this film review early the next morning... But! When I was lying in bed recalling the plot of the movie and looking for other film reviews, MD, did not hold back, wrote, wrote now, did not vomit or unhappy, so there is this manuscript I typed in front of the computer in the middle of the night.
North Wind, as a film critic, is still objective and fair, this content is not washing the floor, nor is it the intracranial climax of Kuroko, or that sentence, what should be said, we will all talk about it, there are good and bad.
Miss Suzuya comes to lock the door!
Excellent artwork and top-notch soundtrack
Compared with the previous two games, "Journey to the Bell Buds" still has a fine picture, almost every frame can be screenshotted as wallpaper, the 360-degree camera movement and the clear sky and water surface are beautiful, and the animation uses a rare widescreen format, and the excellent imitation of the live-action scene scheduling in the movie is also an excellent innovative performance.
You just say that locking the door is not handsome
The characters' expressions and movements are silky and smooth, whether it is a protagonist such as Kusanagi and Suzuya, or a supporting role such as Serizawa and Chigo, they all have quite distinctive characteristics and appearance (I really like Aunt Huan!). In the film, foot control benefits such as small leather shoes and white silk stepping on chairs are also enough to make people feel reassured. In terms of the picture alone, it is ten, or even nine points, because it is a road movie in itself, the constant switching between scenes makes you not have aesthetic fatigue, every journey in the movie is pleasing to the eye, from the brilliant starry sky under the ordinary world, to the quiet town life in Kyushu, to the reinforced concrete forest of Tokyo, and finally the sense of disaster presented by the giant vermicom, if you are a picture party, or just want to see a beautiful story with your own object, then the Suzuya tour is definitely worth the ticket price.
Happy!
MOREOVER, LET'S TALK ABOUT THE SOUNDTRACK, RADWIMPS' MUSIC I DIRECTLY BLOW UP WELL, THE FORMATION REALLY PARTICIPATED IN "BELL BUD JOURNEY" TO MAKE THE SOUNDTRACK MORE "MAGNIFICENT" THAN THE PREVIOUS TWO WORKS, WHICH ALSO POINTS TO THE "NEW STEP" TAKEN BY SHINGLE XINHAI FROM THE SIDE, MAYBE BROTHER CHENG DOESN'T WANT TO SHOOT LOVE ANYMORE, WHAT LONG-DISTANCE RELATIONSHIP, YEARLESS LOVE AND THE LIKE, FIFTY-YEAR-OLD PEOPLE, HOW TO SAY IT SHOULD NOT BE TO PAINT THE AGE OF FEMALE HIGH SCHOOL STUDENTS SAD SPRING AND AUTUMN, THE WHOLE NEW WORK TO REMEMBER THE PAIN OF THE 311 EARTHQUAKE.
Unfortunately, this is new and rotten.
Road slice mode that is not compatible with it
Suzuya's plot is actually very simple, after removing the feeling of remembering the disaster and the other themes given to it by Chenggo, we can completely decompose it into a story such as a reckless JK's poor trip to Japan or the adventures of a small chair.
As a road movie with a conciliatory narrative, this film is two emotional lines of family affection and love, in which Shinkai Makoto adds the concept of responsibility.
Some innovations, unfortunately almost killed.
How to solve the worry? Only cats and cats!
The plot problem is naturally obvious, after Suzuya saw the Kusanagi, just because this man with a one-sided relationship could not study, his home did not return, and the aunt who took care of himself for more than ten years did not care, and went to save Japan and find true love. This kind of treatment is too rough, not only such emotional lines, most of the portrayals in the play are too blunt and deliberate, and even have the mistake of "hanging the gun without firing". Just as the old man who was still strongly opposed a second ago, who said "this is his glory", suddenly changed his mind, "Ah, you go to him", and for example, there are only a few portrayals of encounters with other people during the journey, and the encounter is an encounter, and getting along is only describing the plot of "eating", and the appearance of passers-by is like a tool made to make Suzuya stay overnight and change the scene of the journey.
