Unlike the previous one, this is the veritable finale of Jingzi. Spoilers have already begun from the poster: Shaozo is still alive! Then the plot is probably these two kinds of development: walking 100% of the love line is that Violet and Shaoza are living happily together or regretting that the first love or father-daughter friendship is silly and indistinguishable, although not together, but Violet has become a free and independent professional woman who understands love. And this film portrays Violet as the latter (the crotch is the same as Shaozuo), and at the same time let them successfully live happily together, which can be described as a great HE.
Strange to say, in the TV version, I did not think that there was a clear male and female relationship between Violet and Shaoza, and I did not exclude the love between men and women, but it did not make sense. In the theatrical version, Violet's eyes, this action, this line, is not a man-woman relationship that does not make sense! Congratulations to the theatrical version for updating my cognition at the beginning. The right performance, the delicate action expression, the timing-aware BGM, and the shaping of the whole atmosphere are the traditional advantages of Kyo Ani embodied in the theatrical version. The plot is also as familiar as the TV version, "I know this is definitely the unfolding here, but the tears just can't stop ah" by the stone.
To interject here, the beginning said that less Zola crotch, compared with the growing up Violet, he does appear to be crotch, but also more like Violet loves and can not be very pitiful, assuming that this theatrical version may have more scolding after the domestic release. But I myself have recently become more and more empathetic to Shōsa's "inferiority + self-blame = escape" mentality. I wish everyone can be so strong and beautiful after the vicissitudes like Violet, but if you are like Shao zuo, it is also a common feeling, as long as you can bravely run to the side of the thing you love at the last moment.
The plot is mainly divided into three lines. The first is the Future Line, the granddaughter of the daughter who receives a letter from her deceased mother on every birthday in the TV version, learns about Violet through her grandmother's relics, and traces the story of her traces. The second line is a plot design similar to the TV version of the unit drama, with Violet writing letters to customers as a doll. This time the client was a terminally ill boy who wanted to deliver letters to his parents and friends after his death. The third is the true main line of Violet's search for Shaoza. The last two lines are tear-inducing high-energy, and even the first one can be used to deceive a wave of tears by re-reading the TV version.
The theatrical version interlaces the three lines with each other, which has more symmetrical maniac meaning than placing them in different episodes.
For example, the sick and infirm teenager, like the mother in the TV version, wants to write a letter in advance and write it to his relatives after death, just an elder, a junior.
The arrogant affection of the sick and weak teenager for his brother is also symmetrical with that of His brother and Shōsa.
At the climax of the last two lines intersecting, the sick boy and the green plum bamboo horse call, and the two of them can't cry on the beach after the young man catches up with Violet's boat. They all feel that the "unworthy" side does not want to see the other party, but they all bravely take that step and say what they want to say to the other party. Moreover, they did not use the traditional way of writing letters, as if as long as they spoke the truth, it did not matter what medium they used.
He chose to write letters to ghostwrite this nostalgic theme, and directly used the character's mouth to express his anxiety about grabbing jobs on the phone, but the climactic plot used the phone. Even teenage girls on the future line are estranged from their parents because their parents are too busy as doctors. At first, I still felt that this was a conventional persona, but after the terminally ill teenager came out, I felt that the doctor's choice was not accidental, and it was also part of the multi-line correspondence. Is there a more gentle company than Kyo Ani? It's almost like saying that everything in the world has its own beauty! But such a gentle company has encountered that kind of thing... So the fourth tear gas cast list at the end of the film.
Even a person like me who laughs at the human Bible terrier, not to mention Jing Zi Powder, and even Jing Fan may not be counted, watching this theatrical version is also holding back tears. For Jingzi powder, how to say blowing nose to start. (ps. I really think that the reading time is a big killer of Jingzi, obviously it is "the mother's cooking is delicious" Why is this ultra-simple text so tear-inducing! ）
At the same time, this theatrical version of tv3 ~ 4 to support the 90-minute plot capacity, with a variety of long shots and memories to pull into 140 minutes. As a result, the theatrical version is not suitable for the slow pace of the literary style, the extreme God perspective, and the complete lack of sensationalism, then you sit in the movie theater and only get the sound of boiling water and other audiences blowing their noses. However, these people above would not have liked the TV version.
Of course, this theatrical version is not a special fan direction, the places that should be used for TV cameras to recall the killing have been arranged tirelessly, and passers-by directly look at the problem. Purely as a story, this theatrical version is also more complete than the last sequel, who called this the real main story about the heroine. It's not as good as the spin-offs, but... There must be a reason for this. Well again, the roll-off list at the end of the film is also a tear gas.