The first look at the version is naturally the 1999 animated version of the movie. Since then, I have been fascinated by the character Fu Yigui, and I can't say why. There are too many cores in the animation that have been repeated in my mind over the years. Until today, after watching the Korean adaptation of the live-action movie of the same name, I feel that I have some feelings that must be recorded.
Narrative: Consistent with Oshii Mori's consistent story style, the story system contained in the film's alternate historical background is very huge. The open and secret battles between factions and institutions with different political purposes, with the progress of the film, were torn down a little bit in the short 102 minutes, and successfully presented one by one at the end. When the conspiracy deeply rooted in suspense was stripped of layers of disguise and finally appeared in front of the audience, I finally had a deeper understanding of the film's many golden lines. In fact, there is no need to do too much plot analysis on the so-called metaphors or conspiracies, because the alternate historical background is a metaphor. This kind of metaphor reflects and criticizes the social monstrosities and human morbidities of the era in which the country is located, and also allows audiences outside the country and not in that era to cause agitation, rather than excessive stimulation. This metaphor, then, should be excellent.
Setting: Compared with all kinds of metaphors and struggles, the setting of the capital police special team in the film is like the black technology of the late World War II Germany, which makes people feel bright. Putting aside the nature of the war of the Axis powers, the super-era armament has always been a major aesthetic image that has attracted fans for many years. This is a design with a sense of technology that is completely different from the United States and the Soviet Union (although the Soviet style is more of an imagination of other countries). From combat armor to uniforms and military uniforms, from firearms, accessories to vehicles, there is a strong German feeling. . Compared with the later films "Steel Sky", the game "Return to Wolfenstein" and many other works, this film is based on the settings it applies, using a method without any irony and banter, just a cold perspective. The face shows the blood and fire under the Iron Curtain vividly. A large number of fighting scenes in the film are portrayed, the limbs smashed into sieves by bullets, and the blood splashed, which are all indictments of high-pressure centralized power. This accusation was so forbearing, with the unique temperament of the people of that country, but it was so naked that it was impossible to refute.
Picture: The thought-provoking plot, coupled with the delicate pictures that are not inferior to the movies and animations of the same era; the combination of character design, painting style, tone and composition has broken through the limitations of the comic "Legend of Dogs and Wolves". Pu Qizhi is undoubtedly successful. Looking back, in the past ten years, I have done so much work on the screen. Only a few years later Bone Club's "Outlander: The Sword of the Emperor" can truly enter my heart. In other words, even if it has the same dark tone as "Underground Utopia", this film is completely different from the latter. The latter is more cold and gloomy, making people question the world they live in everywhere. The film is depressing and dilapidated, bringing the audience into an era that is extremely difficult to leave. Even if the bright colors of Little Red Riding Hood and Kyu flashed back and forth, the audience could not escape the fate that their thoughts were slowly infected by the pictures, and their minds were gradually swallowed up with the plot.
Music: Strictly speaking, Mizoguchi Hajime, who produced the soundtrack of the film, is not his strongest in the animation soundtrack. However, he is the best choice for music production that can highly set off the essence of Oshii Mori's works. The widely circulated "Grace ~ Jin-Roh Main Theme ~ Omega" is the best interpretation of this. In the first half, singer Gabriela Robin sang with her very empty-inspired sound of nature, instantly pulling the audience into a barren plain as empty and distant as after the war. And the lyrics written in its unique original language have a bit of the charm of the ancient Celtic language, which adds a bit of the sadness of the ancient times to this wasteland, and portrays the wolf-like wildness and confusion of the people in the film. More into the wood. The second half was changed to the cello that Mizoguchi was good at, as well as drums, basses, and female voices with strong national characteristics (probably Noh), which made this confused sense of helplessness seem to gradually zoom away with the camera, and the characters in the film could not help themselves. They have become smaller and smaller in the desolate era, which further deepens the sadness that we feel, like a sharp blade that pierces our chest.
Feelings: We are just pawns controlled by fate, struggling in vain in the ocean of tragedy. Because, behind the dark clouds, there is no rainbow.
PS: This is a film review that is 16 years late. It reorganizes the scattered thoughts over the years, all because of the Korean live-action movie of the same name and the death of a friend.
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