But I still like it
The reason for this treatment is certainly insightful, because it is a road film of both entertainment and commercial nature, and he must make corresponding trade-offs compared to the regional portrayals of the first two films, and he is bound to move closer to the way this type of film is made, just like all those Hollywood blockbusters who travel around the world but end up carelessly ignoring all the scenery, and from the beginning they quickly drive the pace of rhythm, with only one short prologue - that is, twelve minutes before the title and theme song appear - It completes a "closed-door" climax; In contrast, the previous game, Weather Child, depicted Tokyo's normality and urban texture in depth for nearly half the time, before it began to give a more pressing situation.
Cheese monarch name
As the location continues to move, the scale of the ruins continues to expand, and the old core is revealed in a new way each time, although there is Makoto Shinkai's excellent voice acting bonus and elaborate performance graphics, it still weakens the "sense of shock" of Tokyo's "closed door" to a certain extent.
The work naturally does not have a particularly big hard injury, and the "masterpiece" mentioned in the promotion is also true, "Journey to the Bell Bud" collects almost all the images that appear in Shinkai Makoto's movies, cute cats, starry sky, rain, beautiful towns, etc., it is like a bowl of noodles that you go to a fast food restaurant and order, and then add enough food to it, so that it looks extremely luxurious, and its essence is still a bowl of noodles pressed out by machine in a fast food restaurant.
It is necessary to spit on the heroine's superhuman strength comparable to that of an athlete
It's not that the mode of such a road movie is not good, but such a model is by no means suitable to describe a story with rich personal feelings and a strong disaster plot, and the biggest problem is how to deal with and improve the story on the journey, Suzuya hurriedly stayed overnight and then closed the door in a hurry, and finally left in a hurry, Suzuya must close one "door" after another in a short time to prevent the disaster, which is precisely its problem - the lack of portrayal and description caused by too much traction.
All I can say is that
Thin emotional shaping
The description of the love line can be described as a mess, originally the film has the above "too tight" problem, and Kusanagi, a character that should exist as a male protagonist, is a chair in 80% of the plot, as the love object of Suzuya, it is better to say that it is more like the kind of pet-like character who assumes funny functions in Disney-style commercial animations that often follow the protagonist's actions.
Yes, that's it
Without the male body and persona as an intermediary, the love between the two cannot even be perceived by the audience in a stereotypical sense, but is only thinly pinned on the evil parody of the Frog Prince story. Although this may not be a problem in other films, after all, love is only used as the seasoning for the grand narrative of the movie, but "Journey to the Bell Buds" does not, Shinkai's Makoto-style expression requires love, a film with love as the core power of the text, it must be at least strong enough to support the double twist of plot and emotion in the second half of the film.
After Kusata turns into a stone, Suzuya once again embarks on a journey of salvation, driven by the belief in love; However, because the portrayal of the love between the two in the previous part is completely insufficient to trigger the emotional resonance of the rescue journey, the audience can only mechanically understand Ling Ya's determination, which in turn affects the entire process of emotional progression to climax. Just like the encounter between Suzuya and Kusanagi, the audience is also confused when they see Suzuya shouting "The world without Mr. Kusanagi, I'm afraid", is it really good for a sophomore girl to ignore her life like this for the sake of a man who met in the water?
I think Shinkai's original intention was to portray a woman who gradually awakens independently, completes self-redemption, and understands her own responsibility, but here, it is obviously a failure. The nature of "Journey to the Bell Bud" makes it difficult for him to recreate "Your Name". " and "Weather Child" are emotionally contagious, and his Shinkai-style expression is destined to not make it a smooth road movie, so in the end it just repeats the ineffective sensationalism of "Children Chasing Stars", which is also a female protagonist's road theme.
Childish subject matter treatment
Such a work is naturally a happy ending, so looking back, we can't help but have such questions.
I'm super, it's not a if you don't pull out the stone!
When Suzuya pulls out the stone and releases the minister, the first "responsibility" of the film comes out, that is, Suzuya needs to make up for his mistakes, but such imposed responsibility does not show the positive image of Suzuya, but makes people feel that she is a stubborn and rebellious girl, Suzuya's quarrel with her aunt is the manifestation of the second "responsibility", the aunt's responsibility is discipline and upbringing, and she paid her youth for it, and Suzuya quarreled with it because she thought she should be independent, but before, Suzuya does not show any signs of maturity and independence, and I believe that most of the audience in this quarrel is in the position of the aunt, which is fatal to the shaping of the character. The minister hoped that Suzuya could take him in, but finally learned through his aunt that cats were not allowed at home, and Suzuya's image of being irresponsible and responsible once again deepened.
