A confused exploration of the new style of conan theatrical version
——16 years later, watch "The Magician of Blade"
Putting aside the childhood filter, combining the early and late stages, and looking at this early theatrical version of "The Magician of Silverwing", there are still many emotions.
<h1 class= "pgc-h-arrow-right" > both box office and word-of-mouth</h1>
Released in Japan in 2004, Conan's Theatrical Edition 8 "The Magician of Silver Wings" (hereinafter referred to as "Blade") eventually grossed 2.8 billion yen in Japan, continuing the downward trend of the box office of the previous game.
In addition to the decline in the box office, the reputation of the theatrical version of 8 "The Magician of Silver Wings" also suffered a cliff-like decline. The following are the ratings of the director, screenwriter, box office and Japanese Yahoo users for the 1-12 conan theater version (out of 5 points).
In contrast, it can be found that the Japanese Yahoo score of Conan Theater Version 1-7 is above 4 points, but by the time "The Magician of Blade", the rating has plummeted to 3.20 points. What's even more unfortunate is that the ratings have since stagnated.
<h1 class= "pgc-h-arrow-right" > irreparable Koonei Ichisei</h1>
Today, I am looking back at the Conan theatrical version of "The Magician of Silverwing" (hereinafter referred to as "Blade"), which was released in Japan in 2004.
The previous works in Silverwing's Magician were all too good—the theatrical version of 6 "The Undead on Baker Street" (2002) with an advanced setting, the theatrical version of "The Crossroads of the Labyrinth" (2003), which combines traditional culture with romantic first love memories, and the theatrical version of 9 "Conspiracy on the Horizontal Line" (2005) with a hardcore reasoning style later.
The early theatrical version of "Detective Conan" was widely praised by Ke fans, which was inseparable from the talent of screenwriter Kazunari Koonei. And "Silver Wing" also fits the attribute of "Ichisei Koonei + early theatrical version", but if this attribute is too superstitious, it may make people ignore the shortcomings of "Blade".
< h1 class= "pgc-h-arrow-right" > the rhythm of fragmentation</h1>
Suffering from a double decline in box office and word-of-mouth, is the problem with "The Magician of Silverwing" the screenwriter himself?
In fact, it is not the case, screenwriter Kazunari Koonei's Conan theater version 1-5 has each received excellent word of mouth, and the classic scenes in it are still the topic of many Ke fans.
Is it possible that the screenwriter Kazunari Koonei has played abnormally?
Not quite. The opening "Corgi Showdown" is gripping. The performance of some flashbacks is also very good at catching the audience's attention, and the false shot on the first stage is to pave the way for the larger stage behind , the airplane.
The author believes that the problem should lie in the cooperation between the director and the screenwriter.
The Magician of Silver Wings is Yasuichiro Yamamoto's first work after taking over as the director of the Conan theatrical version. His takeover, judging from the box office alone, was a mid-term confusion.
Director Yasuichiro Yamamoto may still be too accustomed to doing the Conan TV version, and the first time he did the theatrical version, he had slight flaws in the language processing and rhythm grasp of the camera: the "Silver Wing" (the plane) of the dot plot was just a stage for a murder case in the mid-term plot, but this case was presented too ordinary. It can be summed up in six words - how the poison is laid.
Cases that occurred in the period before the climax of the theatrical version were in the middle of the theatrical version, and the audience sitting in the cinema was likely to be tired and bored. Perhaps the whole case is not as deeply rooted in the hearts of the people as uncle Maori's discolored face.
From the macro perspective of the whole film, there is also a similar rhythm problem: the three main stories of the theatrical version are the theater treasure hunt, the aerial crime solving, and the rescue of the plane, which seem to be run through by Kidd's treasure. But if Kidd's character is removed, the script can be turned into "Theater Crime" and "Aerial Crime", as well as commercial short film "Save the Plane". In other words, the theatrical version of the story is coherent on the surface, but it is actually fragmented.
<h1 class= "pgc-h-arrow-right" > exploration in confusion</h1>
If you look at the 23 Conan theatrical versions that have been released in their entirety, you can find that the Conan Theatrical Edition has obvious differences in the front and late stages. In the early stage, more attention was paid to the presentation of cases and reasoning, while in the later stage, more emphasis was placed on "cool" and "big scenes", and gradually became a "routine".
After 16 years of release, watching "The Magician of Silver Wings", Kazunari Koonei's script has actually laid the foundation for the Conan theater version routine during the Shizuno Kofumi (Conan Theater Edition 15-21 director).
The captain and co-captain felt chest tightness in the middle of the plot design, which paved the way for the crash of the plane. After the murder on the plane is solved, the climax of the theatrical version comes - the drama of saving the plane begins to be staged.
Unsurprisingly, the enemy and I join forces (Conan and Kidd), the heroine's confession at the moment of crisis, and finally everyone works together to solve the problem, the ending of the reunion, this "reasoning small story + action big scene" routine is very similar to today's Conan theater version.
The final commercial popcorn part is exciting; Xinlan's telephone confession is touching, and the plot also shows the friendship between Xiaolan and Yuanzi instead of the chief and deputy captain, controlling and driving the plane to encourage each other.
Conan learned to fly a plane in Hawaii, but Xiaolan and Yuanzi did not, and the screenwriter here gave the two women a magical BUFF, and finally saved the passengers on the plane together. Looking forward from the current theatrical version of the era, it is the same as the routine of today's theater version that begins to focus on adding super drama to the "supporting roles" (Amuro Tuo in the theater version 22 "The Executioner of Zero", and Kyogoku Makoto in the theater version 23 "Fist of Cyan").
Compared with the plot of Xiaolan driving a plane to save passengers, the author prefers the theatrical version 5 "Countdown to Heaven", the theater version 6 "The Undead of Baker Street" Xiaolan's jump on the train and the Twin Skyscraper, there is no excessive "superpower", "naturally" can make people harvest more moving.
< h1 class="pgc-h-arrow-right" > summary</h1>
The 3 deficiencies of Blade Magician:
1. The ordinary and even boring of the middle section of the case
2. The division of the overall plot
3. The humanization of character tools is gradually emerging
3 advantages of The Magician of Blade:
1. The opening flashback to Conan's battle with Kidd is eye-catching
2. Saving the Plane plot is gripping (the plane clips in "Sunflowers of Karma Fire" are not as good as in "Blade")
3. The portrayal of Xinlan's emotional drama is very infectious (Lan Duo's "Save Me Xinyi" in the later period is really not flattering)
Finally, a friendly reminder: non-related personnel should not enter the cockpit of the aircraft!