动漫后援会-《虞美人盛开山坡》.docVIP

动漫后援会:《虞美人盛开山坡》Of the many wonderful qualities associated with the films of Studio Ghibli注1—the Japanese animation[动画片（制作）] house co-founded by Hiyao Miyazaki注2， the visionary director of My Neighbor Totoro注3， Kikis Delivery Service注4 and Spirited Away注5—serenity[平静] may be the most key. Ghibli productions offer the stirring[激动的] adventures and magical creatures of their American counterparts[对手]， and often operate by a wondrously mysterious internal[内在的] logic， but they do so without feeling compelled[强迫的] to grab a young audience by the lapels. Even the name “Ghibli，” derived from[得自] an Arabic word for the Mediterranean[地中海的] wind， evokes[引起] the gentle breeze[微风] that seems to guide their movies to port[港口]. From Up on Poppy Hill， the second feature by Miyazakis son， Goro Miyazaki—the first being the poorly received 2006 Ursula K. Le Guin注6 adaptation[改写本] Tales from Earthsea—takes place in a seaside village that may as well be called Ghiblitown. Based on the graphic novel[图画小说] by Chizuru Takahashi and Tetsuro Sayama， the film is broadly accessible[可理解的] but makes no immediate appeals to children—no talking animals， no chase[追踪的] scenes or slapstick[闹剧]， nothing supernatural or even defying physics. In fact， it could be a live-action[实景] drama without the staging’s being altered in the least. Yet those gorgeous[漂亮的]， hand-drawn images bring lightness[精巧] and grace to a story that might seem drab[单调的] and pedestrian[呆板的] in the real world. Opening in 1963， the year before the Olympic Games in Tokyo， From Up on Poppy Hill captures a period in which the country was eager to slough off[丢弃] the past and present the world with a bright， modern， revitalized[新生的] image. But the past still weighs heavy on Umi， a high-school student who may be a member of the postwar[战后的] generation， but who raises flags for her father each morning as a gesture of hope for his safe return. With his ship considered lost in the Korean War， Umi lives with her grandmother in a board