Beautiful rebellious girl
When it comes to the main theme of the film, responsibility is still an inescapable topic, Kusanagi is a responsibility behind closed doors, it is a responsibility to become a stone to save others, a cat and cat have become a stone is a responsibility, and the aunt's upbringing is a responsibility......... In short, there are too many, but these responsibilities always come with sacrifice and choice.
"To save your lover or to save the world?"
In order to seal the disaster, Kusata is forced to take on the responsibility of turning into a stone; In order to save Kusanagi, you have to face the risk of disaster coming again. Although the conversation with Kusanasa's grandfather speaks volumes about the acuteness of the problem, Suzuya gives it all into thought when embarking on a journey to salvation; It wasn't until she had already broken into the "Chang Shi" and tried to pull out the stone that Kusanagi had turned into, that she remembered this problem that she had been ignoring before, and said, "Then let me become the stone!" "But how can this happen in a commercial entertainment animation? But it's just talk.
The byd tram puzzle is it
Therefore, the minister must finally turn back into a key stone, and exchange his sacrifice for the movie's circumvention of the dilemma, so that Kusata and Suzuya can be reunited without taking responsibility for causing the disaster. In particular, if we ignore the film's deliberate dwarfing of the minister's motivation and the infantilization of the behavioral level in order to cover up the contradiction, then how similar is its refusal to be a stone and allowing disaster to fall into the world to the choice of sail high in "Children of the Weather"! Why is it that the responsibility to save the world, which can be bravely rejected for the sake of love in the previous work, is rebound to the individual in this work in a more indeleable way?
Just like Makoto Shinkai said in an interview before, what he wants to do is a movie that emphasizes living well in a disaster, but the most basic logical problem is that he does not suffer a disaster alone, right? Nor should it be saved by the sacrifice of a very small number of people?
The devastation left by the 311 earthquake
Is such a personal heroic treatment too naïve under such a serious expression as the earthquake, such a conciliatory narrative not only does not lead to self-redemption, but will put each character in bondage, the minister is meaningless if he is not liked, and finally in order to satisfy the happy love of men and women has become a stone; The aunt swallowed the voice of complaints, still had to take care of Suzuya, and her life still remained unchanged; What Suzuya sees in the door is the future self, and the lack of maternal love is still missing; There will still be earthquakes in Japan after that, and the closed-door division will not disappear; In this way, the contradiction appeared, but in the end nothing was resolved, the torn reality would be saved, the lost memory would be redeemed, just telling a fantastic story to heal the wound, blindly escaping will only fall into a deeper fantasy, the wound of the 311 earthquake needs to be healed, the pain needs to be remembered instead of being erased, and this, Shinkai Makoto can't do it, Japan can't do it, they are used to covering up, and neglecting to face this choice, and in the end it is bound to lead to everything being reincarnated in place without progress.
Interview with Brother Cheng
Makoto Shinkai has not changed, as he said
"Ten days after 311, I noticed that the cherry blossoms in Tokyo were blooming."
This is his outlook on life, which cannot be changed, his heart is not towards the sorrow and suffering of all living beings, he sees the triviality of the ethereal life.
But time does not forget suffering, and smiles cannot hide pain.
He is not destined to make a disaster movie.
Some digression
Suzuya also contains a lot of sexual innuendo, whether it is the genital-like "vermido", or the girl's gasping for nearly half a minute in the first film, or Serizawa's "gay tendencies", and what happens when the male protagonist turns into a chair.........
Some of the buried guns in the film were not fired, such as how the legs of the chair were broken, what is the background of Minister Zuo and the minister, why is the role of the father missing, and so on
Of course, these are no longer what we are discussing, after all, as a male I am not in a position to recommend which of my favorite foot control plots to everyone.
In short, so be it, it's not for nothing that Koreans give Shinhae-seong instant noodles.
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