When I was 3 years old, it was my first anime. I didn't know that, though. I remember that then all this stuff with stupid cats and mice seemed wildly funny. I couldn’t even make a smile, only Spanish shame. The plot could not be tracked at all, but it turned out that it was not OK even for adults.
First of all, if you undertake to
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When I was 3 years old, it was my first anime. I didn't know that, though. I remember that then all this stuff with stupid cats and mice seemed wildly funny. I couldn’t even make a smile, only Spanish shame. The plot could not be tracked at all, but it turned out that it was not OK even for adults.
First of all, if you undertake to film a literary classic, then it should be removed, according to the text. If you don’t want to, just shoot your original work. Here they went a different way, through the plagiarism of two works at once, creating a fairy tale by Charles Perrault and the Dumas musketeers, stuffing left-wing characters, and the giant was made altogether Satan. Was that necessary? The cat was given the name of the storyteller himself. A reference? A tribute? And it turned out just crazy, because Perro translates you know how? Dog. So the cat here is called the Dog. In general, a wonderful author’s decision is to name one hero Pierre and the other Perrault.
The cartoon consists of two very unequal parts. The first, lasting 56 minutes, more or less corresponds to the original fairy tale, and no matter how ridiculous it sounds, you can see a conscientious approach to its twisting. There was an attempt to improve the plot, complement and even make a little more logical. The authors, of course, failed, because you can not break with one hand and repair with the other. But yes, one can appreciate some deepening of the scenes: if in the fairy tale the peasants simply lied to the king because some cat asked, then here they refuse, and he makes them blackmail, taking their crops hostage. That's okay, the scene worked. But after about five minutes, the cat persuades the boy to go to wet Satan, no one knows how, and the princess, having learned that she is not talking to the prince, but to a homeless person, suggests simply not to steam and still be together. How can a medieval fairy tale be so devoid of meaning that it fits into a few pages? The original was about a magical assistant - the grey boy got absolutely everything for nothing. But in the cartoon they undertook to make all this comedy, drama, epic fantasy, tried to prescribe characters, and as a result, the viewer looks at how a shy, ignorant boy is dragged through a kringe plot in which he is ashamed and afraid to be.
Unfortunately, I was talking about the best part of the cartoon, but it happens to have another 23 minutes after the attempt to soak the transformed giant fails. Heroes already got the skull, they had only to throw it from the tower and run. That's all they had to do. Instead, they're playing some sort of chehard, throwing it back and forth. What exactly happens to the turns of the tower, who switches the levers, who runs where, why do the bridges stand like this and not like this? Do you understand that? Do you understand how this works? It should not be such that the plot of a fairy tale at a certain point turned into an incomprehensible surreal mechanism.
I can admit that the Japanese knew how to do good drawing and big projects in the bearded year 69, when Soyuzmultfilm was chasing lysergine 5-minutes about talking mittens and all sorts of spherical freaks. The scale of the work done does not cause complaints. But content is a selective shame.
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