In Belle, Mamuro Hosoda evolves his cinema in a free-flowing take on the story of the demon and darling, combined with a virtual world that targets important real-world concerns.
With the same two films he directed at Medhaus Studios (The Girl Who Jumped, Summer Wars), Mamuro Hosoda was determined to become one of the most anticipated directors in Japanese anime. Hosuda’s will was established with the founding of Chizu Studios and the making of his next three films (Children of the Wolf, The Boy, and Demon and Mirai), and his name became more and more popular. In addition to considering the status of the family, Hosuda’s works often revolve around simple fantasies in which the complexities of specific and at the same time tangible characters are the cornerstone of surreal and different worlds, with their small and large similarities to the audience’s ordinary life. The viewer leads.
In Bell anime, we see a collection of ideas and fictional concepts of Hosuda’s previous works.
In general, Hosoda’s cinematic anime in Belle has continued the growth and expansion of his cinema, both technically and in terms of maintaining the desired structure of his works. The end of Bell’s first song, “Time Waites for No One,” is a reminder to Hosuda fans of a phrase written on the blackboard in the anime of a girl jumping in time, which of course can be reconciled with Hosuda’s ambition. In fact, if we go back in time a little bit, looking at Hosuda’s cinematic activity, especially the period after his early films like Digimon and the sixth film One Piece, we now see in Bell anime an accumulation of ideas and story concepts of Hosoda’s previous works.
The motherly love and sacrifice of the kind that befell the wolf’s children, the entry into a parallel world of the boy and the demon, which, aside from a crushing introversion, became the basis for reviving the protagonist’s lost spirit, the passionate school life and the importance of a girl In time jumps, the formation of the principle of identity and responsibility in Mirai and of course a virtual world similar to that in the summer wars conveyed the important message of the story. Bell has put all of these features together in a new way. With this familiar but new combination, we can see the evolution of Mamuro Hosuda’s cinema in the Belle anime He investigated. But has the director’s recent work reached a climax like Wolf Kids? It may be better to wait for time to answer this question.
Belle, whose Japanese name is Ryū to Sobakasu no Hime, means Dragon and Princess Cuckoo, includes the quickest explanation of a free version of the story of the Demon and the Beloved, adapted from the Walt Disney animation (Beauty and the Beast). Product 1991) is famous.
Unlike the Disney adaptation, Bell’s songwriting is an important part of his characterization
But Hosoda has turned this classic folk tale into a modern fusion, combined with its repetitive elements, which also sends up-to-date messages criticizing the current culture on the Internet and seeks to overcome the spiritual and intellectual challenges of the new generations. Show attractive shells. In this story, a teenage girl named Suzo loses her self-confidence due to a tragic incident as a child, and even faces a serious problem to develop her singing talent. Until he becomes acquainted with a virtual world based on the interior, and in this new incarnation named Bell, he can show his ability.
At its best, Bell’s character in Hosoda’s anime is quite different from his approach to Disney animation and the feminist profiles he uses. Attention to the musical part is not limited to the dialogues that are expressed in the form of singing. Singing for Bell (with the audible sound of Nakamura lettuce) is a talent left unfulfilled by a childhood tragedy, and the film’s songs are set to lead to the character’s growth and maturity in combination with Bell and Suzu’s life moments. Even when the soundtrack ends with Suzo’s silence at school with a non-verbal montage of his childhood memories, it can be said that he has the right instinct to advance the story. Here, unlike the Disney adaptation, reading Bell is an important part of his characterization. In other words, if the main character and the inner self of the demon appear with a certain beat, the real identity of Bell will be determined by reading it to his friends.
The differences that Hosoda has made in the adaptation of his work are among the strengths of this cinematic anime. This part of the story takes place in a virtual world and eventually becomes a sub-story in order to instill the main concept of Hosoda’s film. Bell begins with the introduction of a virtual Internet community called U. The world of Yu is very similar to the world of Oz in the summer war anime, except that here the avatar and gender of each person is formed based on his innate characteristics and hidden and obvious talents in reality, and in interaction with the population of five billion people of Yu world The specific instrument that is placed in the ear emerges as a complete sensory experience of a virtual reality-based world.
In the film’s most prominent feature, Hosoda, like the summer war anime, uses digital computer design to represent the virtual world defined in his story, while the real-world atmosphere is accompanied by the familiar traditional anime design. This transition between two different graphic spaces may not be pleasant for anime fans at first, but due to the digital nature of the U world, it becomes an acceptable and obvious combination.
