However, because he was born as a personal animator, and because the production experience is still shallow, Xin Haicheng still has difficulty in controlling such a multi-threaded narrative work. Under the beautiful background and beautiful music, the film appears because of its lack of dramatic tension in the script. Especially mediocre. It can be seen that the clues of this work are extremely confusing, and many places are unclear, such as the origin of the ore, the origin of the Yi nationality, the background of the short-lived death, the meaning of the girl's journey, and so on. In other places, the abuse of cinematic language can also be seen. For example, when the teacher gave the heroine a pistol to protect herself when he reached the cliff, everyone knew that a pistol appeared in the movie and it would inevitably sound, but this The pistol fired a few meaningless shots when the female protagonist was caught by the Yi people and retired from the stage. Everyone knows that the female protagonist will be saved by the male protagonist in the end; why not leave the gun in the last scene. The teacher is not unexpectedly blackened. When the hostess wants to resurrect his wife with the body of the hostess, the hostess breaks free and shoots at the teacher, indicating that he wants to live by his own will. Doesn't it appear to be a dramatic conflict?
Regarding the theme of the work, Xin Haicheng chose a relatively unsuccessful entry point. The heroine of the film is vague about why she came to Yagotai, the emotions of the characters in the play, and the meaning of her journey. As viewers, we are more concerned about the stars and mists in the title. Perhaps it was because he was aware of the failure of his narrative, Xin Haicheng had to choose to use the protagonist's mouth to bluntly say the theme of the film, which is "the living talent is more important", "people should embrace loss and live" instead of It is regrettable to use cinematic language to allow the audience to think for themselves. And I think it would be better to choose the male lead as the starting point. I have the unique emotion of wanting to identify but not agreeing with my brother, the loneliness of being alone in the underground world without a place to live, and the feeling of my future. At a loss as to what to do, these were only understated in the film, but if portrayed, it should be more dramatic than the heroine as an entry point.
Perhaps the bigger factor for the success of "Five Centimeters Per Second" is that everyone found sympathy from this story, and was moved by their own more or less similar experiences before, but in fact, everyone is more by themselves. move. But the film did not continue such moving, the pale narrative did not give everyone a similar resonance and sense of substitution, thus starting to think about their own life, everyone was as a bystander from the beginning to the end, following the heroine in confusion. Until the end. Of course, Xin Haicheng’s efforts in seeking a large-scale narrative are worthy of recognition. Because of the previous successes, it is difficult to replicate the same touch for the second and third time. I hope Xin Haicheng can learn a lesson from this failure to improve his narrative level and bring us better works.
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