It is not necessary to be faithful to all the details, but to be faithful to the "spirit" of the original work, which is basically the direction of the efforts of all literary works in film adaptation. The little mermaid in Andersen's fairy tale gave up his life for love and finally gained an immortal soul, which itself is a very rare drama material for animated films. The tragic nature of The Little Mermaid is not more difficult to accept than the earlier movies such as "Bambi", but Disney's "adaptation" is puzzling and unforgivable waste, it is a complete "castration of the original".
Seeing the little mermaid and the prince got married, I immediately threw the VCD into the trash can.
But "Crank Tower" is an exception.
You can explore the ideology of "Notre Dame de Paris" from many angles, but there is one thing that you cannot forgive: this is a "romantic" work that depicts dirty, ugly, dirty, and gloomy people. None of the characters in the play are not manipulated by naked desires, and none of the characters' psychology is not distorted, and the contradictory blades are directed at all classes of society. In fact, "Notre Dame de Paris" is a very cruel work. Not to mention the precedent that Disney hadn't started limited-level animation at that time, such "original spirit" was obviously a tricky material for Disney. "Notre Dame de Paris" cannot be "faithfully adapted" into Disney animation.
But this cartoon is the best adaptation of any Disney movie I have ever seen.
The hunchback is as always arranged as a typical character who is "eager to achieve a certain goal but in a very environment" (usually when the character sings for the first time, he will sing the end of the film). Of course, his goal was also achieved in the end. , But his goal this time is not beautiful women, but "go downstairs and be with everyone". In the film, the hunchback is the ultimate show of adult beauty. In return, the beauty introduces the weirdo to the public, and everyone is happy in the end.
You can say that it is "arbitrary adaptation", which means it is just borrowing a small part of the original material and playing it at will.
At first glance, this statement is not wrong, and the story is indeed far from the novel. Looking at the value concept of the whole film: it actually emphasizes the desire and necessity of the disadvantaged groups to be accepted by the public. All the details are spread out around this value. From the point of view of value, the goal of the humpback man is actually "level down". In a sense, it has been announced that his "love goal" in the film will only be a derivative and will not be realized. This is one of the low endings in the branch of the story, but because he has a more basic goal to achieve, and the low ending of "failure in love" has actually become a step for him to achieve the highest goal, this failure does not appear to be so specific. The taste of tragedy and fate is roughly similar to the ending of the original "The Little Mermaid".
"The desire and necessity of the disadvantaged group to be accepted by the masses" is absent in the original work. As the background of the story, there is no need to emphasize this point in literary works.
The real purpose of Disney's addition of this pen is actually to emphasize that "the princess can never fall in love with the chimney-sweep boy". Although the secret love for the hunchback in the film is quite intriguing and quite moving, Disney finally took it completely. veto. Of course, the handsome captain also had to be converted into a positive heroic character to make their love story seem reasonable. The usual education tells us that "the captain with a handsome appearance is the defeat of the monster with a beautiful heart on the battlefield of love". After reading the original book, I found that it was all nonsense. What Disney did was just to clarify the hidden values in the original book: The beauty's only emotion for monsters is sympathy, a trace of pity and despair, and she has never loved monsters for a second. On the surface, this is the most daring "adaptation" or even "subversion" of the original work, but in fact it only captures the center of gravity of the most ashamed ideology in the original work.
It affirms the necessity of the acceptance of disadvantaged groups, but it also clearly draws the boundaries of privilege: "You can try to be an ordinary person, but you will never have all the rights of an ordinary person." This value concept is in modern times, especially It is a civilized society that advocates "equality between men and women" and "vulnerable privileges", which is actually very bold—because almost everyone knows this boundary but no one dares to admit it.
Among many animated films, "The Belfry" is almost as shocking as "Notre Dame de Paris". It forces the audience (juvenile audience) to realize a value that is almost cruel, and to promote it in a very moving form.
Under this premise, the changes in the attributes of the "captain" and other supporting characters are also natural: the concept of "good and evil" in the film must be in the traditional sense, because there is no so-called "incarnation of beauty" in the original work, and Disney is impossible. Come up with a cartoon that is all contradictory. Therefore, it becomes necessary for the "captain" to go from following the "judge" to consciously resisting to the opposite of the "judge" position. All other characters in the film are built around this silly captain. Once this character is removed from the movie, it will lose one of the most important clues throughout the play and the fullness of the character creation, the story of this character. Development has also allowed the film to finally have a traditional face of confrontation between good and evil. This seemingly random "adaptation" is actually significant and unchangeable for the newly constructed story.
What’s commendable is that the film does not appear as the thin and iconic characters in the usual Disney cartoons. As the "only" negative character in the film, the judge "Florou" is portrayed to life: almost everyone who has watched the film does nothing. His affectionate monologue by the fireplace moved his face. His religious devotion, his painful psychological struggles are as full and multidimensional as his evil voice. No matter what you think of this role, there is a message you will definitely feel: no matter how heinous a person, he will believe that his soul is pure and what he does is right and sacred.
This also belongs to the promotion of rare values in animated films.
Even the portrayal of the petty citizen's psychology is equally vivid: when the weirdo was held by the beautiful woman and walked out of the gloomy Notre Dame, people were still stunned, until a little girl stepped up to touch his head without knowing how high it was, and then ushered in. The happy ending-in fact, Disney can make people burst into cheers at this time, and the result is that the spirit of "the emperor's new clothes" shines again. This kind of detail is very rich in the film. On the surface, it is very warm and moving, but in fact it implies a "ridicule" of the psychology of ordinary citizens, a kind of embarrassing reality.
The literary masterpiece "Notre Dame de Paris" has reached the perfect form of artistic expression, and no film can compare to the original. After abandoning the wild descriptions of desire-driven, abandoning the evil theory of sex, and abandoning all kinds of sharp criticisms of social malpractices, "Notre Dame de Paris" has nothing left, so there is no need to expect "sales joy" Disney to be able to How earth-shattering. Because Disney’s creative mission of "Affordable for All Ages" is immovable, what really deserves attention and appreciation is the bold exploration of Disney's screenwriters outside of Lei Chi. Whether this movie is a "faithful adaptation" or "arbitrary adaptation" is probably not a question worthy of discussion, but one thing is unquestionable: the cartoon "Clock Tower" has discovered the original work "within the allowed range" Precious material, and give deep and vivid expression. She fully embodies the fundamental difference between the two different media, and she is even the Disney work that has made the most of the animation features so far. For example: No one thinks that an animated character image is terrifying, so the design of this deformed character image can be particularly bold; no one feels strange that an animated character suddenly sings, so this affectionate singing makes the character appear Especially vivid and touching. "Clock Tower" is also very good and creative from a technical point of view: the "scene scheduling" similar to the passage of Quasimodo rescued Esmeralda from the fire is almost revolutionary-the live-action movie of the year It is very difficult to take such shots.
The music of this film belongs to the painstaking work of ALAN MANKEN, and the superb performance of a choir with hundreds of people created a moment of peak.
As everyone knows, "Clock Tower" is the second-to-last at the box office of Disney cartoons, and many people who love the original hate this movie, but her overall gothic tone, deep multi-faceted character creation, and bold and honest values, The outstanding and innovative artistic techniques make her on par with other masterpieces of Walter's era.
I still think she is the only masterpiece of modern Disney animation that is almost perfect.
View more about The Hunchback of Notre Dame reviews