Although the story takes place in the real world with more artistic subtlety, parts of the U-world, which is a search for distinctive software in a psychological session, thanks to Chizu Studios’ collaboration with Walt Disney’s Jane Kim in character design, especially Bell, as well as animators. Familiar cartoon studio salons like Tom Moore for background design are relatively successful in meeting the ultimate goal. However, the use of this dual combination is a risk that the shortcomings in the behavioral modeling of the characters during their digital presence will hurt, although Hosoda has taken this risk, but the consequences can be seen in the overall picture of the film. On the other hand, creating a balance between these two sides has caused some details in the context of the story to not have a complete description.
In addition, when issues such as self-sacrifice, self-esteem, social relationships, and judgment in the eyes of others, which have become a collection of problems in Suzu’s real world, are finalized, albeit summarized, by discovering solutions from the mind and imagination. They are acceptable, but to reach more depth, they are accompanied by a noticeable trace of panic.
Warning: The rest of the text reveals parts of the Bell anime story
Suzu uses the nickname Bell (instead of Suzu, which also means bell in Japanese) to enter the Yu world. Naturally, Suzu’s sense of self-doubt prevails in conjunction with his constant question as to why his mother preferred to save the life of a stranger to their own life and togetherness. Although Suzu still loves her mother and even uses her broken lip, the main part of this annoying question, which has intensified due to the ill-considered and sarcastic comments of others, still remains in her heart. Suzu in the Yu world with a more attractive appearance (where his fans add a letter at the end of Bell’s username as Belle, Meaning a beautiful girl, she is remembered) and an anonymous beginning in which she expresses her talent more easily, despite the strongest pros and cons, can finally gain an understanding of what is happening in real life.
This is where Hosuda connects the direction of his story to more important issues than a love story. In a world where avatars live in a false peace that is derived from the positive dimensions of their existence, the arrival of a “demon” with a criminal presence is a questionable definition. Enter Bell (Beauty (in the realm of the Beast) and the elucidation of the reason for this negativity is one of the main differences between Hosoda and the adaptation of the story, which leads to the admirable story independence of his screenplay.
Every character in the U world is, in the first place, what it could be and is not. So just as Suzuki does not see her ordinary beauty in comparison to people like Roca, or has drowned out her talented voice (but not in Bell), this has happened to Kay’s character from a different angle, and she is in the world of Yu. A demon is a potential demon that can actually be born out of domestic violence but protects itself and its brother from becoming it. In another description, no matter how much Bell’s mother’s framed photo is taken from sweet memories, the fragments of a’s mother’s broken photo frame indicate the bitterness of a broken bond.
The function of the story of the demon and the darling is like a psychological quest that ultimately leads to a better understanding of the hero of the reality of life.
Suzu, who has gained a better view of living conditions in the new relationship between reality and fantasy and is slowly recovering her self-confidence, sees her mother’s last decision better when she sees herself trying to save the demon, because her attempt to save Kay It does not mean forgetting Shinobo. In this way, Shinobo, as someone who is not a member of the Yu world and has no unrealistic values (a friend who is always on the lookout for Suzu and has probably noticed his virtual identity by watching Suzu dancing and singing along the river) has become a symbol of praise. The facts become. In this way, the film takes a correct view of the fact that if Yu can be a source of talent, on the other hand, he can create the fear of revealing his true identity and face in the hearts of his users. Just as Peggy Soo regrets her false fears when Bell’s face is revealed.
On the other hand, Suzu also enjoys the support of his mother’s five friends in his life other than Shinobo, who could be the same five founders of Yu and possibly also play a role in Bell’s fame. But from now on, Suzu decides to go a long way alone to save Ki and his brother (from breaking up with an aggressive father), and thus Suzu’s intellectual development is finally completed at the end of a difficult path.
Hosuda’s efforts in analyzing and developing a believable girl character in anime are commendable. Although at this point in his career, Hosuda criticizes Hayao Miyazaki indirectly after the film’s female characters in other anime characters and even indirectly, it is clear that this whole thing is more due to his old frustration with leaving Ghibli Studio (because he disagreed with the idea. The completion of Howell’s moving castle required him to be relevant, and in Hosoda’s neutral view pursues the same valuable concerns related to the proper formation of the new generation of personality patterns. The same vision for which the great Japanese animators strive not only for a few minutes to encourage the viewer, but for a lasting realistic effect on the audience.