When we discuss Japanese animation films, I think Konto, Miyazaki, and Yuasa are three masters who cannot be avoided. Konto’s animation storyboard is the benchmark, and the vision of Hayao Miyazaki’s animation can be grand and profound and warm. In contrast, Yuasa Masaaki seems to be unknown, not as well-known as Shinkai Makoto in China.
However, it is definitely a pity to miss Yuasa Masaaki’s animation works. You can always see his style at a glance and feel the strong "Yuasa Masaaki" characteristics. These are not only caused by superficial style, but The vitality of a real animation director is in it.
The most well-known works of Masaaki Yuasa are "Chibi Maruko" and "Crayon Shin-chan". The former is the art designer, and the latter is the painting supervision, setting, original painting, etc., but the original comic itself has a strong style of work Under the premise, in these two works, he cannot fully feel his creative talents.
and Yuasa Masaaki's later works are relatively small, not a good first choice for entry.
recently released "If I Can Ride on the Waves with You", although the score is not high, it is indeed the most suitable movie for the public to recognize the talent of Yuasa Masaaki. At the same time, it is also a movie that I feel is too underestimated.
The following content involves minor spoilers. The
movie itself belongs to the category of fantasy pure love, and the most negative reviews on the Internet are that Yuasa is becoming "sinkai" by the day. This review is too rough, and the director’s pure love theme should not be regarded as a synonym for the depravity of an animation director. .
is on the contrary, I think pure love is a subject that is difficult to express in animated films, .
Take Xin Haicheng who is more familiar to the public, in fact, his true pure love is only "The Garden of Words", whether it is "Your Name" that made him famous, or this year's "Weather Children", it is showing The proposition of love is a slight failure. The warming of feelings between the male and female protagonists felt by the audience depends on the promotion of "unusual" events-saving lives, reversing reality, and saving the dying heroine basically follow this set of principles.
If you want to get rid of the cocoon, get rid of these plots that tend to push people's emotions to a climax, the love throbbing you can feel, or the bond between the two are actually very limited.
In the first half of "If I Can Ride On The Waves With You", although there are also male protagonists who have a longing for the female protagonist who saved him when he was young, the process of getting along and warming up the relationship between the two makes people Very convincing, in fact it is just a fragmentary or even slightly clichéd love festival, but as the male lead sister said: "People who fall in love are stupid." Isn't love made up of these sweet and boring details? The point is how the filming can make people feel throbbing, this is the director's skill. This section of
is handled extremely beautifully by Yuasa Masaaki. It is not only a smooth and vivid scene, but also a series of seemingly unrelated trivial daily life, which is actually a progressive emotional treatment. The most wonderful thing about
is the theme song that runs through the entire movie, which can seamlessly integrate with the movie plot while mobilizing the audience's emotions. One of the passages directly used the male and female lead guitars to sing a cappella. There is a vivid breath of instability, and there are laughter from the female lead’s happy laugh while singing. It can be said that the vivid love festival is largely due to these highly infectious The details.
So at the turning point of the story, when the male protagonist died in the sea in order to save people, what are the audiences crying? This best reflects the success of the first half of the film. At least when I was crying, I really felt the distress and unacceptable when the heroine lost the hero, not because of any sacrifice. All of
also opened up the logic for the heroine behind to hope that the heroine can ride his own waves.
This is also the reason why I disagree with some of the comments that think this movie has no logic. When discussing movie logic, should not focus on whether certain plots are reasonable, but should discuss whether the emotional shift is reasonable. In addition to the emotional handling of the
movie, Yuasa’s iconic painting style is another highlight.
Yuasa Masaaki prefers exaggerated animation character processing, and likes to use the simplest color blocks to build characters. I once thought that this movie would be processed into the same fantasy style as "Spring Festival Short Girl Go Forward", but Yuasa Masaaki still With the addition of the right light and shadow, the characters not only match the exquisite background, but also have a subtle collision of beauty.
Yuasa Masaaki’s character always has an exaggerated neck and slender handsFeet, but these slender characters possess incredible jumping vitality. Together with his unique lens language, his movies always have a wonderful look and feel. Although
is a pure love movie, he still hasn't given up his beloved adult content, and there are still some deeply hidden metaphors, either in the plot or in the picture.
This movie may not be perfect, but it is definitely a brand new experience!
